avid xpress user's guide...

Avid Xpress®

User’s Guide Supplement

Copyright and DisclaimerProduct specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,063,448; 5,077,604; 5,245,432; 5,267,351; 5,309,528; 5,325,200; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,701,404; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,731,819; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,883,670; 5,889,532; 5,892,507; 5,905,841; 5,912,675; 5,929,836; 5,929,942; 5,930,445; 5,930,797; 5,946,445; 5,966,134; 5,977,982; 5,986,584; 5,987,501; 5,995,079; 5,995,115; 5,999,190; 5,999,406; 6,009,507; 6,011,562; 6,014,150; 6,016,152; 6,016,380; 6,018,337; 6,023,531; 6,023,703; 6,031,529; 6,035,367; 6,038,573; 6,052,508; 6,058,236; 6,061,758; 6,072,796; 6,084,569; 6,091,422; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,128,681; 6,130,676; 6,134,379; 6,134,607; 6,137,919; 6,141,007; 6,141,691; 6,154,221; 6,157,929; 6,160,548; 6,161,115; 6,167,404; 6,174,206; 6,192,388; 6,198,477; 6,208,357; 6,211,869; 6,212,197; 6,215,485; 6,223,211; 6,226,005; 6,226,038; 6,229,576; 6,239,815; 6,249,280; 6,269,195; 6,271,829; 6,301,105; 6,310,621; 6,314,403; 6,317,142; 6,317,153; 6,317,515; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

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The following disclaimer is required by Apple Computer, Inc.APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.

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The following disclaimer is required by Paradigm Matrix:Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

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TrademarksAirPlay, AudioVision, Avid, Avid Xpress, CamCutter, Digidesign, FieldPak, Film Composer, HIIP, Image Independence, Marquee, Media Composer, Media Recorder, NewsCutter, OMF, OMF Interchange, Open Media Framework, Pro Tools, and Softimage are registered trademarks and 888 I/O, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AutoSync, AVIDdrive, AVIDdrive Towers, AvidNet, Avid Production Network, AvidProNet, AvidProNet.com, AVIDstripe, Avid Unity, AVX, DAE, D-Fi, D-fx, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DINR, D-Verb, ExpertRender, FilmScribe, HyperSPACE, HyperSPACE HDCAM, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Matador, Maxim, MCXpress, MEDIArray, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaShare, Meridien, NaturalMatch, NetReview, OMM, Open Media Management, ProEncode, QuietDrive, R&A, Recti-Fi, Review & Approval, rS9, rS18, Sci-Fi, Sound Designer II, SPACE, SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, and VideoSPACE are trademarks of Avid Technology, Inc.

iNEWS and Media Browse are trademarks of iNews, LLC.

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Footage

Arri — Courtesy of Arri™/Fauer — John Fauer, Inc.Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior.Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com.Windhorse — Courtesy of Paul Wagner Productions.

Avid Xpress User’s Guide Supplement• April 2002

Contents

Using This Supplement

Who Should Use This Supplement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . . . . 15How to Order Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Using AudioSuite Plug-Ins

Accessing the AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Core AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Broadband Noise Reduction (BNR). . . . . . . . . . . . . . . . . . . . . . . . . 20Focusrite d3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Maxim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Digidesign D-Fi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Digidesign D-fx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Description of Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . 22Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Using Compression Effectively . . . . . . . . . . . . . . . . . . . . . . . . . 22Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Expander-Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

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Expander-Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

EQ II Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Master Clip Mode Parallel Processing. . . . . . . . . . . . . . . . . . . 37Time Compression Expansion Parameters . . . . . . . . . . . . . . . 38

Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Pitch Shift Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

File Format Specifications

Graphic (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Preparing Graphic Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . 48Graphic File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 48

Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . . 62Preserving Information in the Vertical Blanking Interval. . . . . . . . . . 65

Line Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Preserving Vertical Blanking Information . . . . . . . . . . . . . . . . . . . 66Using a Partial Wipe Operation to Insert or Delete Vertical

Blanking Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

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Potential Problems with Preserving Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preserving Vertical Blanking Information Can Affect Compressed Video Quality . . . . . . . . . . . . . . . . . . . . . . . . 70

Effects Can Modify the Vertical Blanking Information . . . . . . . . 71

Cross-Format Conflicts with Respect to Black Levels. . . . . . . . . . 72

Avid Log Specifications

Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . 74Describing an Avid Log File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Data Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Configuring an External Fader or Mixer

Supported Faders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . . 87

Testing the External Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Using the Snap Mode Feature on the MCS-3000X Fader . . . . . . . 90Ganging Faders on the FaderMaster Pro Fader . . . . . . . . . . . . . . . 91

Using the Yamaha 01V Digital Mixing Console . . . . . . . . . . . . . . . . . . 91Setting Up the Yamaha 01V Digital Mixer . . . . . . . . . . . . . . . . . . . 92

Initializing the Yamaha 01V. . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Configuring the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Starting Avid Xpress with the Yamaha 01V Attached . . . . . . . . . 94Operational Notes for the Yamaha 01V Mixer. . . . . . . . . . . . . . . . 95Soloing Avid Xpress System Channels . . . . . . . . . . . . . . . . . . . . . . 96

Using the JL Cooper Media Control Station3

Overview of the MCS3 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

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Opening the MCS-3 Controller Settings Dialog Box . . . . . . . . . . . . . 101Mapping the MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Using the Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . . 103Default Navigation Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 104Default Function Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Custom Mapping MCS3 Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . 105Configuring a Shifted Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Customizing Jog and Shuttle Speeds . . . . . . . . . . . . . . . . . . . . . . . . . . 107Customizing the Maximum Jog Speed. . . . . . . . . . . . . . . . . . . . . 108Customizing the Maximum Shuttle Speed . . . . . . . . . . . . . . . . . 108

Operating the Jog/Shuttle Wheel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Moving Through Footage in Jog Mode . . . . . . . . . . . . . . . . . . . . 110Moving Through Footage in Shuttle Mode . . . . . . . . . . . . . . . . . 110

Editing Footage with the MCS3 Controller. . . . . . . . . . . . . . . . . . . . . 111Creating Multiple Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . 112Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Index

9

Tables

Table A-1 Compressor Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 23

Table A-2 Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Table A-3 Expander-Gate Parameters . . . . . . . . . . . . . . . . . . . . . . 27

Table A-4 Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Table A-5 EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Table A-6 Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Table A-7 Time Compression Expansion Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Table A-8 Pitch Shift Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Table B-1 Graphic File Import Specifications. . . . . . . . . . . . . . . . . 49

Table B-2 Animation File Import Specifications . . . . . . . . . . . . . . 56

Table B-3 QuickTime File Import and Export Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Table B-4 AVI File Import and Export Specifications (Windows Only) . . . . . . . . . . . . . . . . . 58

Table B-5 OMFI File Import Specifications . . . . . . . . . . . . . . . . . . 60

Table B-6 Recommended Field Settings for Two-Field Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Table C-1 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . . . 76

Table C-2 Avid Log Column Headings. . . . . . . . . . . . . . . . . . . . . . 78

Table C-3 Avid Log Data Headings. . . . . . . . . . . . . . . . . . . . . . . . . 81

Table D-1 Fader Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Table E-1 Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . . 105

Table E-2 Maximum Jog Speed Options. . . . . . . . . . . . . . . . . . . . 108

Table E-3 Maximum Shuttle Speed Options . . . . . . . . . . . . . . . . 109


The appendices in this volumen contain reference material that supplements the information provided in the Avid Xpress User’s Guide. You should consult the Avid Xpress Release Notes for any late-breaking information that might apply to your system.

Who Should Use This Supplement

This supplement is intended for all Avid Xpress users, from beginning to advanced. You should be familiar with the Macintosh® or the Windows® 2000 operating system.

About This Guide

The Contents lists all topics included in the book. They are presented with the following overall structure:

• ”Using AudioSuite Plug-Ins” lists the supported AudioSuite Plug-Ins and describes the core AudioSuite plug-ins.

• ”File Format Specifications” describes the file format specifications.

• ”Avid Log Specifications” describes the Avid log specifications.

12


• ”Configuring an External Fader or Mixer” describes how to configure an external fader with your Avid Xpress system.

• ”Using the JL Cooper Media Control Station3” describes how to set up and use the JL Cooper controller.

• A detailed ”Index” helps you quickly locate specific topics.

Symbols and Conventions

Unless noted otherwise, the material in this document applies to the Windows 2000 and Macintosh operating systems. When the text applies to a specific operating system, it is marked as follows:

• (Windows) or (Windows only) means the information applies to the Windows 2000 operating system.

• (Macintosh) or (Macintosh only) means the information applies to the Macintosh operating system.

The majority of screen shots in this document were captured on a Windows 2000 system, but the information applies to both Windows 2000 and Macintosh systems. Where differences exist, both Windows 2000 and Macintosh screen shots are shown.

The Avid Xpress documentation uses the following special symbols and conventions:

1. Numbered lists, when the order of the items is important.

a. Alphabetical lists, when the order of secondary items is important.

• Bulleted lists, when the order of the items is unimportant.

- Indented dashed lists, when the order of secondary items is unimportant.

t One arrow indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.

13

If You Need Help

The k symbol refers to the Apple or Command key. Press and hold the Command key and another key to perform a keyboard shortcut.

In this document, Avid drive refers to the Macintosh system’s internal hard drive. Apple Computer, Inc. names the internal hard drive Macintosh HD. Depending on your system’s setup, the internal hard drive might have a different name.

Courier Bold font identifies text that you type.

Look here in the margin for tips.

In the margin, you will find tips that help you perform tasks more easily and efficiently.

n A note provides important related information, reminders, recommendations, and strong suggestions.

c A caution means that a specific action you take could cause harm to your computer or cause you to lose data.

If You Need Help

If you are having trouble using Avid Xpress, you should:

1. Retry the action, carefully following the instructions given for that task in this guide.

2. Check the documentation that came with your hardware for maintenance or hardware-related issues.

3. Check the release notes supplied with your Avid application for information on accessing the Avid Web site and the Avid Knowledge Center.

4. For support services, call Avid Customer Support:

- Broadcast products — call 800-NEWS-DNG (639-7364).

- Postproduction products — call 800-800-AVID (2843).

14


Related Information

The following documents provide more information about the Avid Xpress product:

• Avid Xpress Release Notes for the Windows 2000 Operating System

• Avid Xpress Release Notes for the Macintosh Operating System

• Avid Symphony and Composer Products Site Preparation Guide for the Windows 2000 Professional Operating System

• Avid Composer Products Site Preparation Guide for the Macintosh Operating System

• Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System

• Avid Composer Products Setup Guide for the Macintosh Operating System

• Avid Xpress Getting Started Guide

• Avid Xpress Quick Reference for the Windows 2000 Operating System

• Avid Xpress Quick Reference for the Macintosh Operating System

• Avid Xpress User’s Guide

• Avid Xpress Effects Guide

• Avid Products Collaboration Guide

This guide provides step-by-step instructions for transferring project files, audio files, and graphics and effects files between various Avid products.

The most recent update of the Avid Products Collaboration Guide is provided online. Check the release notes supplied with your Avid application for information on accessing online documentation.

15

If You Have Documentation Comments

• Avid Xpress Online Publications

This online collection provides electronic versions of most documents listed in this section, as well as documents for related Avid applications. You can view these documents with Adobe®

Acrobat® Reader®, which you can install from the CD-ROM.

• Avid Xpress Help

The Help system provides all the information included in the Avid Xpress User’s Guide and the Avid Xpress Effects Guide supplied with your system. It also includes supplemental information not in the manuals. The Help operates in a Web browser. To open the Help, choose Avid Xpress Help from the Help menu in the Avid Xpress application. For information on using Help, click the Using Help button in the Help system.

If You Have Documentation Comments

Avid Technology continuously seeks to improve its documentation. We value your comments about this guide, the Help, the Online Publications CD-ROM, and other Avid-supplied documentation.

E-mail your documentation comments to Avid Technology at

[email protected]

Please include the title of the document, its part number, revision, and the specific section you are commenting on in all correspondence.

How to Order Documentation

To order additional copies of this documentation from within the United States, call Avid Telesales at 800-949-AVID (2843). If you are placing an order from outside the United States, contact your local Avid representative.

16


APPENDIX A


The following topics describe how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid system. They also provide a list of other plug-ins that are supported.

• Accessing the AudioSuite Plug-Ins

• Core AudioSuite Plug-Ins

• Additional Supported Plug-Ins

• Description of Core AudioSuite Plug-Ins

For details on installing the plug-ins, see “Digidesign AudioSuite Plug-Ins” in the Avid Xpress User’s Guide or the Help.

Accessing the AudioSuite Plug-Ins

To access the plug-ins:

t Choose AudioSuite from the Tools menu.

The AudioSuite window opens.

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Core AudioSuite Plug-Ins

The following basic plug-ins are installed automatically as part of the Avid system software installation:

• Compressor — Reduces the dynamic range of signals that exceed a selected threshold by a specific amount.

• Limiter — Prevents signal peaks from exceeding a chosen level so that they don’t overload amplifiers or recording devices.

• Expander-Gate — Performs the same function as the Gate plug-in with the addition of expander features. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as the signal level falls, which often occurs with headphone leakage.

• Gate — Reduces noise by decreasing the gain of signals that fall below a user-selectable threshold.

• EQ — Allows you to adjust frequency equalization on individual audio clips.

• Invert — Inverts the polarity (phase of the audio file).

• Duplicate — Creates a new master clip from a selected audio clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip.

Drive Selection pop-up menu

Plug-in Selection pop-up menu

Status display

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Additional Supported Plug-Ins

• Mod Delay — Provides time-delay-based effects. Effects obtained through the use of Mod Delay include slap echo, doubling, chorusing, and flanging.

• Normalize — Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value.

• Gain — Same as Normalize, but allows positive or negative gain adjustment.

• Reverse — Rewrites the selected audio in reverse.

• DC Offset Removal — Removes an audio artifact that is common in digital audio files. A DC offset is caused by poorly calibrated analog-to-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed.

• Signal Generator — Produces audio test tones in a variety of frequencies, waveforms, and amplitudes.

• Time Compression Expansion — Allows you to adjust the duration of a selected clip by creating a new master clip. This increases or decreases the selection’s length without changing pitch.

• Pitch Shift — Changes pitch with or without changing length.

For a brief overview of each plug-in and, where appropriate, a description of how to use the plug-in, see “Description of Core AudioSuite Plug-Ins” on page 22.


The following AudioSuite plug-ins can be purchased separately and have been qualified for this release:

• Broadband Noise Reduction (BNR)

• Focusrite d3

• Maxim

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• Digidesign D-Fi

• Digidesign D-fx

These plug-ins come with their own documentation. For more information, see the following Web page:

www.digidesign.com

Broadband Noise Reduction (BNR)

The BNR feature of the Digidesign Intelligent Noise Reduction™ (DINR™) plug-in provides broadband and narrow-band noise reduction for suppressing unwanted elements such as tape hiss, air conditioning rumble, and microphone preamplifier noise.

Focusrite d3

Focusrite® d3 is a high-quality, dynamics processor plug-in that contains a compressor and a limiter. The d3 compressor reduces the dynamic range of audio signals that exceed a user-selectable threshold by a specific amount. The d3 does this by reducing output levels when input levels increase above the threshold.

The d3 limiter operates as a fast-attack compressor with a high compression ratio. Like the compressor, the limiter is activated when the signal exceeds a user-selectable threshold. The limiter then compresses any signal above the selected threshold to the lower threshold limit that you have set.

There are two versions of the plug-in:

• ff d3 Mono, which operates on channels (tracks) separately.

• ff d3 Stereo, which operates on a composite of the two channels of the stereo signal. It prevents image shift when signal levels differ between the two channels.

http://www.digidesign.com

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Maxim

The Maxim™ plug-in performs peak limiting and sound maximizing. Maxim takes advantage of the random-access nature of disk-based recording to anticipate peaks in audio material and to preserve their transient attacks when performing reduction. The Maxim plug-in helps preserve the character of the original audio signal without clipping peaks or introducing distortion.

Digidesign D-Fi

The set of D-Fi™ plug-ins provides analog synthesizer effects:

• Lo-Fi™ adds noise generation, bit-rate reduction, distortion, and saturation to sound.

• Sci-Fi™ adds analog synthesizer-type ring modulation, frequency modulation, and variable frequency resonator.

• Recti-Fi™ generates new harmonics and subharmonics through waveform rectification.

• Vari-Fi™ adds tape and turntable “start up” and “slow down” effects.

Digidesign D-fx

The set of D-fx™ plug-ins contains a selected group of basic effects:

• Chorus

• D-Verb™

• Flanger

• Multi-Tap Delay

• Ping-Pong Delay

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The D-Fi and D-fx plug-ins come with their own documentation. For more information, see the following Web page:

www.digidesign.com

Description of Core AudioSuite Plug-Ins

The following sections give a brief overview of each plug-in and, where appropriate, describe how to use the plug-in.

Compressor

The Compressor plug-in reduces the dynamic range of signals that exceed a selected threshold by a specific amount. The increase of input signal needed to cause a 1-dB increase in the output signal of the compressor is called the compression ratio. With a ratio of 4:1, for example, an 8-dB increase of input produces a 2-dB increase in the output.

Audio material often varies in loudness, and can be above the threshold at one moment and below it the next. The Attack slider sets the Compressor’s response time, or attack. The Release slider sets the amount of time that it takes for the Compressor’s gain to return to its original level.

Using Compression Effectively

To use compression most effectively, the attack time should be set so that signals exceed the threshold level long enough to cause an increase in the average level. This helps to ensure that gain reduction doesn’t decrease the overall volume.

Release times should be set long enough so that if signal levels repeatedly rise above the threshold, they cause gain reduction only

http://www.digidesign.com

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once. If the release time is too long, a loud section of the audio material could cause gain reduction that persists through a soft section. Of course, compression has many creative uses that break these rules.

The Compressor has built-in metering that allows you to monitor the amount of gain reduction taking place. The Gain Reduction meter usually remains at 0 level when the input signal is below the threshold, and falls to the left to show the amount of gain reduction in decibels when the input signal exceeds the threshold.

Compressor Parameters

Table A-1 lists the Compressor plug-in parameters.

Table A-1 Compressor Parameters

Parameter Description

Input Meter Indicates the level of the unprocessed input signal to the Compressor.

Output Meter Indicates the output level of the Compressor, including any gain compensation added through the Gain parameter

Reduction Indicates the amount of gain reduction in dB.

Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between “multi-miked” sources or to correct for miswired microphone cables.

Gain Provides overall output gain adjustment. It allows you to compensate for heavily compressed signals.

Threshold Allows you to set the threshold level. Signals that exceed this level are compressed. Signals that are below it are unaffected. A level setting of 0 dB is equivalent to no compression. Unlike scales on analog compressors, metering scales on a digital device reflect a 0-dB value, which indicates full scale (FS) — the full-code signal level. There is no headroom above 0 dB.

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Ratio Allows you to set the compression ratio. The range is based on decibels above the threshold. If this parameter is set to 2:1, for example, it compresses changes in signals above the threshold by one half.

Attack Allows you to set the Compressor’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Compressor applies attenuation to the signal. If you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity.

Release Allows you to control how long it takes for the Compressor to be fully deactivated after the input signal drops below the threshold level. If you use heavy compression, you should use proportionally longer release times. This prevents pumping, which might occur when the Compressor is forced to jump back and forth between compressed and uncompressed signal levels. Lengthening the release time helps smooth these changes in level by introducing a lag in the ramp-up and ramp-down times of attenuation. Use shorter release times on material with few peaks that do not occur in close proximity to each other.

Knee Allows you to set the rate at which the compressor reaches full compression once the threshold has been exceeded. This parameter ranges from 0 (hardest response) to 200 (softest response).

Graph Displays the response curve set by the Compressor’s Threshold, Ratio, and Knee settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings.

External Key This parameter has no effect on the AudioSuite plug-ins.

Key Listen This parameter has no effect on the AudioSuite plug-ins.

Table A-1 Compressor Parameters (Continued)


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Limiter

The Limiter plug-in is used to prevent signal peaks from exceeding a chosen level so that they don’t overload amplifiers or recording devices. Most limiters have ratios of 10:1 or 20:1, although some provide ratios of up to 100:1. Large ratios effectively limit the dynamic range of the signal to a specific value by setting an absolute ceiling for the dynamic range.

Limiting is used to prevent short-term peaks from reaching their full amplitude. Used carefully, limiting allows you to achieve higher average levels while avoiding overload (clipping or distortion) by limiting some short-term transients in the source audio. To prevent the ear from hearing the gain changes, use extremely short attack and release times.

Limiting is used to remove occasional peaks because gain reduction on successive peaks wouldn’t be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited.

The Limiter’s ratio is internally set to 100:1 and the attack time is automatically set to 0 milliseconds. The Limiter is similar to heavy compression. It can be useful for reducing pops and clicks, or for hard-limiting dynamic range for broadcast or band-limited media such as a cassette.

Limiter Parameters

Table A-2 lists the Limiter plug-in parameters.

Table A-2 Limiter Parameters


Input Meter Indicates the level of the unprocessed input signal to the Limiter.

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Output Meter Indicates the output level of the Limiter, including any gain compensation added through the Gain parameter.

Reduction Indicates the amount by which the signal is being attenuated.


Gain Provides overall output Gain adjustment.

Threshold Allows you to set the threshold level. Signals that exceed this level are limited. Signals that are below it are unaffected.

Attack Allows you to set the Limiter’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Limiter applies attenuation to the signal. If you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity.

Release Allows you to control how long it takes for the Limiter to be fully deactivated after the input signal drops below the threshold level. If you use heavy limiting, you should use proportionally longer release times.This prevents pumping, which can occur when the Limiter is forced to jump back and forth between limited and unlimited signal levels. Lengthening the release time helps smooth these changes in level by introducing a lag in the ramp-up and ramp-down times of attenuation. Use shorter release times on material with few peaks that do not occur in close proximity to each other.

Graph Displays the response curve set by the Limiter’s Threshold setting. As you adjust this parameter, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings.



Table A-2 Limiter Parameters (Continued)


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Expander-Gate

The Expander-Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as its level falls, which often occurs with headphone leakage.

Expanders can be thought of as soft-noise gates because they provide a gentler way of cutting off noisy low-level signals than the typically abrupt cutoff of a gate. If you want, however, you can use this plug-in as a gate by setting the Ratio to its maximum value and using short Attack, Decay, and Hold settings.

Expander-Gate Parameters

Table A-3 lists the Expander-Gate plug-in parameters.

Table A-3 Expander-Gate Parameters



Reduction Meter Indicates the amount of signal reduction in dB.

Threshold Allows you to set the threshold level. Signals that fall below the threshold are reduced in gain. Signals that are above it are unaffected. (When you adjust the Threshold slider, be sure that audio material is playing through the Expander-Gate to see changes reflected in the Reduction meter.)

Ratio Allows you to set the amount of expansion. If this parameter is set to 2:1, for example, it lowers signals below the threshold by one half. At higher ratio levels (30:1 or 40:1, for example) the Expander-Gate functions as a gate by reducing lower level signals dramatically. As you adjust the Ratio parameter, refer to the built-in graph to see how the shape of the expansion curve changes.

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Attack Allows you to set the Expander’s attack time. This parameter determines how quickly a signal’s level is reduced once it falls below the threshold. This setting, along with the Ratio setting, allows you to control the softness of the Expander’s gain reduction curve.

Hold Allows you to specify a duration (in seconds or milliseconds) that the Expander-Gate stays open after the initial attack cycle. This parameter can be used as a one-time function to keep the Expander-Gate open for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter, which might occur if varying input levels near the threshold cause the Gate to open and close very rapidly.

Decay Allows you to control how long it takes for the Gate to close after the input signal falls below the threshold level and the hold time has passed.

Range Sets the depth of the Gate when closed. This parameter has a maximum depth of –80 dB. Setting the Gate to higher range levels allows more of the gated audio that falls below the threshold to peek through the Gate at all times.

Key HPF This parameter has no effect on the AudioSuite plug-ins.

Key LPF This parameter has no effect on the AudioSuite plug-ins.

Graph Displays the response curve set by the Expander-Gate’s Threshold, Ratio, and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings.



Table A-3 Expander-Gate Parameters (Continued)


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Gate

The Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold.

Gate Parameters

Table A-4 lists the Gate plug-in parameters.

Table A-4 Gate Parameters


Phase Invert Allows you to invert the phase (polarity) of the input signal to change frequency response between “multi-miked” sources or to correct for miswired microphone cables.

Gating (Reduction Meter)

Indicates the amount of reduction in dB.

Threshold Allows you to set the threshold level. Signals that exceed this level pass through. Signals that are below it are gated, depending on the settings of the Attack, Hold, Decay, and Range parameters.

Attack Allows you to set the attack time of the Gate.

Hold Allows you to specify a duration (in seconds or milliseconds) that the Gate stays open after the initial attack cycle. This parameter can be used as a one-time function to keep the Gate open for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter, which might occur if varying input levels near the threshold cause the Gate to open and close very rapidly.

Decay Allows you to control how long it takes for the Gate to close after the signal falls below the threshold level.

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EQ

There are two EQ plug-ins:

• 1-Band EQ II

• 4-Band EQ II

The EQ II plug-ins provide an enhanced “British EQ” sound that is favored by audio engineers and producers.

EQ II Parameters

Table A-5 lists the EQ II plug-in parameters.

Range Sets the depth of the Gate when closed. This parameter has a maximum depth of –80 dB. Setting the Gate to higher range levels allows more of the gated audio that falls below the threshold to peek through the gate at all times. This is useful for problems such as drum leakage, where you might want to suppress the overall drum kit sound by a specific amount while emphasizing the gated instrument such as a snare.

Graph Displays the response curve set by the Gate’s Threshold and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings.



Table A-4 Gate Parameters (Continued)


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Table A-5 EQ II Parameters


Input Allows you to control the input gain of the EQ to prevent the possibility of clipping.

Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between “multi-miked” sources (a common technique for “miking” a guitar amplifier), or to correct for miswired microphone cables.

Type Allows you to select an EQ type (High-Pass, Low-Shelf, Peak, High-Shelf or Low-Pass).

Gain Allows you to control the amount that the selected frequencies are cut or boosted (for Peak, High-Shelf, and Low-Shelf only).

Freq Allows you to designate the center of the frequency region to be cut or boosted.

Q (Peak only) Allows you to set the bandwidth of the Peak filter. Higher values represent narrower bandwidths. Lower values represent wider bandwidths.

Bypass Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for each band (black buttons with EQ curve icons).

High-Pass Attenuates all frequencies below the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others above the frequency to pass through. For this reason, no gain control is available for this filter. High-pass filters can be useful for removing low-frequency rumble or for thinning out the lower end of a sound for special effects, such as a “telephone simulation” effect.

Low-Shelf Produces a lift or a cut below the specified frequency.

Peak Boosts or cuts only those frequencies around the selected center frequency. The Q button sets the bandwidth of the Peak filter, which determines the width of the filter’s overall slope — from a broad “bell” shape to a narrow notch. Broad curves tend to be most useful for musical applications. Narrow curves are useful for special-purpose processing such as hum removal. Higher values represent narrower bandwidths. Lower values represent wider bandwidths.

High-Shelf Produces a lift or a cut at the specified frequency and above it.

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Invert

The Invert plug-in reverses the polarity of the selected audio. All positive sample amplitude values are made negative, and all negative amplitudes are made positive. This process is useful for permanently altering the phase (polarity) relationship of tracks. Inverting can be useful when mixing because it alters frequency response between source tracks recorded with multiple microphones and also allows you to correct for audio that was recorded out of phase.

Duplicate

The Duplicate plug-in creates a new master clip from a selected audio master clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip. This plug-in applies only if you are using the Create New Master Clips features of the AudioSuite plug-ins.

Mod Delay

The Mod Delay plug-ins provide time-delay-based effects. Effects obtained through the use of Mod Delay include slap echo, doubling, chorusing, and flanging.

Low-Pass Attenuates all frequencies above the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others below the frequency to pass through. For this reason, no gain control is available for this filter.

Table A-5 EQ II Parameters (Continued)


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There are four Mod Delays, each of which is capable of a different maximum delay time:

• Short Delay provides 1024 samples of delay (23.2 ms at 44.1 kHz or 21.3 ms at 48 kHz).

• Slap Delay provides 7186 samples of delay (162 ms at 44.1 kHz or 149 ms at 48 kHz).

• Medium Delay provides 16384 samples of delay (371 ms at 44.1 kHz or 341 ms at 48 kHz).

• Long Delay provides 162474 samples of delay (3.68 seconds at 44.1 kHz or 3.38 seconds at 48 kHz).

Mod Delay Parameters

Table A-6 lists the Mod Delay plug-in parameters.

Table A-6 Mod Delay Parameters


Input Allows you to control the input volume of the delay to prevent clipping.

Wet/Dry Allows you to control the balance between the delayed signal and the original signal. If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Wet/Dry setting.

LPF (Low-Pass Filter)

Controls the cutoff frequency of the low-pass filter. This parameter allows you to attenuate the high-frequency content of the feedback signal. The lower the setting, the more high frequencies are attenuated.

Delay Allows you to set the delay time between the original signal and the delayed signal.

Depth Allows you to control the depth of the modulation applied to the delayed signal.

Rate Allows you to control the rate of modulation of the delayed signal.

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Normalize

In cases where a sound file has been recorded with too little amplitude, the Normalize plug-in ensures that the inherent dynamics of the performance remain unchanged while the overall volume level of the passage is raised.

In addition to the standard AudioSuite parameters, the Max Peak At controls let you specify how close to maximum level (the clipping threshold) the peak level of your selection or file is boosted. You can enter this information in one of three ways:

t Enter a numeric decibel value below the clipping threshold.

t Enter a percentage of the threshold.

t Adjust the on-screen slider.

Editing any of these controls automatically calculates the equivalent value in the others.

To configure the Normalize parameters:

1. Type the amount of boost you want applied during the Normalize process.

2. Set a specific decibel amount below maximum by double-clicking and typing that value in the Max Peak at: (dB) text box.

3. Set the amount of normalization as a percentage of maximum by typing the percentage you want in the Max Peak at: (%) text box.

Feedback Allows you to control the amount of feedback applied from the output of the delay back into its input. It also controls the number of repetitions of the delayed signal. Negative Feedback settings give a more intense “tunnel-like” sound to flanging effects.

Table A-6 Mod Delay Parameters (Continued)


35


4. (Option) Manually set the amount of normalization by doing one of the following:

t Click and adjust the Max Peak slider.

t Press and hold the Ctrl key (Windows) or the k key (Macintosh) before you drag the slider to fine-adjust.

Gain

Gain allows you to boost or lower amplitudes in a file or selection by a specified amount. The Change Gain command is ideal for smoothing out undesirable peaks and other dynamic inconsistencies.

To configure the Gain parameters, do one of the following:

t Enter the new level as a decibel amount (dB) or percentage (%) by double-clicking in the respective text box and typing a new value.

t Use the slider to adjust the gain manually; press and hold the Ctrl key (Windows) or the k key (Macintosh) before you drag the slider to fine-adjust.

Reverse

Reversed sounds are useful effects in many music and film and video projects. The Reverse plug-in lets you perform this type of processing very easily.

DC Offset Removal

The DC Offset Removal plug-in removes DC offset from your audio files. The term “DC offset” describes a specific type of audio artifact that might appear in digital audio signals.

36


The DC Offset plug-in can be identified in a waveform overview because it appears to have a near-vertical fade-in with a constant or “steady-state” offset from zero when the file is actually “silent” (it contains no audible audio). The DC Offset plug-in can help remove (or at least reduce) the DC offset from your source audio files.

Signal Generator

The Signal Generator plug-in produces audio test tones in a variety of frequencies, waveforms, and amplitudes. The plug-in has the following options:

• Frequency: This option sets the frequency of the signal in hertz. Values range from a low of 20 Hz to a high of 20 kHz.

• Level: This option sets the amplitude of the signal in decibels. Values range from a low of –95 dB to a high of 0.0 dB.

• Signal: These buttons allow you to select the waveform. The waveform choices are sine, square, sawtooth, triangle, white noise, and pink noise.

n The Signal Generator produces a tone as soon as it is inserted on a track. To mute the tone, click the Bypass button.

Time Compression Expansion

The Time Compression Expansion plug-in allows you to adjust the duration of any selected regions by increasing or decreasing the selection’s length without changing pitch. This function is particularly important in audio postproduction applications because it allows you to adjust sounds to specific time lengths or timecode durations for synchronization.

n To change duration (length) and pitch simultaneously, use the Pitch Shift plug-in.

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Master Clip Mode Parallel Processing

The Time Compression Expansion plug-in allows two tracks to be time-compressed or expanded as a “stereo pair,” so that the two sides of the stereo signal are processed relative to each other.

The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats. They are located in the Source and Destination columns, and also include the Ratio slider. Additional controls for fine-tuning the compression and expansion process are also included.

To use the special control features:

t Press and hold the Ctrl key (Windows) or the k key (Macintosh) to engage slider fine-tune mode.

38


t Alt+click (Windows) or the k key (Macintosh) a field or slider to reset its default value.

Time Compression Expansion Parameters

Table A-7 lists the Time Compression Expansion plug-in parameters.

Table A-7 Time Compression Expansion Parameters


Source and Destination

The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns are constantly active, and a change made to one value is immediately reflected in the values displayed in the other text boxes.

The text boxes in the Destination column display and control the length of the selection after processing using the current settings. You can enter the length of the Destination file by double-clicking the appropriate text box in the Destination column. Type the number of samples in min:secs:msec format or type timecode values as start and end locations. All the Destination text boxes are constantly updated, and a change made to one value is immediately reflected in the values displayed in the other text boxes.

You can also enter a new tempo, bars:beats:ticks length, or time signature for regions that have tempo or Bars & Beats settings. This can be any region associated with a MIDI Metronome value (such as an overdub recorded to a MIDI click) or regions that have been processed with the Pro Tools Identify Beat command.

The Ratio slider lets you set the destination length in relation to the source length. Dragging the slider to the right increases the length of the destination file, and dragging the slider to the left decreases its length.

The controls below the bar line allow you to fine-tune the time compression and expansion process. They include the Crossfade, Min Pitch, and Accuracy sliders.

39


Crossfade The Crossfade slider allows you to manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you are processing. The Time Compression Expansion plug-in achieves length modification by replicating or subtracting very small portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material.

Crossfade length essentially affects the amount of smoothing performed on audio material to prevent audio artifacts such as clicks. In general, small narrow-range time (length) changes require longer crossfades while larger changes in length require shorter crossfades. The disadvantage of long crossfade times is that they smooth the signal, including any transients. While this can be desirable for audio material such as vocals, it is not appropriate for material with sharp transients such as drums or percussion.

The default setting for this parameter is Auto (leftmost position), in which crossfade times are set automatically according to the percentage of change in length for the current process. This setting should be sufficient for most applications; however, you can use this slider to manually adjust and optimize crossfade times, if necessary. For audio material with sharper attack transients, use shorter crossfade times. For audio material with softer attack transients, use longer crossfade times with a range in values of 1 to 200 ms.

Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression and expansion process for maximum efficiency — it all depends on the audio’s spectral shape.

This slider should be set lower when you process bass guitar or another instrument with a similarly low range. Set the min pitch higher when processing instruments such as snare drums, violins, and other higher range instruments and sounds. Experiment with combinations of the other fine-tune controls in relation to the Min Pitch slider.

Table A-7 Time Compression Expansion Parameters (Continued)


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Crossfade The Crossfade slider allows you to manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you are processing. The Time Compression Expansion plug-in achieves length modification by replicating or subtracting very small portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material.

Crossfade length essentially affects the amount of smoothing performed on audio material to prevent audio artifacts such as clicks. In general, small narrow-range time (length) changes require longer crossfades while larger changes in length require shorter crossfades. The disadvantage of long crossfade times is that they smooth the signal, including any transients. While this can be desirable for audio material such as vocals, it is not appropriate for material with sharp transients such as drums or percussion.

The default setting for this parameter is Auto (leftmost position), in which crossfade times are set automatically according to the percentage of change in length for the current process. This setting should be sufficient for most applications; however, you can use this slider to manually adjust and optimize crossfade times, if necessary. For audio material with sharper attack transients, use shorter crossfade times. For audio material with softer attack transients, use longer crossfade times with a range in values of 1 to 200 ms.

Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression and expansion process for maximum efficiency — it all depends on the audio’s spectral shape.

This slider should be set lower when you process bass guitar or another instrument with a similarly low range. Set the min pitch higher when processing instruments such as snare drums, violins, and other higher range instruments and sounds. Experiment with combinations of the other fine-tune controls in relation to the Min Pitch slider.



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Pitch Shift

The Pitch Shift plug-in allows you to adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed.

Accuracy Use the Accuracy slider to prioritize the processing resources allocated to audio quality (sound) or timing (rhythm). Dragging the slider toward sound generally results in better sonic quality and fewer audio artifacts. Dragging the slider toward rhythm puts the emphasis on keeping the tempo consistent. When working with loops, listen carefully and adjust accuracy until you find the setting that keeps timing solid within the region. Start and end times are precise, but the perception of beats might be “shuffled” if the Accuracy slider’s rhythm setting is too low.

c The smallest time ratio allowed for time compression and expansion is 0.25. The largest time ratio allowed is 4.0.

n Normalizing a selection before applying the Time Compression Expansion plug-in can sometimes produce better-sounding results.



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Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by dragging a slider to adjust. All Pitch Shift plug-in controls are linked, so that changing one changes the others.

Pitch Shift Parameters

Table A-8 lists the Pitch Shift plug-in parameters.

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Table A-8 Pitch Shift Parameters


Gain The Gain controls set the input level, in tenths of a decibel. The input level should be set so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain.

Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes. The Coarse slider transposes in semitones (half steps); the Fine slider transposes in cents (hundredths of a semitone).

Time Correction Clicking the Time Correction check box allows you to enable or disable time correction.

c You can deselect the Time Correction check box if you are using the Create New Master Clips feature of the AudioSuite plug-ins. The Time Correction check box must be selected, however, when you are applying AudioSuite plug-ins to audio clips in the Timeline.

If the Time Correction check box is deselected, it has the effect of “permanently varispeeding” your audio file. Like working with tape, the file’s duration is compressed or extended according to the settings of the Coarse and Fine controls. Playback speed increases proportionally as the sound file is transposed up in pitch and decreases proportionally as it is transposed down in pitch, just like a tape recorder that is varispeeding.

Consider that altering a file in this way has little detrimental effect on the fidelity of audio files, whereas time correction can affect fidelity in a pronounced way.

Ratio The Ratio slider lets you set the amount of transposition (pitch change). Dragging the slider to the right raises the pitch of the processed file, and dragging the slider to the left decreases its pitch. Press and hold the Ctrl key (Windows) or the k key (Macintosh) when you drag the slider to fine-adjust.

For a description of the Crossfade, Min Pitch, and Accuracy sliders, see Table A-7.

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Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a selected portion of audio material, and then use as an audible reference when pitch-shifting other audio material in your session.

To use the Reference Pitch feature:

1. Select the audio material you want to use as a pitch reference. Click the Preview button to begin playback of the selected audio.

2. Click the Reference Pitch button to activate the reference sine wave tone.

3. Adjust the note and detune settings to match the reference tone to the pitch of the audio playback. Adjust the level setting to change the relative volume of the reference tone. It might also be helpful to switch the Reference Pitch on and off to compare pitch.

4. Select the audio material to be pitch shifted.

Adjust the Coarse and Fine controls to match the pitch of the audio playback to the reference pitch.

Table A-8 Pitch Shift Parameters (Continued)


APPENDIX B


To be compatible with a variety of imaging standards, your Avid Xpress system accommodates many file types and formats. For import and export procedures, see “Importing Files” and “Exporting and Exchanging Material” in the Avid Xpress User’s Guide or the Help. These sections contain descriptions, specifications, and notes for importing and exporting specific file formats. A discussion about preserving information in the vertical blanking interval is also included.

To ensure usability and high quality, the files in some formats require preparation before being imported to the Avid Xpress application. Consequently, these sections contain many more notes for import than for export. When you export a file, you choose a file format from the Export Settings dialog box and select options appropriate to the format. For descriptions of the Export Settings dialog box options, see Table 19-7 in the Avid Xpress User’s Guide or the Help.

Graphic (Image) Files

Avid Xpress uses Image Independence® to produce usable files from a large number of graphic formats. Once you have imported a format, you can export it, with the exception of Photo CD™ (Macintosh only); you cannot export a file to a Photo CD.

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The following list briefly describes the supported graphic (image) file formats:

• Alias: Alias PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for use with their animation and visualization software.

• BMP: Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows.

• Chyron: Developed by Chyron Corporation for use with video frame buffers of Chyron character-generator titles.

• Cineon: Developed by Eastman Kodak for use in the Cineon Digital Film System. It is a subset of the SMPTE DPX (Digital Picture Exchange) format.

• Framestore: Developed by NewTek Incorporated for use with its Video Toaster system.

• IFF: Developed by Electronic Arts. IFF (Interchange File Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files.

• JPEG: Developed by the Joint Photographic Experts Group (JPEG). This format is highly suited for image storage and transmission purposes because of its ability to dramatically reduce the storage requirements for a file. JFIF files (JPEG File Interchange Format, the standard for constructing JPEG files) can also be imported and exported.

• OMFI (import only): Developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications.

• PCX: Developed by Zsoft Corporation for use with its PC PaintBrush paint software.

• (Macintosh only) Photo CD (import only): Developed by Kodak for use with the Kodak Photo CD storage medium. You cannot import this format directly into Avid Xpress. However, you can open the file in an application such as Photoshop and use the Save

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As feature to save the file in a format that can be imported, such as TARGA, PICT, or TIFF.

• Photoshop: Developed by Adobe Systems Incorporated for use with its Adobe Photoshop image-editing software.

• PICT: Developed by Apple Computer, Inc. as the format for Macintosh QuickDraw® images.

• Pixar: Developed by Pixar for stored pictures.

• PNG: Developed by the PNG Development Group originally as an alternative to the GIFSM image format. PNG is an acronym for Portable Network Graphics and is pronounced “ping.”

• QRT: Developed on the Amiga personal computer to run on several operating systems. This format is used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer.

• Rendition: Developed by Numerical Design Ltd.

• SGI: Developed by Silicon Graphics, Inc. for use as the standard format on their line of workstations.

• Softimage: Developed by Softimage, Inc. (a division of Avid Technology, Inc.) for use in their Softimage software.

• Sun Raster: Developed by Sun Microsystems, Inc. and supported mainly in Sun applications.

• TARGA: Developed by Truevision, Inc. (now Pinnacle Systems) and originally intended for support of the Truevision image-capturing hardware.

• TIFF: Developed by Aldus Corporation (now Adobe Systems Incorporated) and Microsoft Corporation. TIFF is an acronym for Tag Image File Format.

• Wavefront: Developed by Wavefront Technologies, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for storing pictures in a machine-independent manner.

• XWindows: Developed by the MIT X Consortium and supported by many X Window System applications on workstations and some personal computers.

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• YUV: Defined by Abekas Video Systems (now Accom, Inc.), the YUV format is the raw data sent to the Abekas® machines.

Preparing Graphic Files for Import

Before you import a graphic file to Avid Xpress, you can use third-party image-editing software, such as Adobe Photoshop, to make adjustments such as the following:

• Convert the file to the appropriate size, resolution, and bit depth.

• Crop or color-correct an image.

• Eliminate jagged edges in an image using the image-editing application’s anti-aliasing or high-quality option.

• Add transparency (to some formats) by setting the resolution to 32 bits per pixel to add an alpha channel.

• In some cases, you can convert an image file that does not support an alpha channel to a format that does, in order to add transparency.

n You can import and key the image over video using key effects within the Avid Xpress application. However, importing an image with an existing alpha channel provides the best results.

For specific procedures and file formats, see the documentation that accompanies the image-editing software.

Graphic File Import Specifications

Table B-1 contains graphic file import specifications. The table uses the following terms:

• Full-screen image size: These numbers describe the recommended width and height, in pixels, to create a source image that is displayed full-screen after import. Using these dimensions helps minimize distortion after conversion to the Avid

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application native resolution of 720 x 486 non-square pixels for NTSC or 720 x 576 for PAL. An image with smaller dimensions takes up less of the screen or is distorted, while an image that exceeds these dimensions might appear distorted. Avid recommends an image resolution of 72 pixels per inch.

• Bit depth: These numbers refer to color-depth resolution of the image based on the number of bits per pixel. For example, 2-bit images are displayed in black and white; 8-bit images are displayed in 256 colors; 16-bit images are displayed in thousands of colors; 24-bit images are displayed in millions of colors; and 32-bit images are displayed in millions of colors with an alpha channel.

• Alpha channel: This column states whether or not alpha channel import is supported. An alpha channel determines regions of transparency in the picture when it is keyed over a background.

• NA: This notation means Not Applicable.

Table B-1 Graphic File Import Specifications

Format

Default File Name Exten-sion

RecommendedFull-Screen Size (Pixels)

Bit Depth Support

Alpha ChannelSupport Notes

Alias .als 720 x 486 NTSC720 x 576 PAL

24-bit color,8-bit grayscale

No

BMP .bmp 720 x 486 NTSC720 x 576 PAL

1-, 4-, 8-, and 24-bit No Dots-per-inch (dpi) information is preserved.

Four-bit BMP files saved with run-length-encoded compression are not supported.

Photoshop does not support four-channel BMP files.

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Chyron .chr 720 x 486 NTSC720 x 576 PAL

32-bit Yes

Cineon .cin 720 x 486 NTSC720 x 576 PAL

10-bit (logarithmic) NA Dots-per-inch (dpi) information is preserved.

Framestore .fs 720 x 486 NTSC720 x 576 PAL

24-bit No Pixel aspect information is saved with image data.

When importing files generated from Video Toaster, select the option Force to Fit Screen.

IFF .iff 720 x 486 NTSC720 x 576 PAL

1-bit through 24-bit color;1-bit through 8-bit grayscale;64-color EHB;4096-color HAM;262,144-color HAM8;SHAM;A-HAM;A-RES

1-bit alpha only

Dots-per-inch (dpi) information is preserved.

Pixel aspect information is saved with image data.

JPEG .jpg 720 x 486 NTSC720 x 576 PAL

24-bit color,8-bit grayscale

No

OMFI .omf 720 x 486 NTSC720 x 576 PAL

See “OMFI Files” on page 59.

Table B-1 Graphic File Import Specifications (Continued)

Format



Bit Depth Support


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PCX .pcx 720 x 486 NTSC720 x 576 PAL

Color-mapped and 24-bit color

NA Dots-per-inch (dpi) information is preserved.

PCX files with 1-bit color depth or odd-numbered pixel widths are not supported.

Photo CD (Macintosh only)

720 x 486 NTSC720 x 576 PAL

NA If you are importing Photo CD files, you must install QuickTime software and a compatible QuickTime Photo CD driver.

Most Photo CD files are high resolution; if the photo has a portrait orientation, the image is automatically rotated upon import. Use a paint or image processing program to crop or resize the image before importing.

Photoshop .psd 720 x 486 NTSC720 x 576 PAL

Grayscale, indexed color, RGB, and duotone variations

No Duotone files are loaded as grayscale.

Multichannel (more than four channels) files are not supported.

PICT .pic 720 x 486 NTSC720 x 576 PAL

2-, 4-, 8-, 16-, and 32-bit

Yes Dots-per-inch (dpi) information is preserved.

If no dpi is specified, 72 dpi is used.


Format



Bit Depth Support


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Pixar .pxr 720 x 486 NTSC720 x 576 PAL

24-bit, 36-bit Yes

PNG .png 720 x 486 NTSC720 x 576 PAL

1-bit through 32-bit Yes

QRT .dbw 720 x 486 NTSC720 x 576 PAL

24-bit No

Rendition .6rn 720 x 486 NTSC720 x 576 PAL

32-bit Yes

SGI .rgb 720 x 486 NTSC720 x 576 PAL

8-bit or 16-bit grayscale;8-bit grayscale plus 8-bit alpha channel;24- and 48-bit color;24-bit color plus 8-bit alpha channel;64-bit (16 bits per component)

Yes


Format



Bit Depth Support


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Softimage .pic 720 x 486 NTSC720 x 576 PAL

24-bit plus 8-bit alpha

Yes Pixel aspect information is saved with the image.

c (Windows only) Double-clicking a Softimage file starts the application associated with PICT files because they use the same extension. Avoid double-clicking Softimage files to view them.

Sun Raster .sun 720 x 486 NTSC720 x 576 PAL

1-, 8-, or 24-bit No

TARGA .tga 720 x 486 NTSC720 x 576 PAL

8-, 15-, 16-, or 24-bit; 32-bit

Yes


Format



Bit Depth Support


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TIFF .tif 720 x 486 NTSC720 x 576 PAL

8-bit color-mapped;8-bit or 16-bit grayscale;24- and 48-bit color;24-bit color plus 8-bit alpha;36-bit color plus 12-bit alpha;42-bit color plus 14-bit alpha;48-bit color plus 16-bit alpha

Yes Dots-per-inch (dpi) information is preserved.

The following types of files are not supported:

• Multichannel (greater than four channels) files

• Group 3-compressed (fax) files

• CMYK files with extra channels

• JPEG-compressed files.

Four-channel files from Avid Matador™ are imported as three-channel files.

Wavefront .rla 720 x 486 NTSC720 x 576 PAL

32-bit and 64-bit Yes

XWindows .xwd 720 x 486 NTSC720 x 576 PAL

1-, 2-, 4-, 8-, 16, 24-, and 32-bit

No

YUV .yuv 720 x 486 NTSC720 x 576 PAL

24-bit No Pixel aspect information (based on the video format) is saved with image data.

When importing, select the option Force to Fit Screen.


Format



Bit Depth Support


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Animation Files

n For additional information on resolutions to use when importing graphics from a third-party application, see “Screen Resolution for Imported Graphics and Sequences in the Avid Xpress User’s Guide or the Help.

Animation Files

Avid Xpress supports the following animation file formats:

• (Macintosh only) PICS: Developed by Apple Computer, Inc. A PICS file is a sequence of PICT images. Many applications that handle multiple image formats on the Macintosh platform also support PICS files.

• QuickTime: Developed by Apple Computer, Inc. for multimedia on multiple platforms.

• (Windows only) AVI (Audio Video Interleave): Developed by Microsoft for storing video and audio information as part of its Video for Windows standard.

• ERIMovie: Developed by Elastic Reality, Inc. (now a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms.

Table B-2 lists animation file import specifications. AVI (Windows only) and QuickTime import and export information appears in Table B-3.

n Avid Xpress assumes a 29.97-fps frame rate (25-fps for PAL). Set the appropriate frame rate for the project when you export from a third-party application.

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The information in Table B-3 applies to using QuickTime files with Avid Xpress.

Table B-2 Animation File Import Specifications

Format


Bit Depth Support

Alpha Channel Support Notes

ERIMovie .mov or .eri

24-bit packed and 32-bit raw movie files

Yes QuickTime for Windows also uses the .mov extension. However, QuickTime does not support ERIMovie, and double-clicking an ERIMovie file causes an error.

n There is no player for ERIMovie on Macintosh or Windows platforms; the mview program supports ERIMovie on Silicon Graphics systems.

PICS Animation .pcs 2-, 4-, 8-, 16-, and 32-bit

Yes Only uncompressed data can be stored in PICS format. PICS export does not allow PICS containers larger than 16 MB.

Sequenced image files

Various Yes Name each file in the sequence NameN.ext, with Name identifying the animation, N indicating the file order, and .ext indicating the file type (for example, Image1.PIC, Image2.PIC, Image3.PIC). The numbering can start at any number except 0 or use any numbering format (for example, Image010.PIC, Image012.PIC, or Imagef28.PIC, Imagef29.PIC).

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Animation Files

Table B-3 QuickTime File Import and Export Specifications

QuickTime File Import Specifications Notes

QuickTime files QuickTime import and export requires QuickTime software. For supported versions of QuickTime, see the release notes for your Avid system.

Avid files for QuickTime Use the Avid Codec for QuickTime for importing QuickTime files into an Avid system when you export from Avid Xpress or a third-party application. To use the codec in a third-party application, see ”Using Avid Codecs” in the Avid Xpress User’s Guide or the Help.

Resolution Use Export settings to specify the compression ratio of a QuickTime file for export. For more information, see Table 19-4 in the Avid Xpress User’s Guide or the Help.

The resolution of a QuickTime file is set at export time from a third-party application equipped with the Avid Codec for QuickTime. Avid Xpress imports the file at this resolution. For more information on exporting from a third-party application, see ”Using Avid Codecs” in the Avid Xpress User’s Guide or the Help.

Image Size To import to Avid Xpress:

Two-field resolutions

720 x 486 pixels for NTSC images (non-square pixels)720 x 576 pixels for PAL images (non-square pixels)

Single-field resolutions

352 x 243 pixels for NTSC images (non-square pixels)352 x 288 pixels for PAL images (non-square pixels)

File name extension After you import a QuickTime file, the file maintains the .mov file name extension, which is visible in a bin. The .mov file name extension is the default for export.

QuickTime alpha To save a QuickTime movie with alpha channel in a third-party QuickTime application, use the Avid Codec for QuickTime or a codec that supports a color depth of “millions+.” The Avid Xpress application does not support matte key or alpha channel for QuickTime export; it does import alpha channel when one exists.

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The information in Table B-4 applies to using AVI files with Avid Xpress.

Table B-4 AVI File Import and Export Specifications (Windows Only)

AVI File Import and Export Specifications Notes

Avid Codec for AVI You can import and export Avid AVI files using standard AVI conversion or using the Avid Codec for AVI.

Use the Avid Codec for AVI for importing AVI files into an Avid system when you export from Avid Xpress or a third-party application. Files created by the codec are readable within applications also equipped with the codec. For more information on using the codec and making it available to Avid AVI-compatible applications, see ”Using the Avid Codec for AVI (Windows Only)” in the Avid Xpress User’s Guide or the Help.

Resolution Use Export settings to specify the compression ratio of an AVI file for export. For more information, see Table 19-4 ”Using Avid Codecs” in the Avid Xpress User’s Guide or the Help.

The resolution of an AVI file is set at export time from a third-party application equipped with the Avid Codec for AVI. For more information on exporting from a third-party application, see ”Using Avid Codecs” in the Avid Xpress User’s Guide or the Help.

File size Avid AVI files can be quite large, especially at high video resolutions. They require adequate storage and transfer capabilities.

File name extension After you import an AVI file, the file maintains the .avi file name extension, which is visible in a bin. The .avi file name extension is the default for export.

AVI alpha Avid Xpress does not support alpha channel for AVI import or export.

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Audio File Formats

Audio File Formats

The following list briefly describes the supported audio file formats:

• Audio Interchange File Format (AIFF-C): Format for audio files developed by Apple Computer, Inc.

• (Macintosh only) Sound Designer II (SD2): Native format of the Sound Designer II application developed by Digidesign, Inc., a division of Avid Technology, Inc.

• WAVE Format (WAV): Format for audio files developed jointly by Microsoft and IBM. WAV files are playable by nearly all Windows applications that support sound.

n You can digitize, render, and edit audio in SD2 (Macintosh only), AIFF-C or WAV file formats.

OMFI Files

OMF Interchange (OMFI) was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application.

The information in Table B-5 applies to importing OMFI files.

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Table B-5 OMFI File Import Specifications

OMFI FileImport Specifications Notes

Resolution For optimum import speed and quality, export or render the file from the source application at the resolution you want, and then import the file into the Avid Xpress application at that resolution. To do this, click Options in the Select Files to Import dialog box, and then select Use Source from the OMFI Resolution area of the Import Settings dialog box. The system disregards the resolution setting in the Select Files to Import dialog box and automatically imports at the file’s existing resolution.

Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps for NTSC, 25 fps for PAL). If the edit rates do not match, you receive an error message.

n Avid Xpress cannot import an OMFI audio file that was produced with an edit rate equal to the audio sample rate. Trying to import such a file results in the error message Unrecognized file type. Create the source file with an edit rate at the project edit rate, most likely 29.97.

OMFI version Avid Xpress recognizes and supports OMFI 1.0 composition and media files and OMFI 2.0 composition files.

The following OMFI 2.0 effects are supported generally:

• Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black

• Audio effects: pan and volume, audio dissolves

Other effects can be imported from other Avid applications.

Audio sample rate Audio media is imported at the sample rate that is set on the Avid Xpress system.

n Avid Xpress cannot import an OMFI audio file that was produced with an edit rate equal to the audio sample rate. Trying to import such a file results in the error message Unrecognized file type. Set the edit rate to the project edit rate, most likely 29.97.

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OMFI Files

Avid MCXpress™ for Windows NT files

If you are importing OMFI compositions from Avid MCXpress for Windows NT®, you might receive an error if the sequence includes video or audio effects. If this happens, create a cuts-only version of the sequence in Avid MCXpress and export it again. You cannot import video media from Avid MCXpress for Windows NT; if you import a composition, you must redigitize the media.

File transfer If you are transferring an OMFI file over a network, transfer it as a binary file.

Reimporting Avidmedia files

If you import OMFI files containing media that you exported from the same Avid Xpress system, you need to delete the original media. Otherwise, the new media does not overwrite the original media. To learn how to locate the original media for a sequence, see ”Relinking Media Files in the Avid Xpress User’s Guide or the Help.

Table B-5 OMFI File Import Specifications (Continued)

OMFI FileImport Specifications Notes

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Field Ordering in Graphic Imports and Exports

Graphic images are composed of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements:

• Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.

• Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines are numbered starting from 1) occurs temporally before the lower field, as shown in the following illustration. This arrangement can be termed “upper field first” (or “lower field second”).

Field 1&

Field 2

Time

f 1 f 2

Frame Unit

Dashed lines = field 1Solid lines = field 2

Field 1 Field 2 Time

f 1 f 2

Frame Unit

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Field Ordering in Graphic Imports and Exports

• Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally first, as shown in the following illustration. This arrangement is termed “lower field first” (or “upper field second”).

Preventing a Spatial Field Mismatch on Import

Table B-6 shows the proper spatial field position for each of the common video formats in Avid systems.

Field 1 Field 2 Time

f 1 f 2

Frame Unit

Table B-6 Recommended Field Settings for Two-Field Import and Export

Avid Video FormatImport/ExportFrame Size

Upper/Lower Field Spatial Setting

Field Setting for Import and Exporta

AVR NTSC 720 x 243 x 2 Upper field is first. Odd Field

AVR PAL 720 x 288 x 2 Upper field is first. Odd Field

Meridien NTSC 720 x 243 x 2 Lower field is first. Even Field

Meridien PAL 720 x 288 x 2 Upper field is first. Odd Field

a. Odd Field or Even Field specifies whether the temporally first field in the frame has the odd-numbered or even-numbered lines, starting from 1.

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Graphics utilities, such as Adobe After Effects, permit selection of either spatial relation for the fields when rendering a sequence of interlaced fields. If the rendering is performed as shown in Table B-6, then the import is correct.

If the spatial positions of the two fields are reversed (for example, the upper field should be a lower field), the import cannot be done without correcting the spatial relationship. In this spatial mismatch situation, the Avid system converts the upper field to a lower field by deleting the top line of the upper field and replicating the bottom line. The field is thus converted to a lower field relative to the other field. The import operation can now proceed.

Spatial Field Relationship on Export

The default export operation is automatically carried out as shown in Table B-6. The fields are properly interleaved in the export frames (one frame per file).

If an import comes in mismatched and the dropping of the top line and repeating of the bottom line is performed, you might choose to have the export operation performed to prevent a shift up or down by a line. The Export Settings dialog box permits you to select the spatial arrangement that is the opposite of what is otherwise recommended. This option should rarely be used.

24p and 25p Import and Export

The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form.

Field Dominance

Editing in Avid systems is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the

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Preserving Information in the Vertical Blanking Interval

frame unit is defined. Defining the dominant field for the system defines the “frameness” of the video stream, as shown in the following figure.

Avid editing systems all use field 1 as the dominant field. This means that the first field temporally in the edit frame is always field 1. Field 2 is always the second frame in the edit frame. Cuts always precede field 1.

Fields in Video

In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the details of the video signal, regardless of whether the signal is analog or digital (SDI). This means that working around a field spatial mismatch should be done by correcting the spatial relation between the two fields rather than the temporal position. In some cases, it is possible to modify the field dominance of the input image files, but this is cumbersome, results in the loss of two fields, and is more difficult to carry out than either the workaround provided in Avid systems or rerendering properly to the other spatial relationship.


You can choose whether or not to preserve 5 lines above each field in NTSC and 8 lines above each field for PAL. These lines can be used to store additional encoded information such as closed captioning,

f2 f1 f1

Field-1Dominant

Frame

f1 f1

Field-2Dominant

Frame

f1f2 f2 f2 f2(Time)

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edgecodes or key numbers for film projects, or various interactive or enhanced TV codes. This section describes when it is useful to preserve the information and highlights some compromises that you might have to make when preserving these lines.

n In the majority of cases, you should not preserve these extra lines when you digitize. Only do so if you have a special need for the information.

Line Ranges

Avid Xpress is capable of digitizing 248 lines per field in NTSC or 296 lines per field in PAL. For NTSC, only 243 of these lines are in RP-187’s production aperture. For PAL, the number is 288. The additional lines in each field are located immediately above the active part of each of the two fields. These lines (5 per field in NTSC and 8 per field in PAL) can be used for carrying additional data.

The following table lists the extra vertical blanking lines for both NTSC and PAL:

Preserving Vertical Blanking Information

By default, Avid systems blank these extra lines by overwriting the area with black. This blanking is done because certain effects and color correction operations can act on these black lines to produce color or gray-tone levels that would be unacceptable for certain end uses. In

Field Video Raster Extra Line Number Ranges

NTSC (5 Lines/Field) PAL (8 Lines/Field)

Field 1 16–20 15–22

Field 2 278–282 328–335

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some applications, the ability to maintain data on these lines is so important that you might be willing to either avoid using these effects, or work around the result. For more information, see “Potential Problems with Preserving Vertical Blanking Information” on page 70.

You can instruct the Avid system to preserve any information on these lines that originated from an upstream source. You can later erase that information if necessary.

You might want to preserve the following vertical blanking information:

• Edgecode or key number information for a film project

You might want to preserve edgecode information to easily identify the source film reel for a clip. In this case, the edgecode information would have been originally inserted during the telecine process.

• Closed-captioning information

If you are repurposing a finished sequence for another market, you might want to retain closed-captioning codes that were added after the tape was output from the Avid system. This would allow you to perform some basic editing on the redigitized sequence and not have to reapply the closed-captioning codes afterward.

n The Avid system does not interpret the vertical blanking information (that is, encoded data). It treats the coded values simply as pixels in the video frame. If you want to read the vertical blanking information during editing, you must connect an external vertical blanking information reader to the Avid system.

c If you preserve vertical blanking information when you digitize, compressed video (other than 1:1) loses some quality. See “Potential Problems with Preserving Vertical Blanking Information” on page 70.

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To preserve vertical blanking information when you digitize:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click General.

The General Settings dialog box appears.

3. Select “Preserve Specific Vertical Blanking Lines.”

4. Click OK.

If you want to keep the vertical blanking information when you digitize and remove it when you create a digital cut, select the “Preserve Specific Vertical Blanking Lines” option before digitizing and deselect it before you perform a digital cut.

Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information

A partial wipe can be used to overlay material containing vertical blanking information on lines from one frame over the same lines of another frame. The procedure described in this section is necessary only under the following circumstances:

• If you are working on projects developed from a film source. This includes projects based on long-form, episodic, or entertainment material.

• If you need to keep edgecodes or key numbers from the original film source as part of the finished master.

In these scenarios, the majority of the editing is performed offline at a low resolution and then handed to an editor to be finished at a higher resolution.

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To wipe in lines from a duplicated sequence:

1. Perform the offline edits at a low resolution as usual.

2. ReRedigitizethe sequence at a higher resolution. Make sure you instruct the Avid system to preserve vertical blanking information as described in “Preserving Vertical Blanking Information” on page 66.

3. Perform the online reformat editing, including operations such as adjusting trim, performing scratch removal, and performing color correction. This creates a revised master.

4. Duplicate the revised master and remove effects that might modify or remove the vertical blanking information. This basically reduces the duplicate sequence to a series of straight cuts without effects. See “Effects Can Modify the Vertical Blanking Information” on page 71.

5. Render all effects on the revised master and save your sequence.

6. Disable the 3D effects hardware using the following procedure:

a. Exit the Avid editing application.

b. Restart the application while pressing and holding the F and X keys on the keyboard.

The system displays a dialog box that allows you to enable or disable 3D effects for that particular editing session.

c. Click Disabled.

7. Edit the duplicated and modified sequence onto the highest track or create a track that rides above all other tracks on the revised master.

8. Apply a vertical wipe effect to the duplicated sequence.

9. Enter Effect mode and wipe everything except the top scan lines of the highest track.

10. Output the sequence as a standard digital cut.

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n When vertical blanking information is present on a frame, it is visible along the top of the frame on the Source pop-up and Composer monitors.

n Avid recommends that you disable 3D effects when creating a digital cut on a system with 3D hardware. If you choose to keep 3D effects enabled, there is no guarantee of consistent results.

Potential Problems with Preserving Vertical Blanking Information

Several problems can occur if you preserve vertical blanking information when you digitize footage:

• Compressed video in the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines. See “Preserving Vertical Blanking Information Can Affect Compressed Video Quality” on page 70.

• Effects can modify the color or brightness of the vertical blanking information to make it unreadable by a vertical blanking information reader, or make the signal on those lines unacceptable for certain end uses. See “Effects Can Modify the Vertical Blanking Information” on page 71.

• If you use different formats for digitizing and output (for example, SDI input and NTSC analog output), there can be conflicts with respect to black levels and NTSC’s setup. See “Effects Can Modify the Vertical Blanking Information” on page 71.

Preserving Vertical Blanking Information Can Affect Compressed Video Quality

For resolutions other than 1:1, preserving vertical blanking information when you digitize can affect the video quality in the rest of the frame. For example, depending on the compression ratio, a

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video frame might look more blocky with vertical blanking information included.

The Avid system performs the following operations when digitizing a frame:

1. It captures the entire frame (including the 5 or 8 extra lines per field) as an uncompressed frame.

2. It blanks these extra lines if necessary:

- If vertical blanking information should not be preserved (default), the Avid system fills the vertical blanking interval with video black (R=G=B=16).

- If vertical blanking information should be preserved, the Avid system does not modify the extra lines that were captured during the digitize operation.

3. It compresses the frame if compression is selected.

If the frame contains vertical blanking information, the picture quality of the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines. If you want to preserve vertical blanking information, either use 1:1 resolution or experiment by digitizing with vertical blanking on and off to make sure that the picture quality is acceptable for your use.

Depending on the compression ratio, the vertical blanking information itself may be distorted. Either use 1:1 compression or experiment with different compression ratios to make sure the vertical blanking information is not unacceptably distorted by the compression.

Effects Can Modify the Vertical Blanking Information

Since the vertical blanking information is part of the video frame, any effect that modifies the top portion of a frame might affect the vertical blanking information and make it unreadable by a vertical blanking

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information reader. For example, the following effects can modify the vertical blanking information on a frame:

• Dissolves or Flips and Flops

• Any segment effects that change the size or position of the frame

When 3D effects are enabled, the system automatically blanks the vertical blanking information on a sequence regardless of whether 3D effects are present. To work around this problem, you can render your 3D effects and wipe in the vertical blanking information from the original clip as described in “Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information” on page 68. In this case you would need to disable the 3D effects hardware before creating your final digital cut.

You can also use the wipe technique to replace vertical blanking information that was modified by an effect such as a color correction or dissolve.

Cross-Format Conflicts with Respect to Black Levels

When digitizing in SDI and playing back out in SDI, the blanking levels on the vertical blanking lines are proper. However, if digitizing is done in an NTSC analog format with setup present, and playing out is done in SDI, then the fact that SDI has no setup while the analog format does can cause the vertical blanking information black level to be below blanking.

APPENDIX C


This section explains the Avid log file format. The Avid Xpress application can import logs that meet Avid log specifications. These logs must follow the formatting requirements described here.

• Log Formats

• Understanding Avid Log Specifications

• Describing an Avid Log File

• Sample Avid Log

Log Formats

Log formats with the file name extension .ale can be imported directly into the Avid Xpress application. You can use Avid Log Exchange to adapt other log formats so that they meet Avid log specifications.

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Understanding Avid Log Specifications

This section contains tables that show how to enter headings and data to create an Avid log. The tables use the following conventions:

• <A supported value> is surrounded by angled brackets. <Alternative supported values> appear underneath, also in angled brackets. You must enter exactly one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that value, type 29.97.

• <A variable data value> is also surrounded by angled brackets. For example, <time code> is the data entry for the Start heading; type the correct timecode, in the format 08:19:10:00 (or 08;19;10;00, for drop-frame timecode).

• [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by brackets.

• The fifth column contains the word “Required” if the heading must be included in the log.

• The final column contains notes about the heading or values.

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Describing an Avid Log File

The following is a sample heading from the format table:

n FPS is a required heading.

To make a log entry for the FPS heading:

1. Type FPS.

2. Press the Tab key.

3. Type one of the supported values (25 or 29.97).

4. Press Enter (Windows) or Return (Macintosh).


An Avid log is composed of three or four sections, in this order:

• Global headings

• Standard column headings

• Custom column headings (optional)

• Data headings

The tables in this section adhere to this order. When you create an Avid log, you must follow the order precisely.

FPS [Tab] <25>

<29.97> [Enter] (Windows) or [Return] (Macintosh)

Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.

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You might choose not to display a defined heading (including a required heading), except for Name. Name must always be displayed.

The maximum number of combined global, standard, and custom headings in a log file is 64.

Global Headings

The global headings must come first in an Avid log file, and you must enter one value for each heading.

Table C-1 shows the format for the global headings and the supported values for each heading.

Table C-1 Avid Log Global Headings

GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64.

Heading [Enter] (Windows) or [Return] (Macintosh)

Required This marks the start of the global headings.

FIELD_DELIM [Tab] <TABS> [Enter] (Windows) or [Return] (Macintosh)

Required Enter TABS to show that the file is Tab delimited.

VIDEO_FORMAT [Tab] <NTSC>

<PAL> [Enter] (Windows) or [Return] (Macintosh)

Required

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AUDIO_FORMAT [Tab] <22 kHz>

<24 kHz>

<44.1 kHz>

<48 kHz> [Enter] (Windows) or [Return] (Macintosh)

Audio sample rate for digitizing. You can override this for individual clips.

TAPE [Tab] <Tape Name>

[Enter] (Windows) or [Return] (Macintosh)

Required Name of the videotape reel you are logging. If you omit this heading, the file name becomes the global tape name. You can override this for individual clips.

FPS [Tab] <25>

<29.97> [Enter] (Windows) or [Return] (Macintosh)

Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.


Press Enter (Windows) or Return (Macintosh) a second time after entering the FPS value. This marks the end of the global headings.

Table C-1 Avid Log Global Headings (Continued)

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Column Headings

The standard column headings come after the global headings in the Avid log file.

n You do not enter the data for a column heading along with the heading. You enter the data later, in a separate data section.

You must include the five required standard column headings; they are listed in the top five rows of Table C-2.

You can create your own custom column headings. Enter them after the standard headings (see the last heading in Table C-2). To create a custom heading, substitute the custom heading name for <Your_heading>. You can create several custom headings, as long as the total number of global, standard, and custom headings does not exceed 64.

Table C-2 Avid Log Column Headings

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note that the first five headings are required. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64.

Column [Enter] (Windows) or [Return] (Macintosh)

Required Indicates the start of the column headings.

Name [Tab] Required Heading for clip name.

Tracks [Tab] Required Heading for tracks you select for digitizing.

Start [Tab] Required Heading for video timecode of sync point — the timecode IN for clip (from address track of video).

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End [Tab] Required Heading for timecode OUT for clip (from address track of video).

AUDIO_FORMAT [Tab] Heading for audio sample rate for digitizing the individual clip. If omitted, the global entry for AUDIO_FORMAT applies.

Auxiliary TC1 [Tab] Heading for auxiliary timecode.





CFPS [Tab] Heading for video capture rate for digitizing the individual clip. If omitted, the global entry applies.

Color [Tab] Heading for color.

Creation Date [Tab] Heading for date of clip creation.

Disk [Tab] Heading for target disk ID.

Duration [Tab] Heading for timecode Start to timecode End, the length of the video clip.

FPS [Tab] Heading for video frames per second rate for digitizing the individual clip (NTSC = 29.97, PAL = 25). If omitted, the global entry applies.

IN-OUT [Tab] Heading for duration between clip’s IN point and OUT point (if present).

Mark IN [Tab] Heading for timecode of clip’s IN point (if present).

Table C-2 Avid Log Column Headings (Continued)

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Mark OUT [Tab] Heading for timecode of clip’s OUT point (if present).

Offline [Tab] Heading for tracks currently without digitized media files online.

Tape [Tab] Heading for source tape ID for the individual clip. If omitted, the global entry applies.

Video [Tab] Heading for video resolution.

Labroll [Tab] Heading for lab roll ID for clip. Lab rolls are a combination of several camera rolls.

Camroll [Tab] Heading for camera roll ID for clip.

Sound TC [Tab] Heading for Nagra time code, Aaton code, Arri® code, and so on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps.

Soundroll [Tab] Heading for sound roll ID for clip.

Scene [Tab] Heading for scene ID for clip.

Take [Tab] Heading for take ID for clip.

DESCRIPT [Tab] Heading for description of clip.

COMMENTS [Tab] Heading for comments about clip.

<Your_heading> [Tab] Press the Tab key between each heading. Do not press the Tab key after the last heading. Add any category of information you want. Add as many headings as you want, but do not use more than a total of 64 global and column headings in the file.


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Data Headings

Some data, such as Creation Date, is gathered by the system. Table C-3 does not include entries for such data.

The data headings come after the Custom column headings. Table C-3 shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter] (Windows) or [Return] (Macintosh).

You must enter data so that it aligns with its column heading. For example, the data that goes with the ninth column heading must be the ninth data entry.

Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line.



Press Enter (Windows) or Return (Macintosh) twice (not Tab) after the last heading.


Table C-3 Avid Log Data Headings

DATA HEADINGS: The word Data marks the start of the data for each clip.

Data [Enter] (Windows) or [Return] (Macintosh)

Required Enter the word Data to mark the start of the logged clip entries.

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press [Enter] (Windows) or [Return] (Macintosh) at the end of each line. Note that Avid Xpress supports up to four audio tracks in imported and exported logs.

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<clip name> [Tab] Required Under Name heading. Enter a clip identifier (32 characters maximum).

<V>

<VA1>

<VA2>

<VA1A2>

<A1A2>

<A1>

<A2> [Tab] Required Under Tracks heading. Enter the tracks you want digitized for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound.

<32 kHz>

<24 kHz>

<44.1 kHz>

<48 kHz> [Tab] Under AUDIO_FORMAT heading. Enter the audiosample rate for this clip only. If omitted, global entry applies.

<Source tape ID> [Tab] Under Tape heading. Enter the source videotape ID for this clip only.

<25>

<29.97> [Tab] Under FPS heading. Enter the video capture rate for this clip only. If omitted, global entry applies. Use 25 fps for PAL video or 29.97 fps for NTSC video.

Table C-3 Avid Log Data Headings (Continued)

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<time code> [Tab] Required Under Start heading. Enter the video timecode for sync point, the first frame in clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02).

<time code> [Tab] Required Under End heading. Enter the video timecode for the last frame of the clip.

<time code> [Tab] Under Duration heading. Enter the length of the video clip, Start to End.

<lab roll ID> [Tab] Under Labroll heading. Identify the lab roll using letters and numbers.

<camera roll ID> [Tab] Under Camroll heading. Identify the camera roll using letters and numbers.

<time code> [Tab] Under Auxiliary TC heading. Enter a Nagra timecode, Aaton code, Arri code, and so on, for the sync point. Syncs with the Start timecode.

<Sound roll ID> [Tab] Under Soundroll heading. Identify the sound roll using letters and numbers.

<scene ID> [Tab] Under Scene heading. Identify the scene using letters and numbers.

<take ID> [Tab] Under Take heading. Identify the take using letters and numbers.

<clip description> [Tab] Under DESCRIPT heading. Describe the clip.

<clip comments> [Tab] Under COMMENTS heading. Comment on the clip.

<information> [Tab] Press the Tab key between each heading. Do not press the Tab key after last heading. Under the headings you created yourself, type the appropriate information.


Press Enter (Windows) or Return (Macintosh) (not Tab) after the last entry for the clip.


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Sample Avid Log

This section contains a sample Avid log for an NTSC video project. Formatting keys, such as [Tab] and [Enter] (Windows) or [Return] (Macintosh), are shown in brackets.

Enter an additional line of data for each remaining clip.


Heading [Enter] (Windows) or [Return] (Macintosh)

FIELD_DELIM [Tab] TABS [Enter] (Windows) or [Return] (Macintosh)

VIDEO_FORMAT [Tab] NTSC [Enter] (Windows) or [Return] (Macintosh)

AUDIO_FORMAT [Tab] 44.1 kHz [Enter] (Windows) or [Return] (Macintosh)

TAPE [Tab] 001 [Enter] (Windows) or [Return] (Macintosh)


Column [Enter] (Windows) or [Return] (Macintosh)

Name [Tab] Tracks [Tab] Start [Tab] End [Tab]


Data [Enter] (Windows) or [Return] (Macintosh)

CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter] (Windows) or [Return] (Macintosh)

CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter] (Windows) or [Return] (Macintosh)

APPENDIX D


For information on external faders and mixers and how to connect them to your Avid Xpress system, see the following sections:

• Supported Faders

• Using the FaderMaster Pro and MCS-3000X

• Using the Yamaha 01V Digital Mixing Console

Supported Faders

Your Avid Xpress system supports the following external faders and mixer for Automation Gain recording:

• JL Cooper FaderMaster Pro MIDI Automation controller. This low-cost unit allows you to make fine adjustments to audio clips. This unit does not support “flying faders,” which means that the faders don’t move automatically as you record audio gain information and they must be manually zeroed prior to recording.

• JL Cooper MCS-3000X MIDI Automation controller. This unit supports touch-sensitive flying faders. While you are recording gain, the faders automatically move. You can grab a fader and

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move it during an automation gain recording to quickly punch in a small change in volume.

• Yamaha 01V Digital Mixing Console. This unit is a full-feature digital mixer that also supports audio gain automation with flying faders. The faders are not touch sensitive (see Table D-1).

n An external fader is optional. It is not required to perform Audio Gain Automation recording.

Table D-1 compares the three units.

Table D-1 Fader Features

Feature FaderMaster Pro MCS-3000X Yamaha 01V

Record gain Yes Yes Yes

Flying faders No Yes Yes

Touch-sensitive faders No Yes No

Solo/Mute Yes Yes Yesa

Supports audio mixing No No Yes

Snap mode No Yes No

Number of steps of accuracy between 0 and max

127 127 551

a. Solo works only if you don’t use the unit for audio mixing.

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Using the FaderMaster Pro and MCS-3000X

The following provide additional information on touch sensitivity and snap mode:

• Touch sensitivity: As soon as you touch a moving fader on the MCS-3000X, the unit passes control of the fader to you. See “MCS-3000X Buttons” on page 88.

On the Yamaha 01V, you must press the fader’s On button to gain control of a moving fader. For a description of how to control the faders on the Yamaha 01V, see “Operational Notes for the Yamaha 01V Mixer” on page 95.

• Snap mode: In Snap mode, the fader automatically stops recording as soon as you release the fader. In addition, the fader continues to display the volume information in the Timeline. See “Using the Snap Mode Feature on the MCS-3000X Fader” on page 90.

For more information on using these external fader boxes, see ”Recording Automation Gain Information” in the Avid Xpress User’s Guide or the Help.


The setup procedure is similar for both the FaderMaster Pro and the MCS-3000X. To connect and initialize the faders, see the setup guide for your Avid Xpress system.

c For the MCS-3000X to recognize the Avid Xpress application software, you must set the rear DIP switch #4 down (ON).

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Testing the External Fader

To test the external fader:

1. Choose Automation Gain from the Tools menu.

The Automation Gain tool opens.

2. Choose Calibrate Hardware Sliders from the Automation Gain tool Fast menu.

The box changes to blue.

3. Check the color of the position indicator lights.

If the external fader box is connected, at least one of the lights should be on (blue). If the external fader box is not connected properly, the lights will probably appear gray.

4. Move the faders on the external fader box.

The corresponding fader should move in the Automation Gain tool.

n The external fader is optional. It is not required to perform Audio Gain Automation recording.

MCS-3000X Buttons

There are four rows of unlabeled buttons at the top of the MCS-3000X fader.

Position indicator lights

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The following illustration labels each row of buttons:

• Select buttons: The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline.

If the track is in Snap mode, as soon as you touch the fader, the Select button light turns on to indicate that you are recording. When you release the fader, the Select button light turns off, and the fader begins moving with the Timeline volume.

When the track is not in Snap mode, as soon as you touch the fader, the Select button light turns on to indicate that you are recording. However, when you release the fader, the Select button light stays on, indicating that you are still recording. To stop recording, press the Select button.

• Snap Mode buttons: For information on these buttons, see “Using the Snap Mode Feature on the MCS-3000X Fader” on page 90.

• Solo buttons: These buttons solo the selected tracks.

• Mute buttons: These buttons mute the selected tracks.

Select

Snap Mode

Solo

Mute

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Using the Snap Mode Feature on the MCS-3000X Fader

For each track, the MCS-3000X has a Snap Mode button that allows you to easily punch in and punch out small sections of automation gain information. The second row from the top contains the Snap Mode buttons. For more information on button location, see “MCS-3000X Buttons” on page 88.

In Snap mode, the fader automatically stops recording as soon as you release it. In addition, the fader continues to display the volume information in the Timeline.

To use Snap mode:

1. Click the Snap Mode button for the appropriate tracks on the external fader. You can click the button before or during a recording session.

2. Mark your IN and OUT points, and click the Record button.

The system begins playing the section, and the faders move accordingly.

3. When you want to make an adjustment, move the fader to change the volume.

The system immediately begins recording.

4. When you have finished adjusting the section, release the fader.

The system stops recording (but keeps playing) and the fader snaps back to the level that is in the Timeline.

When the track is not in Snap mode, the system continues to record audio volume information after you release the fader. Press the Select button (top row) to stop recording and snap the button back to its current Timeline position.

The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline.

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Using the Yamaha 01V Digital Mixing Console

Ganging Faders on the FaderMaster Pro Fader

You can use the features available on the FaderMaster Pro to gang faders. When the faders for two tracks are ganged, both faders send identical volume messages for both tracks when you move one fader. This can be useful when you have stereo tracks.

The ganged faders do not move together physically. For example, if you have two stereo tracks and want to gang faders 1 and 2 to respond to movement on fader 1:

1. On the FaderMaster Pro, press the PROG button to light the Fader LED.

2. Press the Group button, and move fader 2 until 1 is displayed.

3. Press the PROG button to turn off the Fader LED.

Now, when you move fader 1, the Avid Xpress system receives identical volume information for fader 2.

To turn off the group feature:

t Repeat steps 1 to 3, but assign fader 2 to 0.

For additional information on ganging the faders, see the FaderMaster Pro user’s manual.

n You cannot gang faders on the MCS-3000X or Yamaha 01V fader boxes.


The Avid Xpress system supports the Yamaha 01V digital mixing console. The Yamaha 01V is a fully functional digital audio mixer that also supports automation gain recording. The following illustration shows 01V controls. The exploded view shows the buttons that you use to operate the unit for automation gain recording. For a

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comparison with other external faders, see ”Adjusting the Volume of Individual Keyframes” in the Avid Xpress User’s Guide or the Help.

Setting Up the Yamaha 01V Digital Mixer

This section describes how to set up the Yamaha 01V digital mixer. For instructions on connecting the Yamaha 01V to your Avid Xpress system, see the setup guide for your Avid Xpress system.

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1 2 3 4 5 6 7 8 9 10 11 12 13/14 15/16 STEREO17 18 19 20 21 22 23 24

CURSOR

ENTER

UTILITY MIDI

ON

SETUP VIEW

DYNAMICS EQ/ATT O/DELAYPAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION 1/0 REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

NONE

MASTER

1 2 3 4 5 6 7 8 9 10 11 12 13/14 15/16

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT O/DELAYPAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION 1/0 REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

HOME

PHANTOM +48VINPUT (BAL)

OFF ONPHANTOM +48V OFF

L STEREO RHIGH

HI-MID

LO-MID

LOW

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Initializing the Yamaha 01V

This section describes how to initialize the Yamaha 01V digital mixer. These steps should have to be done only once and repeated only if the mixer’s operational parameters have been manually changed to something that is incompatible with the Avid Xpress system.

You should perform these steps when you first set up the unit. You might also find it necessary to perform the steps if the unit stops working correctly with your Avid Xpress system. Because you can perform a wide variety of mixing tasks with the Yamaha 01V, some changes you make to the unit might cause it to stop working with the Avid Xpress system. If this happens, use these steps to reinitialize the mixer to the factory defaults.

To return to factory defaults:

1. Power on the mixer while pressing and holding the red Memory button.

The LCD panel displays a message asking if you want to reset the system.

2. Answer yes by pressing the +1/inc button.

Configuring the Mixer

After you initialize the mixer, you must configure it to receive and transmit MIDI messages.

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1 2 3 4 5 6 7 8 9 10 11 12 13/14 15/16 STEREO17 18 19 20 21 22 23 24

CURSOR

ENTER

MASTER

Memory button

+1/inc button

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To configure the mixer to recognize MIDI control messages:

1. Press the MIDI button.

The system displays the first pane of the MIDI Options window.

2. Set the following controls on the MIDI Options window:

t Set Control Change TX to ON.

t Set Control Change RX to ON.

Starting Avid Xpress with the Yamaha 01V Attached

When you start your Avid Xpress system with the Yamaha 01V attached, you can use the faders for mixing audio channels or for performing automation gain recording. You use the Home and Option I/O buttons to switch between the two modes. This section describes how the Yamaha 01V utilizes the faders.

The Yamaha 01V digital mixer allows you to work with 24 input channels as follows:

• 12 mono input channels (1 through 12)

• 2 stereo input channels (13/14 and 15/16)

• 8 digital inputs (17 through 24)

Channels 17 through 24 use the same physical controls as channels 1 through 8 as shown in the following illustration. You use the Home and Option I/O buttons to switch the assignments from 1 through 8 to 17 through 24.

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When you start the Avid Xpress system, it automatically configures the Yamaha 01V to use channels 17 through 24 for automation gain control. Use the Home and Option I/O buttons to switch between audio mixing (Home) and audio gain recording (Option I/O).

n The Yamaha 01V supports a digital I/O option that uses channels 17 through 24. If you intend to use the digital I/O option, you should move these to channels 1 through 8 using the SWAP mode. You can access SWAP mode from pane 5 of the Option I/O screen. For more information, see the Yamaha documentation.

Operational Notes for the Yamaha 01V Mixer

To access the audio mix (channels 1 through 16):

t Press the Home button. When the Home button is lit, you can use the faders for audio mixing.

For information on audio mixing, see the Yamaha 01V documentation.

You must be in Option I/O mode to record gains in the Automation Gain tool.

To record automation gain:

1. Press the Option I/O button.

The faders move into the correct position for recording automation gain.

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1 2 3 4 5 6 7 8 9 10 11 12 13/14 15/16 STEREO17 18 19 20 21 22 23 24

CURSOR

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MASTER

Channels 1–12 (mono)Channels 13–16(two stereo inputs)Channels 17–24

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2. When recording automation gain, use the On button on each channel to switch from Timeline control of audio gain to user control of audio gain.

You can punch in and out of gain recording as many times as you want.

The Yamaha 01V faders are not touch sensitive in the same way as the JL Cooper MCS-3000X MIDI Automation controller. As soon as you touch a moving fader on the MCS-3000X, the unit passes control of the fader to you. On the Yamaha 01V, you must press the fader’s On button to gain control of a moving fader.

n If a fader is not moving, you can move the fader to take control without pressing the On button.

c If you attempt to catch a moving fader, the mixer might fight you for control. Press the On button to take control of the fader.

Soloing Avid Xpress System Channels

If you are not using the Yamaha 01V to mix the audio outputs of the Avid Xpress system, you can use the Solo button on the Yamaha 01V to solo audio channels during automation gain recording.

To enable Solo mode:

1. Press the MIDI button.

The mixer displays pane 1 of the MIDI Options window in the LCD display.

2. Set the following controls on the MIDI Options window:

t Set Param Change TX to ON.

t Set Param Change RX to ON.

However, if this mode is on when you are mixing audio, it interferes with the normal operation of the mixing board functions. If the

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Avid Xpress system audio outputs are connected to the 01V, it is best to leave Param Change TX and Param Change RX set to OFF.

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APPENDIX E


The JL Cooper Media Control Station3 (MCS3) provides an alternative to using the keyboard and mouse to edit footage. While you need to use the keyboard and mouse for naming and digitizing functions, you can program and use the MCS3 for navigation and frequently used editing functions.

Your Avid system documentation explains the editing process in detail. For hardware installation instructions, see the setup guide for your Avid Xpress system. This appendix explains how to configure your MCS3 within the Avid system application. It also explains how to use the MCS3 and troubleshoot problems.

This appendix includes the following sections:

• Overview of the MCS3 Controls

• Opening the MCS-3 Controller Settings Dialog Box

• Mapping the MCS3 Buttons

• Customizing Jog and Shuttle Speeds

• Operating the Jog/Shuttle Wheel

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• Editing Footage with the MCS3 Controller

• Creating Multiple Controller Settings

• Troubleshooting

Overview of the MCS3 Controls

The MCS3 controls are as follows:

• Function buttons — Map the Avid system Command palette functions to buttons on the MCS3.

• Jog/Shuttle wheel — Press this wheel to switch between Jog and Shuttle modes. In Jog mode, turn this wheel to the right to increase viewing speed. In Shuttle mode, turn this wheel to the right to fast forward and to the left to rewind.

• Navigation buttons — Use the predefined navigation buttons to rewind, fast forward, stop, and play footage.

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Opening the MCS-3 Controller Settings Dialog Box

Opening the MCS-3 Controller Settings Dialog Box

Before you can map MCS3 buttons to the Command palette, you must open the Controller Settings dialog box.

To open the Controller Settings dialog box:



F1 F2 F3 F4 F5 F6

W1

W2

W7

W6

W3 W5

W4

Function buttons

Navigation buttons

Jog/Shuttle wheel

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2. Double-click Controller Settings.

The Controller Settings dialog box appears.

3. Choose the appropriate port from the Port pop-up menu:

t (Windows) COM1 or COM2

t (Macintosh) Port #1, #2, #3, or #4

4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu.

5. Click the Edit Settings button.

The MCS-3 Controller Settings dialog box appears.

Controller Settings

Make sure the appropriateport and controller areselected.

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Mapping the MCS3 Buttons


When the MCS3 is first installed, there is a set of default button mappings (see “Using the Default Button Mappings” on page 103). Not all of the buttons on the MCS3 are mapped to functions in the Command palette. To add new functions or change the default button assignments, see “Custom Mapping MCS3 Buttons” on page 105.

Using the Default Button Mappings

When you first open the MCS-3 Controller Settings dialog box, a set of default functions is mapped to the MCS3 buttons.

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There are two types of buttons on the MCS3:

• Navigation buttons

• Function buttons

Default Navigation Buttons

The navigation buttons appear at the bottom of the MCS-3 Controller Settings dialog box. From left to right, they are:

• Rewind

• Fast Forward

• Stop

• Play

n You cannot change the navigation button definitions. The rightmost navigation button (the one without a symbol) is not mapped to a Command palette function. You can map this button. For instructions, see “Custom Mapping MCS3 Buttons” on page 105.

Default Function Buttons

Each function button is labeled with an F or W followed by a number. In an Avid system application, there is no difference between an F and a W function button.

Avid provides default button mappings. You can reassign these buttons by following the instructions in “Custom Mapping MCS3 Buttons” on page 105.

Rewind Fast Forward Stop Play

Unused(Map to the Commandpalette function of yourchoice.)

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Table E-1 shows the MCS3 button numbers and the default button mappings.

Custom Mapping MCS3 Buttons

You can map the Command palette editing functions of your choice to the MCS3 buttons. Each button has an additional function activated by the Shift key.

To see the shifted function:

t Press and hold the Shift key on your keyboard.

The alternative function appears on the button in the MCS-3 Controller Settings dialog box.

To map the MCS3 buttons to Command palette functions:



2. Double-click Controller Settings.

The Controller Settings dialog box appears.

3. Choose the appropriate port from the Port pop-up menu:

t (Windows) COM1 or COM2

Table E-1 Default Button Mappings

MCS3 Button Command Palette Function

W1 Go to IN

W2 Mark IN

W6 Mark OUT

W7 Go to OUT

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t (Macintosh) Port #1, #2, #3, or #4

4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu.

5. Click the Edit Settings button.

The MCS-3 Controller Settings dialog box appears.

6. If the Command palette is not already open, choose Command Palette from the Tool menu.

The Command palette opens.

7. Select Button to Button Reassignment.

8. To map a function, do one of the following:

t Map an unshifted function — Click the function in the Command palette and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program.

t Map a shifted function — Press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the MCS-3 Controller Settings dialog box whose function you want to program.

As you drag between the two windows, the pointer changes to the hand pointer.

Make sure this optionis selected

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Customizing Jog and Shuttle Speeds

When you release the mouse, the new function appears on the MCS3 button.

To change a button assignment:

t Drag a new function from the Command palette to the MCS3 button whose function you want to change.

Configuring a Shifted Button

You can use the Shift key on your keyboard to switch between shifted and unshifted functions on the MCS3, or you can program one of the buttons on the MCS3 to function as a Shift key.

To configure a shifted button:

1. Open the MCS-3 Controller Settings dialog box.

2. From the Button to Use as Shift Key pop-up menu, choose the function button that you want to assign as the Shift key on the MCS3.

The default is None. Therefore, you need to use the Shift key on your keyboard to switch between shifted and unshifted functions on the MCS3.

3. Press the assigned button on the MCS3 to display the shifted functions in the MCS-3 Controller Settings dialog box.

n If you assign a button on the MCS3 as the Shift key, you cannot use this button for an editing function.

Customizing Jog and Shuttle Speeds

You can customize the maximum jog and shuttle speeds using the Maximum jog speed and Maximum shuttle speed pop-up menus in the MCS-3 Controller Settings dialog box.

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As you turn the jog/shuttle wheel, the current frames per second (fps) are shown in the Current Controller Speed display.

Customizing the Maximum Jog Speed

To customize the maximum jog speed:

t Choose an option in from the Maximum Jog Speed pop-up menu in the MCS-3 Controller Settings dialog box.

The default is Normal.

Table E-2 describes the Maximum Jog Speed options.

Customizing the Maximum Shuttle Speed

You can customize the maximum shuttle speed. You view footage at the maximum speed when the jog/shuttle wheel is turned to the farthest right or farthest left position.

Table E-2 Maximum Jog Speed Options

Option Description

1/4 speed The jog speed does not exceed one quarter the recorded speed.

1/2 speed The jog speed does not exceed one half the recorded speed.

Normal The jog speed corresponds to how fast you turn the wheel (default).

2x speed The jog speed does not exceed twice the recorded speed.

4x speed The jog speed does not exceed four times the recorded speed.

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Operating the Jog/Shuttle Wheel

To customize the maximum shuttle speed:

t Choose an option from the Maximum Shuttle Speed pop-up menu in the MCS3 Controller Settings dialog box.

The default is 8x, which is eight times the recorded speed of the film.

n The maximum shuttle speed setting applies to the forward or reverse viewing speed.

Table E-3 describes the Maximum Shuttle Speed options.

Operating the Jog/Shuttle Wheel

The jog/shuttle wheel controls how you move through footage. You switch between Jog and Shuttle modes by pressing the wheel. When the two red arrow lights above the wheel are lit, you are in Shuttle mode.

• Shuttle mode alters the speed of playback by how far you turn the wheel: the more you turn the wheel to the right, the faster the

Table E-3 Maximum Shuttle Speed Options

Option Description

1x The recorded frames per second

2x Two times the recorded frames per second

4x Four times the recorded frames per second

8x Eight times the recorded frames per second (default)

16x Sixteen times the recorded frames per second

32x Thirty-two times the recorded frames per second

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footage moves forward. To move the footage in reverse, turn the wheel to the left of the midpoint position. Use Shuttle mode when you want to quickly scan footage.

• Jog mode allows for frame-by-frame positioning depending on how fast you turn the wheel to either the right (clockwise) or the left (counterclockwise). Use Jog mode when you want to locate a specific frame by slowly viewing footage.

Moving Through Footage in Jog Mode

The red arrow lights above the jog/shuttle wheel are off when you are in Jog mode. If they are on, press the wheel to enter Jog mode.

• When the jog/shuttle wheel is stationary, the footage is paused.

• Turn the wheel to the right (clockwise) to advance the footage.

• Turn the wheel to the left (counterclockwise) to rewind the footage.

Moving Through Footage in Shuttle Mode

The red arrow lights above the jog/shuttle wheel are on when you are in shuttle mode. If they are off, press the wheel to enter shuttle mode.

• When the jog/shuttle wheel is at the midpoint position, both red arrow lights are on and the footage is paused.

• Turn the jog/shuttle wheel until it stops. Keep the jog/shuttle wheel in this position to view footage at the maximum shuttle speed set in the MCS-3 Controller Settings dialog box.

• Turn the jog/shuttle wheel to the left (counterclockwise) to move backward through a clip or sequence. The left arrow light is on when you are rewinding.

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Editing Footage with the MCS3 Controller

Editing Footage with the MCS3 Controller

Once you map the buttons and set the jog and shuttle speeds, you are ready to edit with the MCS3.

To use the MCS3 for editing:

1. Start the Avid system application if it is not already in operation.

2. Close the MCS-3 Controller Settings dialog box.

c Because the MSC3 operates in the active window and the MCS-3 Controller Settings dialog box is modal, you must close the MCS-3 Controller Settings dialog box before you can use the MCS3 for editing.

3. Open one of the following windows:

• Digitize Tool

• Digital Cut Tool

• Deck Controller

• Timeline

The MCS3 controls the active window.

4. Use the jog/shuttle wheel and the navigation buttons to move back and forth between clips and sequences.

5. Use the MCS3 function buttons to perform edits.

To view your button mappings, check the mappings in the MCS-3 Controller Settings dialog box. See “Opening the MCS-3 Controller Settings Dialog Box” on page 101. Close the MCS-3 Controller Settings dialog box before you use the controller for editing.

Use the MCS3 to jog through footage on a deck or DAT player.

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Creating Multiple Controller Settings

Because you cannot map all of the Command palette functions to the MCS3, you might want to create Controller settings for different sets of editing functions.

To create multiple Controller settings:



2. Click the Controller settings you want to duplicate.

3. Choose Duplicate from the Edit menu.

4. A copy of the selected Controller settings appears in the Settings scroll list.

5. To rename the duplicate Controller settings, click the space to the right of “Controller Settings,” type a descriptive name in the text box, and press Enter (Windows) or Return (Macintosh).

6. Select the Controller Settings that you want to make active. A check mark indicates the active Controller Settings.

The activeController Settings

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Troubleshooting

Troubleshooting

When you double-click Controller Settings in the Settings scroll list, you might see the message “No Controller found.” This message means one of the following:

• The MCS3 is not connected.

• The MCS3 might be malfunctioning.

• You did not choose JL Cooper MCS3 Controller from the Controller Settings dialog box.

• You chose the wrong port from the Port pop-up menu of the Controller Settings dialog box.

To identify the problem:

1. Click OK to close the message box.

2. Make sure you chose the appropriate serial port in the Controller Settings dialog box.

3. Make sure you chose JL Cooper MCS3 Controller in the Controller Settings dialog box.

4. Check the cable connections.

5. Press the jog/shuttle wheel. When the controller is in Shuttle mode, the red arrow lights above the wheel are on.

6. Contact Avid Customer Support if you continue to see the message.

7. If you try to edit and the MCS3 does not respond, make sure the MCS-3 Controller Settings dialog box is closed.

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AAIFF-C file format

described 59Alias file format

brief description of 46import specifications for 49

Alpha channeladding to a graphic image 48defined 49in imported animation 56support in graphic formats 49

Analog synthesizer effects 21Animation file import specifications 56Anti-aliased images 48Audio

format heading in Avid logs 79Audio file formats, described 59AudioSuite plug-ins 17

accessing 17BNR (Broadband Noise Reduction) 20Compressor 22core plug-ins 18DC Offset Removal 35D-fx and D-Fi plug-ins 21Digidesign D-Fi 21Digidesign D-fx 21

Duplicate 32EQ 30Expander-Gate 27Focusrite d3 20Gain 35Gate 29Invert 32Limiter 25Maxim 21Mod Delay 32Normalize 34Pitch Shift 41Reverse 35supported 18, 19Time Compression Expansion 36

Automation Gainconnecting a fader 85

Auxiliary timecode headingsin Avid logs 79

AVI (Avid Codec for AVI)export specifications 58import specifications 58

AVI fileformat description 55import and export specifications for 58

Avid Codec for QuickTimeimport specifications 57

Index

A B C D E F G I J L M N O P Q R S T U V W X Y

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Avid files for QuickTime 57Avid logs

audio format heading in 79clip data in 81creating 75custom headings in 78data headings in 81formatting guidelines 74fps (frames per second) heading in 79global headings in 76importing 73sample created with text editor 84specifications 74standard headings in 78timecode headings in 79

Avid MCXpress for Windows NT, importing files from 61

BBit depth, defined 49BMP file format

described 46import specifications for 49

BNR plug-in 20

CChyron file format


Cineon file formatbrief description of 46import specifications for 50

Clip data in Avid logs 81Command palette

mapping 106Compressor AudioSuite plug-in 22Custom headings in Avid logs 78

DData headings in Avid logs 81DC Offset Removal AudioSuite plug-in 35Default Function Buttons 104Digidesign D-Fi plug-ins 21Digidesign D-fx plug-ins 21Digitizing

preserving vertical blanking information 70Duplicate AudioSuite plug-in 32

EEQ AudioSuite plug-ins 30ERIMovie file format


Expander-Gate AudioSuite plug-in 27Exporting

graphic files, specifications for 48

FFader, connecting to a system 85, 85, 87Field ordering 62Files

specifications for importing animation 55specifications for importing graphics 48specifications for importing OMFI 60

Focusrite d3 plug-in 20fps (frames per second)

heading in Avid logs 79Framestore file format


Full-screen image size, defined 48

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GGain AudioSuite plug-in 35Ganging

multiple tracks on an external fader 91Gate AudioSuite plug-in 29Global headings in Avid logs 76Graphics (image) files

field ordering in 62recommended field settings 63

IIFF file format


Importinganimation files 55graphics files 48OMFI files 50, 59Targa files 53TIFF files 54Wavefront files 54XWindows files 54YUV files 54

Invert AudioSuite plug-in 32

JJL Cooper FaderMaster Pro MIDI automation

controllerbrief description 85ganging 91testing 88using 87

JL Cooper MCS-3000X MIDI automation controller

brief description 85ganging 91

testing 88using 87

JL Cooper Media Control Station3 99Jog mode

described 110moving through footage in 110

Jog/shuttle wheel 100JPEG file format


LLimiter AudioSuite plug-in 25Line ranges in vertical blanking information 66

MMapping

shifted function 106unshifted function 106

Maxim plug-in 21Maximum shuttle speed 109MCS3 controls

navigation buttons 100supported 99

MCS-3000X fader 87buttons 88snap mode feature 90

Message “No MCS3 found” 113Mod Delay AudioSuite plug-ins 32

NNavigation buttons

described 104MCS3 controls 100

Normalize AudioSuite plug-in 34

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NTSC frame resolution for imported files 49

OOMFI file format, described 46OMFI files

import specifications for 50, 60

PPAL frame resolution for imported files 49PCX file format


Photo CD file formatbrief description of 46import specifications for 51

Photoshop file formatdescribed 47import specifications for 51

PICS sequence import specifications 56PICT file format


Pitch Shift AudioSuite plug-in 41Pixar file format


PNG file formatdescribed 47import specifications for 52

QQRT file format


QuickTime file format, import and export

specifications for 57

RRendition file format


Reverse AudioSuite plug-in 35

SSequenced PICS files, import specifications for

56Settings window 101, 105SGI file format


Shifted function, mapping 106Shuttle mode

described 109speed options 109

Softimage file formatdescribed 47import specifications for 53

Soloing system channels 96Specifications for Avid log 74Standard heading in Avid logs 78Sun Raster file format


System channels, soloing 96

TTarga file format


Text editor, creating Avid logs with 75

119

TIFF file formatdescribed 47import specifications for 54

Time Compression Expansion AudioSuite plug-in 36

Timecodeheadings in Avid logs 79

Tracksganging on an external fader 91

Transparency, adding to a graphic image 48Troubleshooting

vertical blanking information problems 70, 71, 72

UUnshifted function, mapping 106

VVertical blanking information

line ranges in 66overlaying 68preserving 66problems with preserving 70procedure for wiping in lines 69

Vertical blanking intervalpreserving information in 65

WWAVE file format

described 59Wavefront file format


XXWindows file format


YYamaha 01V digital mixer

brief description 85configuring 93described 91ganging 91initializing 93operational notes 95starting Avid Xpress with 94testing 88using 87

YUV file formatdescribed 48import specifications for 54

avid xpress user's guide...

Documents