Avid NewsCutter XP. What s New for Release 3.0

Transcription

1 Avid NewsCutter XP What s New for Release 3.0

2 Copyright and Disclaimer Product 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 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. Copyright 2002 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright Sam Leffler Copyright 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. THE SOFTWARE IS PROVIDED AS-IS AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE. The following disclaimer is required by the Independent JPEG Group: Portions of this software are based on work of the Independent JPEG Group. The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix.

3 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. The following disclaimer is required by Videomedia, Inc.: Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose. This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow frame accurate editing control of applicable videotape recorder decks, videodisc recorders/players and the like. The following notice is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: Altura Software, Inc. The following notice is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. Attn. Government User(s). Restricted Rights Legend U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are commercial computer software or commercial computer software documentation. In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR (a) and/or DFARS (a), as applicable. Trademarks AirPlay, 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, DINR, D-Verb, ExpertRender, FilmScribe, HyperSPACE, HyperSPACE HDCAM, IllusionFX, 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.

4 Adobe, After Effects, Photoshop, and Reader are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Editcam is a trademark of Ikegami Tsushinki, Co., Ltd. FireWire is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Norton AntiVirus is a registered trademark of Symantec Corporation. QuickTime and the QuickTime logo are registered trademarks used under license from Apple Computer, Inc. RealSystem is either a registered trademark or trademark of Real Networks, Inc. in the United States and/or other countries. Sony is a registered trademark and DVCAM is a trademark of Sony. Sound Forge is a registered trademark of Sonic Foundry, Inc.All other trademarks contained herein are the property of their respective owners. Footage Arizona Images KNX-TV Production Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands Courtesy of the National Park Service/Department of the Interior. WCAU Fire Story Courtesy of NBC-10, Philadelphia, PA. Paragliding Courtesy of Legendary Entertainment, Inc. Avid NewsCutter XP What s New for Release 3.0 Part Rev. A April 2002

5 Contents Using This Guide Who Should Use This Guide About This Guide Symbols and Conventions If You Need Help Related Information If You Have Documentation Comments How to Order Documentation Chapter 1 New Features for Release 3.0 Chapter 2 New Setup and Startup Features Client Monitor Display Dual-Head Display Settings New Format Support Chapter 3 New Project Window Features The Project Window Viewing Bins Viewing Settings Viewing the Effect Palette Viewing System Information Displaying Project Settings Changing the Settings Scroll List Display Choosing Preferences

6 6 Bin Display Views Changing Bin Display Views Custom Bin Views Media Tool Features Changing Bin Display View Size Changing the Font and Point Size Changing the Text Font Changing the Point Size Sorting Clips Using Toolsets Opening Toolsets NRCS Toolset Recording Toolset Edit Toolset Effects Editing Toolset Audio Editing Toolset Customizing Toolsets Linking Toolsets to Other Settings Conserving Screen Real Estate with the SuperBin Enabling the SuperBin Opening Bins in the SuperBin Closing the SuperBin Deleting the SuperBin Moving Bins into and out of the SuperBin Moving Clips and Sequences into and out of the SuperBin Copying Clips and Sequences into and out of the SuperBin Desktop Delay Adjusting the Play Delay Offset Timeline Settings Addition

7 7 Chapter 4 New Audio Features Audio Project Settings Change Audio Meters in the Timeline Using the Audio Meter Menu Dealing with Low Latency Audio in Your Sequence Adjusting for Audio Latency Adjusting Volume Control Master Volume Control Button Added to the Audio Tool Chapter 5 New Editing Features Adding Fades (Dissolves) with Head and Tail Fade Buttons Selecting Slip or Slide Trim Performing an Alternate Edit Using Match Frame with Motion Effects MetaSync Chapter 6 New Input and Output Features Transcoders Added to the Deck Configuration Dialog Box Notes Field Added to the Deck Settings Dialog Box VTR Emulation Selecting VTR Emulation Settings Enabling VTR Record Emulation DV Scene Extraction Selecting the Preroll Method Importing Photoshop Graphics Importing Single-Layer Photoshop Graphics Importing Multilayered Photoshop Graphics Understanding Multilayered Graphics Import Importing Multilayered Files Importing Editcam Files Using the Avid DV Codec

8 8 Exporting OMFI and AAF Files Exporting Through OMF Interchange Exporting Through AAF Choosing an OMFI or an AAF Transfer Method Exporting OMFI or AAF Files Sending Material Out for Review Reviewing Material Opening R&A Files in the Locators Window Displaying Information in the Locators Window Using Locator Colors with R&A Files Chapter 7 New NRCS Tool Features Loaded Cues Adding a Loaded Cue Using a Loaded Cue Deleting a Loaded Cue Using Associated Sequences Posting to the Web Processing the Script Setting Post to Web Options Creating a Web Page Linking Clips Using Templates The Story Tag The Text Tag The Clip Tag Posting a Story to the Web

9 9 Chapter 8 New Workgroups Features Using Avid Unity MediaManager Configuring NewsCutter XP Systems to Work with MediaManager Specifying MediaManager Settings PortServer Pro Support ProEncode Support on the PortServer Pro Support for Avid Unity LANshare Setting Up the LANshare Client Chapter 9 New Effects Features Real-Time Preview of Video Effects Understanding Real-Time Effects Processing Understanding Monitor Options for Real-Time Effects Preview Enabling Real-Time Effects Understanding Real-Time Playback Information in the Timeline Controlling Real-Time Effects Playback Using Video Display Settings for Real-Time Effects Preview Keyframe Graphs Promoting Effects to Keyframe Graphs Opening Keyframe Graphs Keyframe Graph Components Adding and Deleting Keyframes Using the Add Keyframe Mode Menu Moving a Keyframe Elastic Keyframes and Fixed Keyframes Parameter Changes at Keyframes Options for Controlling Parameter Changes at Keyframes Align Keyframe and Slip Keyframes

10 10 Extrapolate and Hold Adjusting the Keyframe Graph Display Zoom and Scroll Resizing the Keyframe Graph Display Moving the Keyframe Graph Image Resetting the Graph View Options for Using Keyframe Graphs IllusionFX Pack Plug-Ins Index

11 11 Tables Table 1-1 New Setup and Startup Features Table 1-2 New Project Window Features Table 1-3 New Audio Features Table 1-4 New Editing Features Table 1-5 New Input and Output Features Table 1-6 New NRCS Tool Features Table 1-7 New Workgroup Features Table 1-8 New Effects Features Table 3-1 Settings Menu Items Table 3-2 Font and Point Size Options Table 4-1 Audio Meter Menu Commands Table 6-1 VTR Emulation Settings Options Table 6-2 Support for Photoshop Layer Options Table 6-3 Support for Photoshop Special Layer Types Table 6-4 Export Settings Dialog Box (OMFI and AAF Settings Options) Table 7-1 Script for Web Options Table 9-1 Effect Editor Toolbar Components for Keyframe Graphs Table 9-2 Effect Editor Shortcut Menu Items

12 12

13 Using This Guide This document describes the new features for Avid NewsCutter XP Release 3.0. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation. Who Should Use This Guide This guide is intended for all NewsCutter XP users, from beginning to advanced.

14 14 About This Guide This guide is designed to keep pace with new features in the most recent release of Avid NewsCutter XP. The Contents lists all topics included in the book. The guide presents topics explaining the new features with the following overall structure: Chapter 1, New Features for Release 3.0, provides tables that list all the new features. Chapters 2 through 9 summarize the new features included with the current release of NewsCutter XP, with clear and comprehensive step-by-step procedures. Finally, 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 operating system. The NewsCutter XP 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. In the margin, you will find tips that help you perform tasks more easily and efficiently. Using This Guide

15 15 n A c A note provides important related information, reminders, recommendations, and strong suggestions. 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 NewsCutter XP, 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 ( ). - Postproduction products call AVID (2843). Related Information The following documents provide more information about NewsCutter XP: Avid NewsCutter XP User s Guide This guide provides complete information on all editing tasks, such as recording footage, viewing and marking footage, editing, trimming, importing, exporting, and generating final output. If You Need Help

16 16 Avid NewsCutter XP Setup Guide This guide provides installation and configuration instructions as well as suggestions for troubleshooting problems that might arise with system hardware. Avid NewsCutter XP Effects Guide This guide describes techniques for using digital video effects, titles, third-party plug-in effects, mattes, keys, and layering options. Avid NewsCutter XP Quick Reference This folded card lists convenient keyboard shortcuts. Avid NewsCutter XP Release Notes This document describes new features, hardware and software requirements, software installation instructions, and summary information on system and memory requirements. Avid NewsCutter XP Online Publications CD-ROM This online collection provides electronic versions of this guide and other guides listed in this section. You can view these documents with Adobe Acrobat Reader, which you can install from the CD-ROM. Avid NewsCutter XP Help The NewsCutter XP application includes a Help system that operates in the Web browser Microsoft Internet Explorer. Avid recommends using Version 5 or later. Help can be run as a standalone application from the Avid NewsCutter XP Online Publications CD-ROM. Using This Guide

17 17 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. 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. Simply your documentation comments to Avid Technology at 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 AVID (2843). If you are placing an order from outside the United States, contact your local Avid representative. If You Have Documentation Comments

18 18 Using This Guide

19 CHAPTER 1 New Features for Release 3.0 The following tables list all the Release 3.0 new features. Table 1-1 New Setup and Startup Features Feature Description For More Information Client monitor display You can connect an external monitor to NewsCutter XP, allowing you to work with a dual monitor display See Client Monitor Display on page 25. Support of DVCPRO PAL 4:1:1 NewsCutter XP supports 4:1:1 (PAL) video format. See New Format Support on page 27.

20 20 Table 1-2 New Project Window Features Feature Description For More Information Project window changes Bin window and Media tool changes Toolsets SuperBin Desktop play delay Timeline settings The Project window has changed for this release. You now use tabs to access different portions of the Project window. The Bin window and the Media tool now have tabs that allow you to change display views and to organize media information. You can use predesigned work environments that are suited to your most common editing tasks. The SuperBin lets you conserve screen real estate by having bins open in one SuperBin. You can adjust the offset that can occur between audio and video playback on NewsCutter XP. A new option, Highlight Suggested Render Areas After Playback, allows you to display colored indicator lines in the Timecode track that display information about the real-time effects in your sequence. See The Project Window on page 30. See Bin Display Views on page 38 and Media Tool Features on page 43. See Using Toolsets on page 46. See Conserving Screen Real Estate with the SuperBin on page 55 See Desktop Delay on page 59. See Timeline Settings Addition on page 60. New Features for Release 3.0

21 21 Table 1-3 New Audio Features Feature Description For More Information Audio Project Settings dialog box change Audio meters Audio latency Speaker/headphone control Two options have moved from the General Settings dialog box to the Audio Project Settings dialog box. You can now monitor audio directly from the Timeline. You can reduce the audio latency by adjusting the number of samples that are preloaded when you play a clip or sequence. You can adjust your speaker or headphone volume without leaving the application. See Audio Project Settings Change on page 63. See Audio Meters in the Timeline on page 64. See Dealing with Low Latency Audio in Your Sequence on page 66. See Adjusting Volume Control on page 68. Table 1-4 New Editing Features Feature Description For More Information Head Fade and Tail Fade buttons Selecting slip or slide trims Alternate Edit You can use the Head Fade and Tail Fade buttons to add a fade (or dissolve) for audio and video tracks. You can select slip or slide trims through the Timeline shortcut menu. Using Alternate Edit mode allows you to overwrite a selected clip in a sequence with several alternative clips. See Adding Fades (Dissolves) with Head and Tail Fade Buttons on page 71. See Selecting Slip or Slide Trim on page 72. See Performing an Alternate Edit on page 73. Locating the source clips of motion effects You can locate the source clip of a motion effect by using the Match Frame feature. See Using Match Frame with Motion Effects on page 75.

22 22 Table 1-5 New Input and Output Features Feature Description For More Information Transcoder configuration Notes field added to Deck Settings dialog box VTR emulation Transcoders have been added to the Deck Configuration dialog box. The Deck Settings dialog box now includes notes about the DV devices you can connect to NewsCutter XP. You have new options for recording with VTR emulation. See Transcoders Added to the Deck Configuration Dialog Box on page 78. See Notes Field Added to the Deck Settings Dialog Box on page 79. See VTR Emulation on page 80. DV scene extraction You can automatically generate subclips and locators based on time-of-day (TOD) information contained in the DV video format. See DV Scene Extraction on page 86. Select a preroll method New options allow you to record more efficiently when a source tape contains timecode breaks. See Selecting the Preroll Method on page 89. Import layered Photoshop files You can import both single-layer and multilayered graphics created in Adobe Photoshop. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in your Avid application. See Importing Photoshop Graphics on page 92. Import Editcam files You can import files recorded with the Ikegami disk-based Editcam or Editcam-station products. See Importing Editcam Files on page 100. Avid DV Codec OMFI and AAF export changes NetReview You can use the Avid DV Codec or a generic DV codec when exporting media in a QuickTime format. The options for exporting OMFI (OMF Interchange ) and AAF (Advanced Authoring Format) files have changed. NetReview is a standalone review and approval application. See Using the Avid DV Codec on page 102. See Exporting OMFI and AAF Files on page 103. See Sending Material Out for Review on page 111. New Features for Release 3.0

23 23 Table 1-6 New NRCS Tool Features Feature Description For More Information Loaded Cues Associated sequences Post to Web You can add cues to your NRCS script that point to media files in NewsCutter XP. This feature allows you to associate your NRCS script to sequences and clips in NewsCutter XP bins. You can reformat and export a story directly to the Web through the NRCS tool. Loaded Cues on page 115. See Using Associated Sequences on page 118. See Posting to the Web on page 119. Table 1-7 New Workgroup Features Feature Description For More Information MediaManager configuration PortServer Pro support LANshare support You can access Avid Unity MediaManager after you configure NewsCutter XP by using new settings in the Settings scroll list. NewsCutter XP can be used as a client in a PortServer Pro system. This allows NewsCutter XP to access MediaNet workgroups and to export media files through a ProEncode server. You can set up NewsCutter XP as a client in an Avid Unity LANshare workgroup setting so you can share media over an Ethernet network. See Using Avid Unity MediaManager on page 137. See PortServer Pro Support on page 139 and ProEncode Support on the PortServer Pro on page 141. See Support for Avid Unity LANshare on page 141.

24 24 Table 1-8 New Effects Features Feature Description For More Information Real-time preview of video effects You can play back sequences to which you have applied effects and view the appearance of those effects. See Real-Time Preview of Video Effects on page 143. New keyframe model The new keyframing capability is available with the Picture-in-Picture effect. See Keyframe Graphs on page 151. IllusionFX Pack The effects pack contains 29 AVX plug-in effects that appear in the IllusionFX category in the Effects palette. See the IllusionFXPack.pdf file included in the IllusionFXPack folder in the Goodies folder on the NewsCutter XP application CD-ROM. New Features for Release 3.0

25 CHAPTER 2 New Setup and Startup Features This chapter includes information about the new features available when setting up your NewsCutter XP system and opening projects. The following topics are covered: Client Monitor Display New Format Support Client Monitor Display There are two ways to connect a Client monitor to the NewsCutter XP system: Connect a Client monitor via 1394 (FireWire ). Connect through a camera, transcoder, or deck. This process does not allow you to view real-time effects. n For n For information on connecting a Client monitor via FireWire, see the Avid NewsCutter XP Setup Guide. more information about viewing real-time effects, see See Enabling Real-Time Effects on page 145.

26 26 Connect a Client monitor via a dual-head video board. This process allows you to view real-time effects. n The only video board capable of supporting viewing video on two monitors is a dual-head video board. Dual-Head Display Settings If you have a dual-head video board (a board with two VGA connections), you can connect a second monitor to your system. You can choose between displaying a large desktop area spread across two screens or using one desktop monitor and one full-screen NTSC/PAL (Client) monitor. You can adjust the settings of your video board in the Settings tab of the Display Properties dialog box. For information on connecting a second monitor and on setting dual-head video board properties, see the documentation that comes with your computer. To access the Settings tab of the Display Properties dialog box: 1. Click the Start button, point to Settings, and then click Control Panel. 2. Double-click Display. The Display Properties dialog box appears. 3. Click the Settings tab. The specific video board installed on your system determines the settings you can adjust in the Settings tab. New Setup and Startup Features

27 27 New Format Support The NewsCutter XP system now supports DV 25 4:1:1 (PAL) and DV 50 4:2:2 (PAL and NTSC) in addition to the existing video formats already supported in the NewsCutter XP application. This now makes the NewsCutter XP system compatible with the DVCPRO. The first time you start a project you will be asked to select the video format (NTSC or PAL). After you have created a project, the New Project window will use the video format selection that was previously selected as your default project format. If you need to change the video format and the Format pop-up menu does not appear in the New Project dialog box, click the New Project button while you press and hold the Alt key. The Format pop-up menu appears. Depending on the video format of your project, the following formats are selectable in the Record tool: DV 25 4:1:1 (NTSC and PAL) DV 25 4:2:0 (PAL) DV 50 4:2:2 (PAL and NTSC) Make sure you select the correct video format in the Record tool to match the incoming media from the deck. The Record tool does not automatically sense the video format. Although you cannot directly record DV 50 video over IEEE 1394, NewsCutter XP allows you to play back and edit media that has been recorded using an Avid NewsCutter system, an Avid Composer system with the DV option, or an Editcam system when in a shared storage workgroup. NewsCutter XP also allows you to import DV 50 for use in the system. New Format Support

28 28 To perform a digital cut to a video deck using DV 50, use a NewsCutter system that is connected to a workgroup environment. n For information about Avid-tested decks and transcoders, see the Knowledge Center. For information on accessing the Knowledge Center, see Accessing the Knowledge Center for Information in the Avid NewsCutter XP Release Notes. New Setup and Startup Features

29 CHAPTER 3 New Project Window Features This chapter describes the changes for NewsCutter XP Release 3.0 that involve the Project window, bin displays, and Settings scroll list options. The following topics are covered: The Project Window Bin Display Views Using Toolsets Conserving Screen Real Estate with the SuperBin Desktop Delay Timeline Settings Addition

30 30 The Project Window The Project window has changed for this release. Four tabs provide access to the following: Bins Settings The Effect Palette System information Fast Menu button n The Fast menu button has moved to the top portion of the Project window. To change the Project window view: t Click one of the tabs. New Project Window Features

31 31 Viewing Bins To view the list of bins for your project: t Click the Bins tab. For more information about working with bins, see Organizing with Bins in the Avid NewsCutter XP User s Guide or the Help. The Project Window

32 32 Viewing Settings To view the Settings scroll list: t Click the Settings tab. For more information about working with settings, see Working with the Project Window in the Avid NewsCutter XP User s Guide or the Help. New Project Window Features

33 33 Viewing the Effect Palette To view the Effect Palette: t Click the Effects tab, which displays the Effect icon. Effect icon For more information about working with effects, see Basics of Effects Editing in the Avid NewsCutter XP Effects Guide or the Help. The Project Window

34 34 Viewing System Information The Info tab displays basic project information, system memory information, and hardware information. To view basic project information: t Click the Info tab. Basic project information is displayed. To view system memory information for an open project: t Click the Memory button. The Memory window opens. To view hardware information for an open project: t Click the Hardware button. The Hardware tool opens. New Project Window Features

35 35 For more information about system information, see Using the Info Tab in the Avid NewsCutter XP User s Guide or the Help. Displaying Project Settings You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. Active Settings is a new display group, which displays only the currently active settings in your Avid system. Table 3-1 describes the different Settings menu items. Table 3-1 Settings Menu Items Item Active Settings All Settings Base Settings Bin Views Export Settings Import Settings Timeline Views Title Styles Workspaces Workspace Linked Site Settings Description Displays currently active settings in your Avid system Displays all settings available in your Avid system Displays Project, User, and Site settings only; no views are displayed Displays bin views Displays all the Export settings Displays all the Import settings Displays Timeline views Displays all the templates you created for the Title tool Displays all workspaces Displays only linked workspaces Displays all Site settings in the Site_Settings file The Project Window

36 36 Changing the Settings Scroll List Display To change the Settings scroll list display of the Project window: 1. Click the Settings tab in the Project window. The Settings scroll list appears. Fast Menu button New Project Window Features

37 37 2. Click the Fast Menu button and choose a settings display group from the Settings menu. Settings Display groups The Settings menu displays the settings group selected and the Settings scroll list displays only the settings in that group. Choosing Preferences You can view in one step the settings for your project. To view the Settings tab of the Project window: t Choose Preferences from the Edit menu. The Project window, with the Settings tab displayed, appears in the middle of the monitor. The Project Window

38 38 Bin Display Views The Bin window has changed for this release. The following four tabs provide different bin views: Brief Text Frame Script The tabs replace the Frame View, Script View, and Text View buttons found in previous releases. The Brief tab can help you manage your screen real estate. It displays only five standard columns of information about the clips and sequences in your bins. Changing Bin Display Views To change bin display views: t Click one of the tabs. New Project Window Features

39 39 To see Text view with only five standard bin columns showing: n You t Click the Brief tab. cannot customize the column headings in Brief view. Bin Display Views

40 40 To see Text view: t Click the Text tab. New Project Window Features

41 41 To see Frame view: t Click the Frame tab. Bin Display Views

42 42 To see Script view: t Click the Script tab. Custom Bin Views To the right of the Fast Menu button is the Bin View pop-up menu (Text view only) for selecting different Bin views. Bins have three default views that are automatically loaded: Custom, Film, and Statistics. New Project Window Features

43 43 Media Tool Features The Media tool, which you access from the Tools menu, provides many of the same controls for viewing and managing information that you use with bins, including the new tabs used for display views. The four display views in the Media tool function like those in bins: Brief view, Text view, Frame view, and Script view. To change bin display views: t Click one of the tabs. Changing Bin Display View Size To change the bin display view size: t Click the lower right corner of a bin view and drag the bin view to resize. The bin display view size is retained as a user setting for that bin. The bin display view retains its set size every time you open that Bin Display Views

44 44 view of that bin, even in separate editing sessions. Each bin display view can have a different size. Changing the Font and Point Size You can change the default font and point size of a Project, Bin, Source/Record, or Timeline window. You can have multiple variations of fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and another Bin window to Arial, 12 pt. Table 3-2 describes the windows you can change, and where these changes are saved. Table 3-2 Font and Point Size Options Window Changes Allowed Location of Saved Changes Project Bin Source/Record Timeline Changes to the font and point size of the text in the Bin and Settings tab Changes to the font and point size of the text in a Bin window Changes to the font and point size of the sequence or source clip name text Changes to the font and point size of clip text Project setting Bin setting (not the Bin View setting) Source/Record setting Timeline View setting When you close the window, the last font and point size applied are saved. New Project Window Features

45 45 Changing the Text Font To change a font for a Project, Bin, Source/Record, or Timeline window: 1. Select (activate) a Project, Bin, Source/Record, or Timeline window. 2. Choose Set Font from the Edit menu. 3. Select the new font. 4. Click OK. The new font is applied and saved with the window. Changing the Point Size To change a point size for a Project, Bin, Source/Record, or Timeline window: 1. Select (activate) a Project, Bin, Source/Record, or Timeline window. 2. Choose Set Font from the Edit menu. 3. Type the point size you want. 4. Click OK. The new point size is applied and saved with the window. Sorting Clips You can now sort a column from the column heading. To sort columns in bins: 1. Right-click the column heading. 2. Choose either Sort on Ascending or Sort on Descending from the shortcut menu. The column is sorted. Bin Display Views

46 46 Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common NewsCutter XP tasks: NRCS Recording Edit Effects Editing Audio Editing The Toolset menu provides you with five environments that include the following: Tools appropriate for the task A screen optimized for the task, screen resolution, and number of monitors A neatly organized workspace with nonoverlapping windows You can customize the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme. You can also customize the NRCS toolset. For more information, see Customizing Toolsets on page 53 and Linking Toolsets to Other Settings on page 53. New Project Window Features

47 47 Opening Toolsets To open a toolset, do one of the following: t Choose a toolset from the Toolset menu. t Press one of the following: Press Shift+F8 Shift+F9 Shift+F10 Shift+F11 Shift+F12 To View NRCS toolset Recording toolset Edit toolset Effects Editing toolset Audio Editing toolset Any open tools close and the screen changes to display windows appropriate to the toolset task. Using Toolsets

48 48 NRCS Toolset The NRCS toolset displays the NRCS tool, the Source/Record monitor, the SuperBin in Brief view, the Timecode window, the Settings tab of the Project window, and the Timeline. n For more information on the NRCS tool, see the Avid NewsCutter XP User s Guide or the Help. New Project Window Features

49 49 Recording Toolset The Recording toolset displays the Bins tab of the Project window, the SuperBin in Frame view, the Record tool, the Source/Record monitor in minimized form, and the Timeline. n For more information on the Record tool, see the Avid NewsCutter XP User s Guide or the Help. Using Toolsets

50 50 Edit Toolset The Edit toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Audio Mix tool, and the Timeline. n For more information on the Audio Mix tool, see the Avid NewsCutter XP User s Guide or the Help. New Project Window Features

51 51 Effects Editing Toolset The Effects Editing toolset displays the Effect Palette in the Project window (Effects tab), the SuperBin in Brief view, the Effect Editor, the Source/Record monitor, and the Timeline. n For more information on the Effect Editor and the Effect Palette, see the Avid NewsCutter XP Effects Guide or the Help. Using Toolsets

52 52 Audio Editing Toolset The Audio Editing toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Automation Gain tool, and the Timeline. n For more information on the Automation Gain tool, see the Avid NewsCutter XP Effects Guide or the Help. New Project Window Features

53 53 Customizing Toolsets To customize the toolset workspace: 1. Open other tools with which you want to work and position them where you want them. 2. Choose Save Current from the Toolset menu. The next time you choose the customized toolset, it appears with your changes. n To remove your customizations: t Choose Restore Current to Default from the Toolset menu. Linking Toolsets to Other Settings You can link the current toolset to custom settings or to unnamed settings. To link a toolset to another setting: 1. Choose the toolset you want to link from the Toolset menu. 2. Choose Link Current to from the Toolset menu. Using Toolsets

54 54 The Link Toolset dialog box appears. 3. Choose Link to Named Settings from the Links to Current Toolset pop-up menu. 4. Type the name of the other setting to which you want to link the toolset. For more information about creating and naming custom settings, see the Avid NewsCutter XP User s Guide or the Help. 5. Click OK The active toolset is linked to the custom setting you specified. You might want to link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting. To link a toolset to an unnamed setting: 1. Choose the toolset you want to link from the Toolset menu. 2. Choose Link Current to from the Toolset menu. The Link Toolset dialog box appears. 3. Choose Link to Unnamed Settings from the Links to Current Toolset pop-up menu. The active toolset is linked to all the unnamed settings in the Settings scroll list. New Project Window Features

55 55 Conserving Screen Real Estate with the SuperBin You can use the SuperBin to conserve screen real estate. The SuperBin lets you open different bins in a single bin window and switch between the bins, keeping them open with only one visible at a time. You can also switch a bin between being open in its own window and being open in the SuperBin, and you can move or copy clips and sequences into or out of the SuperBin. n When SuperBin is enabled, you open bins and move between bins by single-clicking the bin names in the Project window, instead of double-clicking them. Enabling the SuperBin To enable the SuperBin: 1. Click the Settings tab in the Project window. 2. Double-click Bin in the Settings scroll list. The Bin Settings dialog box appears. Conserving Screen Real Estate with the SuperBin

56 56 3. Select Enable SuperBin, and then click OK. The next time you click a bin in the Project window, it opens in the SuperBin. Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. See Enabling the SuperBin on page Click the Bins tab in the Project window. 3. Click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: followed by the name of the bin. n When SuperBin is enabled, single-click the bin name to open it. Double-clicking the bin name opens the bin in its own window. SuperBin icon New Project Window Features

57 57 To view a bin previously opened in the SuperBin: 1. Click the Bins tab in the Project window. 2. Click the bin name. The bin reappears in the SuperBin. Closing the SuperBin To close the SuperBin: t Click the Close button. All bins opened in the SuperBin close. Deleting the SuperBin To delete the SuperBin: 1. Click the Bins tab in the Project window. 2. Right-click the bin, and then choose Delete from the shortcut menu. Moving Bins into and out of the SuperBin You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window. To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin s icon in the Project window. The individual bin window closes and the bin appears in the SuperBin. Conserving Screen Real Estate with the SuperBin

58 58 To move a bin out of the SuperBin and into its own window: 1. Click the Bins tab in the Project window. 2. Double-click the open bin s icon in the Project window. The bin disappears from the SuperBin and appears in its own window. Moving Clips and Sequences into and out of the SuperBin To move a clip or sequence into the SuperBin: n You t Drag the clip or sequence from another open bin window into the SuperBin. The clip or sequence moves into the SuperBin. can copy a clip or sequence from the SuperBin directly to a bin in the Project window. To move a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence moves into the bin in the Project window. Copying Clips and Sequences into and out of the SuperBin To copy a clip or sequence into the SuperBin: n You t Press and hold the Alt key, and then drag a clip or sequence from another open bin window into the SuperBin. The clip or sequence moves into the Superbin. can copy a clip or sequence from the SuperBin directly to a bin in the Project window. New Project Window Features

59 59 To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Press and hold the Alt key, and then drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence is copied into the bin in the Project window. Desktop Delay NewsCutter XP uses a combination of hardware to provide for full audio and video playback capabilities. The use of an OHCI (Open Host Controller Interface) or 1394 board to input and output DV signals along with the output to a computer s desktop monitor and consumer audio chip could present playback sync issues. Adjusting the Play Delay Offset The Desktop Play Delay dialog box allows you to adjust the offset between audio and video playback on NewsCutter XP. With a camera or transcoder connected to your system, play a sequence in the Timeline. If the Source/Record monitor plays back video and audio ahead of the camera or transcoder, you can adjust this offset. Playback on the Source/Record monitor can be delayed by the number of frames chosen as an offset so that the video and audio play simultaneously to the camera or transcoder and the Source/Record monitor. To adjust the offset: 1. In the Project window, click the Settings tab. The Settings scroll list appears. 2. Double-click Desktop Play Delay. Desktop Delay

60 60 The Desktop Play Delay dialog box appears. 3. Click the slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset. Timeline Settings Addition The Timeline Settings dialog box includes a new option, Highlight Suggested Render Areas After Playback. New Project Window Features

61 61 The setting is selected as the default. This option allows you to display thin colored indicator lines in the Timecode track of the Timeline. These thin colored lines display information about the real-time effects in your sequence. n For more information on real-time effects, see the Avid NewsCutter XP Effects Guide or the Help. Timeline Settings Addition

62 62 New Project Window Features

63 CHAPTER 4 New Audio Features This chapter describes the changes made for this release that affect how you work with audio within the NewsCutter XP application. The following topics provide information on these new features: Audio Project Settings Change Audio Meters in the Timeline Dealing with Low Latency Audio in Your Sequence Adjusting Volume Control Audio Project Settings Change The Audio File Format and Locked Audio pop-up menus have been moved from the General Settings dialog box to the Audio Project Settings dialog box. The new name for the Locked Audio pop-up menu is now DV Audio Pattern. You can choose either Locked Audio or Unlocked Audio from the DV Audio Pattern pop-up menu. n If you open an existing project in Avid NewsCutter XP Release 3.0, the default settings will apply. You must then select again any previously selected options in the Audio Project Settings dialog box.

64 64 Audio Meters in the Timeline The Audio meter in the Timeline allows you to view and adjust audio levels without opening the Audio tool. The Audio meter displays two channels of audio. To display the Audio meters in the Timeline: t Click the Show Audio Meter button. The Audio meters display in the Timeline. Audio Meter Menu button Master Volume button Tracks In/Out toggle buttons When a sequence is in the Timeline and you press the Play button, the Audio meter displays the audio levels of the audio tracks in your sequence. n When the Audio meter is hidden, extra mappable buttons are available. For more information on mapping buttons, see Mapping User-Selectable Buttons in the Avid NewsCutter XP User s Guide or the Help. New Audio Features

65 65 Using the Audio Meter Menu The Audio Meter menu commands are the same as the commands available in the Audio tool. n For more information on these options, see the Avid NewsCutter XP User s Guide or the Help. Table 4-1 Audio Meter Menu Commands Command Description Hide Audio Meters/Show Audio Meters Displays or hides the Audio meters in the Timeline. Peak Hold Infinite Hold Reset Peaks Set Reference Level Set Calibration Tone Play Calibration Tone Create Tone Media Keeps the highest meter value displayed in the meters for a short duration after it is hit. Keeps the highest meter value displayed in the meter infinitely. Clears the meters of any values. Opens the Set Reference Level dialog box. Allows you to change the default audio reference level. Opens the Set Calibration Tone dialog box. Allows you to choose the tone frequency to play. Plays the calibration tone. Click anywhere in the Timeline to stop the calibration tone. Opens the Create Tone Media dialog box. Channels 1&2 a Displays tracks 1 and 2. Channels 3&4 a Displays tracks 3 and 4. a. If your project is set to a 32-kHz sample rate and you have a DV device connected, you can have four channels of audio. The Audio meter in the Timeline can display only two channels at a time. You can choose which two to display, Channels 1&2 or Channels 3&4. Audio Meters in the Timeline

66 66 Dealing with Low Latency Audio in Your Sequence When you are working with the audio tools (Audio EQ tool, Automation Gain tool, and Audio Mix tool) your audio might experience a performance delay when playing or recording a clip. Depending on your system and the audio sample rate when you adjust the audio controls in each of these tools, there can be a delay from the time you adjust the control until the time the audio is heard through the speaker. NewsCutter XP allows you to reduce the audio latency by adjusting the number of samples that are preloaded when you play a clip or sequence. This would preload information into the sequence before Loop Play or Record and allow audio and the use of audio controls to sync up. Adjusting for Audio Latency To adjust for low audio latency in your clip or sequence: 1. With a sequence in the Timeline, open an audio tool (Audio EQ tool, Automation Gain tool, or Audio Mix tool). 2. In the audio tool, click the Audio Loop Play button to play the sequence. 3. Use the sliders to adjust the audio. If the audio delays while you drag the sliders and you don t hear it through the speaker immediately, you can adjust this delay. 4. In the Project window, click the Settings tab. The Settings scroll list appears. New Audio Features

67 67 5. Double-click Audio. The Audio Settings dialog box appears. 6. Click Audio Tools Preload, and choose a sample. The lower the sample rate, the less likely that a delay will occur. However, the lower the sample rate, the more likely that an audio underrun might occur. 7. Click OK. 8. Click the Audio Play Loop button again. You might have to choose another sample rate from the Audio Tools Preload pop-up menu to determine what works for your sequence. Dealing with Low Latency Audio in Your Sequence

68 68 Adjusting Volume Control NewsCutter XP allows you to adjust your speaker or headphone volume without leaving the application. In earlier releases, you had to adjust the speaker or headphone volume from the Windows desktop. To adjust the volume control: 1. From the Timeline, click and hold the Master Volume button. Master Volume button Audio Meter Menu button If you do not see the Master Volume button, click the Audio Meter Menu button, and then choose Show Audio Meters. The Master Volume button is displayed with the Audio meters. The Volume Control slider appears. 2. Click the volume control slider, and drag it to adjust the audio level you prefer. 3. Release the mouse button. n Adjusting the volume control affects the volume only while you are in the NewsCutter XP application. Once you exit the application, the volume control defaults to your desktop settings. New Audio Features

69 69 To mute volume t From the Timeline, click the Master Volume button. A line appears through the button, and no audio is heard through your speakers or headphones. Master Volume Control Button Added to the Audio Tool Similar to the Timeline Master Volume button, the Show/Hide Volume Control button has been added to the Audio tool. This allows you to adjust your speaker or headphone volume without leaving the application. Show/Hide Volume Control button Mute button Volume Control slider Adjusting Volume Control

70 70 To adjust the volume control: t t Click the Show/Hide Volume Control button to display the Volume Control slider. Use the slider to adjust the audio level. Click the Mute button to mute the volume of your speakers or headphones. A check mark appears in the Mute button, and no audio is heard through your speakers or headphones. New Audio Features

71 CHAPTER 5 New Editing Features This chapter describes the changes made for this release that affect editing functions available in NewsCutter XP application. The following topics provide information on these new features: Adding Fades (Dissolves) with Head and Tail Fade Buttons Selecting Slip or Slide Trim Performing an Alternate Edit Using Match Frame with Motion Effects MetaSync Adding Fades (Dissolves) with Head and Tail Fade Buttons You can use the Head Fade and Tail Fade buttons to add a fade (or dissolve) for audio and video tracks. To add a fade (dissolve): 1. Place the blue position indicator on a clip where you want to end or begin the fade (dissolve). 2. Select the tracks on which you want the fade (dissolve) to appear.

72 72 3. Choose Command Palette from the Tools menu. Head Fade button Tail Fade button n If 4. Click the FX tab, and then click the Active Palette button. 5. Click the Head Fade or the Tail Fade button. The fade (dissolve) appears in the Timeline. two clips are edited together, the fade (dissolve) crosses between the two. Selecting Slip or Slide Trim You can now select slip or slide trims through the Timeline shortcut menu. To select slip or slide trims: 1. Click the Trim Mode button on the Other tab of the Command palette or on the Timeline top toolbar to enter Trim mode. 2. Place the blue position indicator on the segment you want to slip or slide. 3. Right-click in the Timeline. The Timeline shortcut menu appears. 4. Choose either Select Slip Trim or Select Slide Trim. The Slip or Slide rollers appear at either end of the segment. For more information about performing a slip or slide trim, see Slipping or Sliding Clips or Segments or Working in Trim Mode in the Avid NewsCutter XP User s Guide or the Help. New Editing Features

73 73 Performing an Alternate Edit Using Alternate Edit mode allows you to overwrite a selected clip in a sequence with several clips located in a special bin called Alternate Edits. This is done by placing the position indicator on a clip in the Timeline and clicking the Alternate Edit button. Each time you click the button, the clip where the position indicator is located is replaced with a clip from the Alternate Edits bin. The order the clips appear in the Alternate Edits bin is the order that they are used for the overwrites in the sequence. However, if the clip you are replacing in the sequence is also in the Alternate Edits bin, the selection defaults to the next clip in the bin. To perform an alternate edit: 1. Load a sequence in the Timeline. 2. Create a bin called Alternate Edits. 3. Place clips or subclips in the Alternate Edits bin you are considering for the sequence. n Check the duration of the clip in the sequence. The clips or subclips in the Alternate Edits bin must be as long or longer than the clip in the sequence you are replacing. Performing an Alternate Edit

74 74 The clips swapped into the sequence start at the beginning of the clip or subclip unless you mark an IN point or an OUT point. When OUT points are used, the sequence backfills the duration on the clip being replaced, starting from the OUT point. 4. Move the position indicator in the Timeline to the clip you want to replace. Position indicator 5. Choose Command Palette from the Tools menu. 6. Click the Play tab. 7. Click the Alternate Edit button. The system replaces the clip and performs an Edit Review command. (For information on Edit Review, see the Avid NewsCutter XP User s Guide or in the Help.) n The replacement clip prerolls in the sequence using the preroll time set in the Trim Settings dialog box. Each time you click the Alternate Edit button, a clip from the Alternate Edits bin overwrites the selected clip. New Editing Features

75 75 8. (Option) Perform successive alternate edits as follows: a. Stop playing the sequence when the position indicator is on the clip being replaced, or move the position indicator to the clip being replaced. b. Click the Alternate Edit button. Repeat this process to cycle through all the clips in the Alternate Edits bin. Using Match Frame with Motion Effects You can locate the source clip (a master clip or subclip) of a motion effect by using the Match Frame feature. For information about using match frame, see the Avid NewsCutter XP User s Guide or the Help. To use the Match Frame feature to locate the source clip of a motion effect: 1. In the Timeline, place the position indicator on the motion effect that you want to match. 2. Select the track for the motion effect that you want for match. 3. Alt+click the Match Frame button in the Other tab of the Command palette. The source clip of the motion effect is loaded into the Source/Record monitor. Using Match Frame with Motion Effects

76 76 MetaSync Menu items have been added to the Clip menu and the Timeline shortcut menu in this release of NewsCutter XP for future support of the Avid MetaSync application. MetaSync gives editors the tools to synchronize metadata with traditional video and audio content. With MetaSync, you can insert pointers to metadata directly into the Timeline and easily modify the timing and duration of the enhanced material. The metadata, in turn, point to additional content, such as files from a scriptwriting program, closed captioning, HTML files, database records, machine controls, or remote commands. Other applications can then process this additional content for final production and distribution, opening new opportunities for content creation in the emerging areas of ITV (interactive television), DVD, broadband, and converging media. For availability and updated information, see your Avid representative. New Editing Features

77 CHAPTER 6 New Input and Output Features NewsCutter XP includes several new features used in the recording, importing, and exporting of media files. These include new options for operating NewsCutter XP in conjunction with other devices (such as edit controllers and decks), in a workgroup environment, and with new media formats. These features are covered in the following topics: Transcoders Added to the Deck Configuration Dialog Box Notes Field Added to the Deck Settings Dialog Box VTR Emulation DV Scene Extraction Selecting the Preroll Method Importing Photoshop Graphics Importing Editcam Files Using the Avid DV Codec Exporting OMFI and AAF Files Sending Material Out for Review

78 78 Transcoders Added to the Deck Configuration Dialog Box When connecting a new DV device (transcoder or camera) to your NewsCutter XP system, configure this device through the Deck Configuration dialog box. The Deck Configuration dialog box now allows you to choose a transcoder from the Device menu. When you add a DV device, the system identifies the device when it is connected to NewsCutter XP and recognizes the device when you switch between a camera and a transcoder when recording. To configure a transcoder: 1. Follow the instructions for configuring decks in the Avid NewsCutter XP User s Guide or in the Help. 2. When you click Add Deck in the Deck Settings dialog box, instead of choosing a deck, choose your transcoder from the Device pop-up menu. Choose the manufacturer and then the model. If your transcoder does not appear in the list, choose Generic and then choose DVTranscoder-NTSC. 3. Continue with the deck configuration procedure. New Input and Output Features

79 79 Notes Field Added to the Deck Settings Dialog Box The Deck Settings dialog box (which you access through the Deck Configuration dialog box) now includes a Notes field. The Notes field displays configuration information, supplied by Avid, about the deck or DV device you have selected. n Not all decks or devices include this information. Notes field You can supply your own notes in the Description field, and then save the configuration. For more information on recording, see the Avid NewsCutter XP User s Guide or the Help. Notes Field Added to the Deck Settings Dialog Box

80 80 VTR Emulation VTR emulation allows you to use NewsCutter XP like a videotape recorder (VTR), giving you access to many of the features of an external editing suite through the NewsCutter XP interface. VTR Emulation covers two basic functions: VTR record emulation controls the recording of media into NewsCutter XP while using an edit controller. VTR record emulation allows you to control sequences as follows: - You can record, shuttle, step (jog), play, cue, and mark IN and OUT points based on master sequence timecode for recording from a VTR. IN and OUT points appear in the Timeline only if the controller sends that information to the NewsCutter XP system. - Smooth audio scrub is enabled by default, emulating analog audio scrub on a VTR. VTR play emulation controls sequences loaded in the Source/Record monitor and played back through an edit controller to the edit room, along with other sources. VTR play emulation allows you to control sequences in the same way as record emulation, but you can control playback only. For example, you cannot arm tracks or send record commands with NewsCutter XP while in VTR play emulation. n When using the NewsCutter XP system as a source deck during VTR emulation, you might experience preroll and playback problems indicating that the system cannot sync the two decks. If this mode of operation is common in your environment, Avid recommends using the NewsCutter system to perform this task. Capture service control is included in the VTR emulation feature. When you select Direct Record Emulation in the VTR Emulation Settings dialog box, NewsCutter XP performs like a VTR and waits for an external controller to operate the record functions. New Input and Output Features

81 81 To use VTR emulation, you must connect a supported controller (any controller that uses Sony serial control protocol) to the system by using a special Avid 9-pin VTR emulation cable and a serial adapter. For information about the cable connection, see the setup information that came with your system. Selecting VTR Emulation Settings To open the VTR Emulation Settings dialog box: t Double-click VTR Emulation in the Settings scroll list of the Project window. The VTR Emulation Settings dialog box appears. VTR Emulation

82 82 Table 6-1 describes the VTR Emulation settings options. Table 6-1 VTR Emulation Settings Options Option Emulation Type Device Code Runup (frames) Edit Delay Description Direct Record Emulation is used when you want to do a quick record. This mode is also known as crash record. It allows NewsCutter XP to record the media being sent to it immediately without setting up parameters like IN and OUT points. Edit Record Emulation supports all the commands. This mode is used when you want to record and shuttle, step (jog), play, cue, and mark IN and OUT points with the controller. n These options are not available for VTR play emulation. Select the device code that identifies the VTR the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW 2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator or you want to emulate a specific VTR. Specify the time (measured in frames) it takes the deck to start playing from a cued position. The default value is 1 frame. When the runup times of two video devices are similar, it is easier for the edit controller to synchronize the devices during preroll. If your Avid VTR emulator does not sync up as often as you want, try adjusting this value so the two devices attain full speed at nearly the same time. Specify the amount of time measured in fields, before the actual IN point, that the edit controller sends the Record command. The default value of 6 matches the default device code; you need to change Edit Delay only if the edit controller does not recognize the device code. New Input and Output Features

83 83 Table 6-1 VTR Emulation Settings Options (Continued) Option Inhibit preloading when cueing by single frame. Description Do not inhibit preloading under normal circumstances. Preloading occurs by default in NewsCutter XP. It improves playback performance by preparing the digital media for playback each time you cue a new frame. This option causes the system to match the behavior of a tape deck when you step through footage frame by frame. Avid recommends this option only for projects that require quick cueing of one frame after another for example, when you are using the system to present a sequence of still images as in a slide presentation. When you select Direct Record Emulation mode you need to change the system s serial driver to a Microsoft driver called msports.inf. The Edit Record Emulation mode uses an Avid driver called avid2k.inf. By default, the avid2k.inf driver is installed with NewsCutter XP. If you have Edit Record Emulation as your VTR Emulation Settings dialog box setting, there is nothing you need to do. If you use the Direct Record Emulation setting, you need to install the Microsoft driver. When you change the setting from one to the other you need to swap drivers. n If you are using VTR emulation with Avid Media Browse in a workgroup environment, you need to install the Microsoft driver. To install or change the system s serial driver: 1. Quit the NewsCutter XP application. 2. Right-click the My Computer icon, and then choose Manage. The Computer Management window opens. 3. Click Device Manager in the left pane. 4. Expand the Ports (COM & LPT) by clicking the plus sign (+) in the right pane. VTR Emulation

84 84 5. Double-click the Communications Port you are using. The Communications Port dialog box appears. 6. Click the Driver tab. 7. Click the Update Driver button. The Upgrade Device Driver Wizard opens. 8. Click Next. A dialog box appears. 9. Select the Display a list of known drivers for this device so I can choose a specific driver option, and then click Next. A dialog box appears. 10. Click the Specify a location option. A dialog box appears. 11. Click the Browse button and browse to: C:\winnt\system32\drivers 12. Select msports.inf or avid2k.inf, depending on the Emulation Type (Direct or Edit) you select, and then click Open. 13. Click OK. 14. Click Yes. 15. Click Finish. 16. Click Close. 17. Click Yes to restart the system. 18. When the system reboots and you log in, set your new VTR Emulation Type in the NewsCutter XP application. New Input and Output Features

85 85 Enabling VTR Record Emulation Before you enable VTR record emulation, be sure the controller is properly connected. To enable VTR emulation: 1. Select Serial (COM) Ports from the Tools menu. The Serial (COM) Ports tool opens. 2. Choose the appropriate port from the VTR Emulation pop-up menu. 3. Close the Serial (COM) Ports tool. The system saves the setting as a Site setting, effective for all projects. 4. Choose VTR Emulation from the Clip menu when you are ready to use the system for recording. A check mark appears next to the command to indicate the system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that VTR emulation is active. n The VTR Emulation command behaves like a Local/Remote switch on a playback device, with VTR record emulation disabled (in Local mode) by default when you start the system. 5. Choose Record from the Tools menu. The Record tool opens. 6. Select the tracks onto which you want to record by clicking the Channel Selection buttons. 7. Choose a bin from the Bin pop-up menu. VTR Emulation

86 86 8. Click the Toggle Source button until VTR appears. 9. Click the Timeline and move the position indicator to a point in a sequence that allows sufficient preroll. Sufficient preroll slightly exceeds the preroll setting of your edit controller. n The recorded media is not recorded into your sequence. Your sequence is used only to give the edit controller a timecode reference. Instead, the recorded media generates a master clip that is placed in the bin you selected from the Bin pop-up menu in the Record tool. 10. Using the controller, mark IN and OUT points. 11. Control recording from the controller. DV Scene Extraction DV Scene Extraction allows you to automatically generate subclips and locators based on time-of-day (TOD) timecode information contained in the DV video format. Discontinuities in the DV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV camera. Using this feature, you can record an entire DV tape as a single master clip and have the system automatically locate all the takes for you, eliminating the need to manually log. You can perform a DV Scene Extraction in two ways: Set up the DV Scene Extraction option before recording. When recording is performed, subclips and locator marks appear in the bin. Perform DV Scene Extraction after recording. Select those clips in the bin for which you want to generate subclips and locator marks. New Input and Output Features

87 87 n You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD timecode breaks. DVCAM and DVCPRO formats do not provide TOD metadata; therefore, this is not a feature for those formats. n DV Scene Extraction will not work on audio-only clips. To set up DV Scene Extraction before recording: 1. In the Project window, click the Settings tab. The Settings scroll list appears. 2. Double-click Record Settings. The Record Settings dialog box appears. 3. Click the DV Options tab. 4. Select DV Scene Extraction. DV Scene Extraction

88 88 5. Select one of the following options: - Add Locators: Creates locator marks where the TOD timecode breaks occur while recording. - Create Subclips: Creates subclips where the TOD timecode breaks occur while recording. - Both: Creates subclips and locator marks where the TOD timecode breaks occur while recording. 6. Click OK. 7. In the Record tool, click the Record button. n For more information about recording, see the Avid NewsCutter XP User s Guide or the Help. When recording has finished, subclips are created with the same source clip name and the file name extension.sub.01 where TOD breaks occurred. Locator marks appear in the master clip where TOD breaks occurred. To set up DV Scene Extraction after recording: 1. Open a bin, and select the clip or clips for which you want to create subclips or locator marks. 2. Choose DV Scene Extraction from the Bin menu. The DV Scene Extraction dialog box appears. 3. Select one of the following options: - Add Locators: Creates locator marks where the TOD breaks occur while recording. - Create Subclips: Creates subclips where the TOD breaks occur while recording. - Both: Creates subclips and locator marks where the TOD breaks occur while recording. 4. If you have chosen to create subclips, choose the bin where you want these subclips stored. New Input and Output Features

89 89 5. Click OK. In the bin, subclips are created with the same source clip name and the file name extension.sub.01 where TOD breaks occurred. Locator marks appear in the master clip where TOD breaks occurred. If you choose a clip that is non-dv or audio only, an error message appears, informing you that an incompatible clip was selected. These clips will be ignored during the DV Scene Extraction process. To cancel the process at anytime: t Press Ctrl+period. Selecting the Preroll Method The Record Settings dialog box includes a new option: Preroll Method. This option replaces the Use control track instead of timecode for preroll option. n You set the preroll (how many seconds the tape rolls before recording or starting a digital cut) in the Deck Settings dialog box. You can override this setting with the Custom Preroll option in the Record tool. For more information, see Preparing to Record in the Avid NewsCutter XP User s Guide or the Help. Selecting the Preroll Method

90 90 Preroll methods The Preroll Method pop-up menu in the Record Settings dialog box includes the following four methods that help you record more efficiently when a source tape contains timecode breaks: Best Available: NewsCutter XP first checks the tape for timecode to use for preroll. - If there is no timecode, or not enough timecode, the system uses the control track for preroll. - If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. After the system adjusts the preroll to the individual shot, it will return to using the user-specified preroll time until it needs to adjust the time again. - If the adjusted preroll time is too short to sync lock at the IN point, the system does not record the shot and displays an error message. New Input and Output Features

91 91 Use this method to record material as automatically as possible. As the system makes multiple attempts to preroll, this method might sometimes be slower but will almost always perform the preroll without interruption. Standard Timecode: NewsCutter XP uses timecode to determine the preroll point. If there is a not enough consecutive timecode (for example, if there is a break in the timecode), the system does not record the shot and displays an error message. Use this method if you know the timecode is consecutive or if you want to determine if there are timecode breaks. Best Available Control Track: NewsCutter XP uses the control track to determine the preroll point. - If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. After the system adjusts the preroll to the individual shot, it will return to using the user-specified preroll time until it needs to adjust the time again. - If the adjusted preroll time is too short to sync lock at the IN point, the system does not record the shot and displays an error message. Use this method if you know there are timecode breaks and want to record material as automatically as possible. Because the system does not use timecode, it might occasionally record the wrong frames if there is a problem with the control track. Standard Control Track: NewsCutter XP uses the control track to determine the preroll point. If there is a break in the control track, the system stops recording and displays an error message. Use this method if you know the control track is continuous or if you want to determine if there are breaks in the control track. Selecting the Preroll Method

92 92 To set the preroll method: 1. Double-click Record in the Settings scroll list of the Project window. The Record Settings dialog box appears. 2. Choose a method from the Preroll Method pop-up menu. 3. Click OK to close the dialog box and apply the options. Importing Photoshop Graphics You can import both single-layer and multilayered graphics created in Adobe Photoshop. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in NewsCutter XP. This section contains the following topics: Importing Single-Layer Photoshop Graphics Importing Multilayered Photoshop Graphics Importing Single-Layer Photoshop Graphics A single-layer graphic is a graphic that was created on a single layer or a layered graphic that was flattened in Photoshop. NewsCutter XP imports this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. If the graphic uses a transparent background or an alpha channel, NewsCutter XP creates a matte key. If the graphic uses a background color, NewsCutter XP creates a master clip. New Input and Output Features

93 93 To import a single-layer graphic, or a multilayered graphic that was flattened in Photoshop: n Single-layer t Follow the standard instructions for importing a graphic, as described in the section on Importing Files in the Avid NewsCutter XP User s Guide or the Help. files that contain transparency gradients or feathering and a transparent background do not import correctly. Partially transparent pixels are displayed with either white or black blended into them, based on the percentage of transparency. To avoid this problem, create an additional layer in the original Photoshop file that contains at least one pixel of information, such as a spot drawn with a paintbrush. Then import it as a layered file, as described in Importing Multilayered Files on page 98. In the message box, click Select Layers and select only the layer that contains the graphic elements; do not select the additional layer. Importing Multilayered Photoshop Graphics A multilayered graphic is a graphic file that was created in Photoshop with two or more layers. This section includes the following topics: Understanding Multilayered Graphics Import Importing Multilayered Files n You can import multilayered graphics created in Photoshop 6.0 or later. Understanding Multilayered Graphics Import When you import a multilayered graphic, you can import each layer as a separate object (a matte key or master clip). You can then manipulate individual layers like any other matte key or master clip. You can also import the graphic as a flattened image, or select the layers to import. Importing Photoshop Graphics

94 94 For example, a graphic artist might create a collage of still images, with a layer of text. The goal is to edit the collage into a sequence, building it up one image at a time, and then add the text. The following illustration shows the graphics and layers in Photoshop. NewsCutter XP imports each layer as an individual matte key with alpha channel. In this example, the graphic uses a background image, so the system creates the background image as a master clip. (If the graphic used a transparent background, the background layer would be imported as a matte key.) New Input and Output Features

95 95 The following illustration shows the layers as they appear in a bin. During the import, NewsCutter XP creates a sequence with each layer on a separate video track. This makes it easy to edit all layers into the final sequence. The sequence preserves the names and order of the layers from the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage. Importing Photoshop Graphics

96 96 Note the following: Graphics must be RGB 8 or 16 bits, or grayscale. Layer order and layer names are preserved during import. Hidden layers are imported as matte keys. Opacity is converted to Foreground level in the Matte Key effect. Text and shape layers are rasterized (converted from vector-based to bitmap) during import. Not all layer options and types are supported for import (see Table 6-2 and Table 6-3). For example, a title with a Drop Shadow and an Outer Glow effect would not keep these effects when imported. To preserve the effects in these layers, merge them in Photoshop (as described in the Photoshop documentation) and then import the file. You can also preserve layer effects and the original structure of the file by importing the file in two stages: 1. For the first import, click Select Layers in the message box that appears, and select all layers except the layers that contain layer effects. 2. For the second import, open Photoshop, hide the layers you have already imported, and show the layers that contain layer effects. During the import, click Flatten Image. The resulting image contains only the layers that have layer effects. Table 6-2 Support for Photoshop Layer Options Layer Option Supported Notes Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the layer into another layer that does not use a special blending mode. Only Normal mode is supported. New Input and Output Features

97 97 Table 6-2 Support for Photoshop Layer Options (Continued) Layer Option Supported Notes Opacity Yes The imported layer s Level is set to the opacity specified in Photoshop. You can adjust the Opacity levels in the Foreground Level control in the Effect Editor. Layer Group Partial Layer grouping is ignored. All layers, including grouped layers, are imported as individual layers. To preserve a clipping group, merge the grouped layers into the base layer. Layer Set Partial All layers within a set are imported as individual layers. Layer/Set Mask No Layer and set masks are ignored. To preserve a layer mask, apply it to the layer. To preserve a set layer, merge the set into an empty layer. To preserve a special layer s mask, rasterize the layer. Layer Style No Layer styles are ignored. To preserve a layer style, you must convert the style into layers. Table 6-3 Support for Photoshop Special Layer Types Layer Option Supported Notes Type Layer Yes Solid Layer Yes Solid layers are imported as a graphic with a full-screen opaque alpha channel. Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize. Importing Photoshop Graphics

98 98 Importing Multilayered Files To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import, as described in Understanding Multilayered Graphics Import on page Follow the standard instructions for importing a graphic, as described in Importing Files in the Avid NewsCutter XP User s Guide and in the Help. To create the matte correctly, you need to click the Options button and select the Alpha option Invert Existing. 3. Select one or more files and click Open. A message box appears. 4. In the message box, do one of the following: n Hidden t Click Flattened Image if you want to import the graphic as a single matte key or clip. NewsCutter XP flattens the file by combining the layers. This choice applies to all files you have selected for import. layers are not combined in the flattened image. Make sure all layers that you want in the final image are visible. In addition, layers with partial transparency do not display properly in the flattened, imported image. See Importing Single-Layer Photoshop Graphics on page 92. t t Click Sequence of Layers if you want to preserve layers (up to the number of tracks supported by NewsCutter XP). Additional layers are imported into the bin, but not as tracks in a sequence. This choice applies to all files you have selected for import. Click Select Layers if you want to select which layers to preserve New Input and Output Features

99 99 The Select Layers dialog box appears. Select the layers you want to import and click OK. If you select more layers than the number of tracks supported, the additional layers will be imported but will not be included in the sequence. NewsCutter XP displays messages as it creates media for each layer. At the end of the process, the objects are displayed in the bin you have selected. If you are importing multiple files, and one or more files have more layers than the number of tracks supported, and you clicked Sequence of Layers, a message box appears at the end of the import process. To see a list of the files that contained more layers than could be imported: t Choose Console from the Tools menu. The list shows all files that were imported and the maximum number of layers possible. You might want to import each file again individually and choose which layers to import. Importing Photoshop Graphics

100 100 The matte keys will be edited into the sequence as downstream keys. In the Effect Editor, to access parameters such as Position, deselect the Downstream Key option. After adjusting the parameters, select the Downstream Key option again. You might need to render multiple matte keys. For complete information on downstream keys and rendering, see the Avid NewsCutter XP Effects Guide or the Help. Importing Editcam Files You can import clips recorded with the Ikegami disk-based Editcam or Editcam-station products. The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter technology. To import Editcam files: 1. (Option) Choose Mount All from the File menu. Performing this step is not necessary if you performed it previously or if you inserted the FieldPak drive before starting the NewsCutter XP application. 2. Open a bin. 3. Choose Import from the File Menu. The Select files to Import dialog box appears. 4. Choose CamCutter Files from the Files of type pop-up menu. Select the CamCutter bins as follows: a. From the desktop, select the FieldPak by selecting the FieldPak drive letter. b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the.spl files to be imported. n The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but they can be. New Input and Output Features

101 Ignore the field specifying video resolution to be imported. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. The system displays a dialog box asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters as appropriate. n If the drive is not listed, return to step 1 and follow the procedure again. 9. Complete the import process. NewsCutter XP creates entries in the selected bins that reference the clips on the FieldPak. Note the following restrictions: The CamCutter clips are not copied to a media drive. NewsCutter XP bins reference the clips stored on the FieldPak. If you remove the FieldPak, the referenced clips will appear as Media Offline. The FieldPak has limited performance and is used only to record and play back clips. If you require multiple streams of video to perform advanced effects, the data might not be supplied fast enough for proper operation. If this situation occurs, you can do one of the following: t t t Render the effects. Consolidate the sequence to a valid media drive. Import the CamCutter clips as OMFI files. This process copies the clips to a media drive. For additional information on Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the Web page Importing Editcam Files

102 102 Using the Avid DV Codec QuickTime Reference movies and QuickTime movies can use the Avid DV codec for export. The Export Settings dialog boxes for QuickTime Reference movies and QuickTime movies include a new option, Use Avid DV Codec. For optimum quality for viewing on a NewsCutter XP system, use the Avid DV Codec option. This option is selected by default. If you have two or more computers that have access to the same media, deselect Use Avid DV Codec when you export DV 25 media. n The Avid DV codec runs only on systems with the NewsCutter XP or the Avid Xpress DV dongle attached. New Input and Output Features

103 103 For more information on exporting as a QuickTime Reference movie, see Exporting as a QuickTime Reference Movie in the Avid NewsCutter XP User s Guide or in the Help. For more information on exporting as a QuickTime movie, see Exporting as a QuickTime Movie in the Avid NewsCutter XP User s Guide or in the Help. Exporting OMFI and AAF Files The options for exporting OMFI (OMF Interchange) and AAF (Advanced Authoring Format) files have changed for this release. You can now consolidate or copy media and create an OMFI or AAF file in one step. Exporting OMFI and AAF Files

104 104 Exporting Through OMF Interchange OMF Interchange (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence. This editing information, called a composition, is the OMFI representation of the sequence created in your NewsCutter XP system. The OMF Interchange format is the result of cooperative efforts of many industry and standards partners and Avid Technology, Inc. Any other program that supports OMFI can read OMFI files, even if the program resides on a different computer platform. As a result, with OMFI you can transfer files between different applications on different platforms without worrying about cross-platform translations. This can be very effective for importing animation or audio files created on proprietary platforms. c To avoid errors and incompatibilities when you import and export OMFI files, observe the recommendations in Exporting OMFI and AAF Files on page 103. Exporting Through AAF Advanced Authoring Format (AAF), is a cross-platform, multimedia file format that allows interchange of media and composition information between AAF-compliant applications. These applications are primarily content creation tools such as Avid editing systems, Avid DS, Adobe Photoshop and After Effects, and Sonic Foundry's Sound Forge, to name a few. New Input and Output Features

105 105 There are two general types of data in an AAF file: Media such as audio and video Composition information, or metadata, that provides the instructions needed to combine and modify the media portions of the AAF file to produce a complete multimedia program Choosing an OMFI or an AAF Transfer Method OMF Interchange and AAF, as implemented in NewsCutter XP, provide two basic methods for exporting files. Method 1: Compositions with Linked Media NewsCutter XP can export an OMFI or an AAF file that contains only the editing information about a selected master clip or sequence. The file also contains links to the media used in the clip or sequence. You then need to transfer both the OMFI or the AAF file and the media files or to rerecord the media on the other system. After you have transferred the media once, you can transfer revised composition-only files, unless you consolidate the media (in which case, you must transport the consolidated media files, as well). You can consolidate media during or before the export (see Exporting OMFI or AAF Files on page 106). Method 2: Compositions with Embedded Media NewsCutter XP can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See Exporting OMFI or AAF Files on page 106. Exporting OMFI and AAF Files

106 106 Exporting OMFI or AAF Files To export master clips or sequences as OMFI or AAF files: 1. Select the master clip or sequence you want to export. 2. Choose Export from the File menu. The Export As dialog box appears. 3. Click the Options button. The Export Settings dialog box appears. New Input and Output Features

107 Choose OMF 1.0, OMF 2.0, or AAF from the Export As pop-up menu. 5. Select options as described in Table 6-4 on page Do one of the following: t t To save your settings in the existing settings file, click Save. The Export As dialog box appears again. To create a new settings file, click Save As. Exporting OMFI and AAF Files

108 108 The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. The Export As dialog box appears again. 7. (Option) In the Export As dialog box, change the file name. In most cases, keep the file name extension the same. 8. Select the destination folder for the file. 9. Click Save. The file is exported and appears at the chosen destination. Table 6-4 Export Settings Dialog Box (OMFI and AAF Settings Options) Option Suboption Description Export As: OMF 1.0 Select this option if the application to which you are exporting does not support OMFI Version 2.0. OMF 2.0 AAF Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0. Select this option if the application to which you are exporting supports AAF. Include All Video Tracks in Sequence Select this option to include all video tracks from the sequence in the OMFI or the AAF file. The Video Details tab appears. New Input and Output Features

109 109 Table 6-4 Export Settings Dialog Box (OMFI and AAF Settings Options) (Continued) Option Suboption Description Include All Audio Tracks in Sequence Select this option to include all audio tracks from the sequence in the OMFI or the AAF file. The Audio Details tab appears. The following options appear in both the Video Details tab and the Audio Details tab: Export Method: Destination Folder: Target Drive for Consolidate: Link to Current Media Copy Media and Link to Copied Media Consolidate and Link to Consolidated Media Embed Media Consolidate and Embed Media Set Select this option when you want to export an OMFI or an AAF composition with links to the media in its current location. Select this option when you want to export an OMFI or an AAF composition with links to media you have copied to another drive. Select this option when you want to export an OMFI or an AAF composition with links to media that you have consolidated. For more information about consolidating, see the Avid NewsCutter XP User s Guide or the Help. Select this option to include (embed) video or audio media in the OMFI or the AAF file. Select this option to first consolidate, then embed media in the OMFI or the AAF file. Select the drive from the Target Drives list. The default handle length is 60 frames. If you want to change the default, type the length of the handles, in frames. For more information about consolidating, see the Avid NewsCutter XP User s Guide or the Help. Click Set to select the drive and folder to which you want to copy the media files. Select the drive where you want to create the consolidated media files. Exporting OMFI and AAF Files

110 110 Table 6-4 Export Settings Dialog Box (OMFI and AAF Settings Options) (Continued) Option Suboption Description Handle Length: nn Frames Enter the number of frames you want to use as handles for consolidated clips. Handles refer to material outside the IN and OUT points and are used for dissolves and trims with the new, shorter master clips.the default is 60. The following options appear in the Audio Details tab only: Include Rendered Audio Effects Convert Audio Sample Rate to: Convert Audio File Format to: Project rate, 32 khz, 44.1 khz, or 48 khz WAVE AIFF-C Select this option to render audio effects during export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information see Audio Project Settings Change on page 63.) You can also use this option to change the sample rate if the application to which you are exporting does not support the current sample rate. If your sequence has a mix of audio file formats, and you want to embed media, you must choose a single audio file format. Audio files are converted to this format during export. This choice is optional if you want to consolidate and link media. Select WAVE (.WAV file name extension) to link to or embed audio tracks in the WAVE format. Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format. Select AIFF-C to link to or embed audio tracks in the industry-standard AIFF-C format. Note that your Avid system does not compress audio media. New Input and Output Features

111 111 Sending Material Out for Review NewsCutter XP and Avid s NetReview provide an easy method for obtaining the required reviews and approvals for your material during the production process. Your selected reviewers can access the review material through the NetReview server and can add their comments to the material. You can view the reviewer comments using the Locators window in NewsCutter XP. For more information about using NetReview, see the Avid NetReview User s Guide or the NetReview Help. c Before using NetReview, you and your reviewers must have accounts and install the NetReview client software. Reviewing Material To obtain review comments and approval of material: 1. Export the sequence that you want to have reviewed as a QuickTime movie. For more information on exporting as a QuickTime movie, see the Avid NewsCutter XP User s Guide or the Help. 2. Log in to NetReview through your Web browser and click the Send Media for Review button. 3. Follow the steps to upload media and enter or select reviewers for distribution access. The NetReview server sends an to your selected reviewers. The provides a link to the NetReview server to allow the reviewer access to the media files. 4. (Option) If you chose to encrypt the file, send the passcode to the reviewers. Sending Material Out for Review

112 Reviewers do the following: a. Follow the instructions in the message to access the page containing the review file. b. Add comments to the media by using the review tool installed as part of the client software. The review tool stores the reviewer s comments in the NetReview database. When the reviewer finishes reviewing the media, an is automatically sent to you that indicates reviewer comments are available. For more information about using the review tool, see the Avid NetReview User s Guide or the NetReview Help. 6. Save the review comments to an R&A file on a local drive. n Files containing the comments should have the file name extension.rna. 7. Open the Locators window and display the reviewer comments. For procedures on displaying the reviewer comments, see Opening R&A Files in the Locators Window on page 112. Locators appear at the specific frame within the sequence where the reviewer commented on your review material. For more information about using the Locators window, see the Avid NewsCutter XP User s Guide or the Help. Opening R&A Files in the Locators Window You can view and edit reviewer comments in the Locators window. There are two methods for opening R&A files in the Locators window: Choose Import R&A File from the Locators Window Fast menu or from the File menu. Drag the R&A file into the Locators window. New Input and Output Features

113 113 To open an R&A file from the Locators window: 1. Choose Locators from the Tools menu. The Locators window opens. 2. Do one of the following: t t Click the Fast Menu button and choose Import R&A File from the Fast menu. Choose Import R&A File from the File menu. A dialog box appears. 3. Navigate to the R&A file and select it. 4. Click Open. The comments in the R&A file appear in the Locators window. To open an R&A file using the drag-and-drop method: 1. Choose Locators from the Tools menu. The Locators window opens. 2. Open the folder that contains the R&A file that you want to view, positioning the folder to make the Locators window visible. 3. Select the R&A file you want to view. 4. Drag the R&A file into the Locators window, and release the mouse button. The comments in the R&A file appear in the Locators window. Displaying Information in the Locators Window You can display creation information for each locator displayed in the Locators window. Displaying the creation information is useful when you want to identify when your reviewers made their comments. Sending Material Out for Review

114 114 To display information about a locator: n Comments t Click the Locators Window Fast Menu button, and then choose Details from the Fast menu. The Locators window shows the User, Date, and Time columns. in the R&A file appear as locators in the Locators window. For more information about using the Locators window, see Using the Locators Window in the Avid NewsCutter XP User s Guide or the Help. Using Locator Colors with R&A Files You can select the color for the locators in the next R&A file you open. You can also change the color of the selected locators in the Locators window. By default, NewsCutter XP cycles to the next color on the list each time you open a new R&A file. To select locator colors or to change the color of the selected locators in the Locators window, do one of the following: n When t t Click the Fast Menu button, and then choose Import R&A Color from the Fast Menu. Choose Import R&A Color from the File menu. The Import R&A Color command displays a menu with the available colors. By default, the system cycles to the next color in the list each time you open a new R&A file. there is more than one comment on a frame, NewsCutter XP colors those comments black. New Input and Output Features

115 CHAPTER 7 New NRCS Tool Features This chapter summarizes the new options in the NRCS tool that allow you to post stories to the World Wide Web based on the scripts and associated media stored on your NewsCutter XP system. The following topics are covered: Loaded Cues Using Associated Sequences Posting to the Web Loaded Cues You can create links to clips and sequences directly from your story. These links, called loaded cues, act as pointers within the script to master clips stored in bins. Using loaded cues, you can move clips or sequences between your script and bins as you edit your story.

116 116 Adding a Loaded Cue You can add a loaded cue to your story from the NRCS tool. n You must be in Edit mode to add a loaded cue. To create a loaded cue: 1. Select the clip or sequence you want to use as a loaded cue. 2. Click the file and drag it to the Story panel. Position it in the script at the point where you want the cue. A production cue appears within the Story panel, and a Clip icon and clip name appear in the corresponding production cue text box to the left of the Story panel. Clip icon and clip name Production cue n When used with the Post to Web feature, loaded cues become hyperlinks to video clips accessible to users over the Web (see Posting to the Web on page 119). New NRCS Tool Features

117 117 Using a Loaded Cue You can load clips from the loaded cues in your story. To use a loaded cue: n If t Click the Clip icon and drag it from the production cue text box to a bin or the Source/Record monitor. The clip appears in the bin or in the Source/Record monitor. You can then use and edit it like any other clip or sequence. the NRCS tool cannot find the clip, you receive an error message and the clip cannot be edited. If the clip cannot be found on your local media storage and you are in a workgroup environment with MediaManager, the NRCS tool downloads the clip if it is available from MediaManager. Deleting a Loaded Cue To delete a loaded cue: 1. Select the production cue in the Story panel. 2. Do one of the following: t t Press the Delete key. Right-click the marker and choose Delete from the shortcut menu. The loaded cue is removed from the NRCS script. Loaded Cues

118 118 Using Associated Sequences The NRCS tool allows you to locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on the inews server (for example, even when the tape ID is unknown) or to load sequences for NRCS scripts directly to the Timeline. n Only sequences created with the NRCS tool and that have a valid identifier in the TapeID bin column will be associated with a story. To locate a sequence associated with a story: 1. From the Directory panel, load a story into the Story panel. 2. Click Find Sequence. The NRCS tool loads the sequence into the Timeline. n If the sequence is located in an unopened bin, the NRCS tool opens the bin before loading the sequence. To locate a story associated with a sequence: 1. Select a sequence in an open bin. 2. Click the sequence and drag it to the NRCS tool. Place it in the Story Name text box. New NRCS Tool Features

119 119 The story is loaded into the Story panel. Sequence selected in a bin Sequence dragged to the Story Name text box Posting to the Web Through the NRCS tool, NewsCutter XP can generate a hypertext version of your inews story for viewing on the World Wide Web. The Post to Web feature helps you to create Internet content directly from a single script rather than requiring the production of dual content, one for broadcast and one for the Web. When you post a story to the Web, the resulting Web page can include the text of your inews story, as well as links to video and image files. User-designed templates provide formatting for the Web content. Posting to the Web

120 120 Processing the Script Traditionally, broadcast scripts have been written entirely in uppercase letters. Post to Web changes a story s script to lowercase letters, with the exception of the first letter of each sentence. Additionally, Post to Web deletes text elements such as Presenter Instructions and Closed Caption that are designed specifically for broadcast stories. n Post to Web does not recognize proper nouns, initializations, or terms that require special formatting. Stories require manual editing of the text before using the finished file as a Web page. Setting Post to Web Options You can control how the NRCS tool converts a story for Web display by selecting options in the NRCS Settings dialog box. To select Post to Web options: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Double-click NRCS. The NRCS Settings dialog box appears. New NRCS Tool Features

121 Click the Post To Web tab. 4. Select the appropriate options for your script. See Table 7-1. Table 7-1 Script for Web Options Option Description Include Closed Caption (green) text Converts all text marked as Closed Caption to plain text. Add paragraph tags (<p>) at the start of new lines Convert story to lowercase Converts line breaks into paragraph breaks so each line displays as a separate paragraph on the Web page. Provides the following options: Always: Converts all stories to lowercase characters, even if the source script contains both uppercase and lowercase text. Only if story is all UPPERCASE: Converts only those stories with no lowercase characters. Creating a Web Page You convert text from the script of a story into a Web page by accessing the Post to Web feature in the NRCS tool. To create a Web page from an inews story: 1. Load a story into the Story panel. 2. Click the Post To Web button. Posting to the Web

122 122 The Post To Web dialog box appears with the story script displayed in the Story text box of the Story tab. Formatted text Clip linked by loaded cue Story text box n Loaded cues in the script are highlighted in blue within the text box. See Adding a Loaded Cue on page Edit the script in the Story text box as necessary. 4. (Option) Click the Lowercase button to convert the story if Post to Web does not automatically reformat the script (for example, if you did not select the Always option on the Post To Web tab in the NRCS Settings dialog box). n The Lowercase button appears in the Post To Web dialog box only if Post to Web does not convert the story to lowercase characters. You can also create a Web page without an inews story loaded in the NRCS tool. New NRCS Tool Features

123 123 To create a Web page without a preloaded story: 1. Click the Post to Web button. 2. Do one of the following: t t Cut or copy text from another document and paste it into the Story text box. Type the text of your story in the Story text box. Linking Clips Post to Web allows you to link additional clips to the text of your story for inclusion in a Web page. When you post a story to the Web, loaded cues in the inews story become links to clips stored on your Web server. However, you might have other footage for your story that you want to add for viewing on the Web. Post to Web provides a way to link these clips to the Web page generated from your story. Posting to the Web then creates links to clips that users can access through their browsers (see Using Templates on page 126). To create a linked clip: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box appears. 3. Do one of the following: t Select the text in the Story text box that you want to associate with a clip, and then choose a clip from the Linked Clip pop-up menu. Posting to the Web

124 124 The selected text is highlighted in blue and becomes a link to the clip. Selected text Linked Clip pop-up menu n The t Select the text in the Story text box that you want to associate with a clip, right-click in the story text, choose Link from the shortcut menu, and then choose a clip from the submenu. Link submenu lists loaded cues and any sequences associated with your story. The menu is updated whenever you add clips to the Story text box. New NRCS Tool Features

125 125 The selected text is highlighted in blue and becomes a link to the clip. Link submenu t Click a clip and drag it from an open bin. Place it in the Story text box where you want the link to appear. Link Posting to the Web

126 126 If you selected text in the Story text box before linking a clip, the selected text is highlighted and a link is created. If you did not select any text, the name of the clip is highlighted and a link is created. n If you hold the Shift key down while dragging a clip from a bin, you can place the clip anywhere in the story and Post to Web ignores any selected text. Using Templates The Template tab of the Post To Web dialog box allows you to format your story with a Web-formatted template. A client or a Web designer customizes templates in response to the needs of broadcasters and viewers. Templates help in presenting a consistent look for all stories posted to the Web. Templates provide a way to organize features common to all Web stories. For example, a template can place headlines in the same place relative to the text of a story, using the same font and style as similar stories on a Web page. Post to Web arranges these features into fields where you can enter necessary information before producing the finished content for your Web site. Templates include up to three HTML tags that Post to Web uses to convert your story into a Web page: <! - - STORY - - > <! - - TEXT - - > <! - - CLIP - - > New NRCS Tool Features

127 127 These tags use placeholders to insert text and media files in the Web page created when you post a story to the Web. You can specify the text and media files to be included in your Web page by using the following placeholders: $TEXT$ $URL$ $IMGURL$ The following sections describe how you use tags and placeholders with the Post to Web templates. The Story Tag You use the Story tag and the $TEXT$ placeholder to put the text of your formatted story in a Web page. When Post to Web creates your Web page, it inserts the story where the placeholder is located in the source template. The Story tag takes the following form: <! - - STORY format elements $TEXT$ - - > Format elements are optional. They include any HTML tags used in formatting your Web page (for example, table tags), and they can precede and follow the placeholder. The Story tag uses the $TEXT$ placeholder, which is replaced by the text of your story from the Story text box in the Post To Web dialog box. The Text Tag You use the Text tag to position headlines, headings, subheadings, captions, or other text elements on your Web page. The Text tag takes the following form: <! - - TEXT Label format elements $TEXT$ - - > Posting to the Web

128 128 Label is a field name specified in the template; it appears in the Text Fields tab of the Template tab in the Post To Web dialog box. Format elements are optional. They include any HTML tags used in formatting your Web page (for example, table tags), and they can precede and follow the placeholder. The Text tag uses the $TEXT$ placeholder. In creating a Web page, Post to Web replaces $TEXT$ with the user-supplied text associated with a field in the Text column of the Text Fields tab in the Post To Web dialog box. The following examples show a Text tag as it appears in a template, template fields in the Post To Web dialog box, and the HTML code generated by the template when Post to Web creates a Web page. Text tag in a template Placeholder <! - - TEXT "Headline" <B> $TEXT$ </B> - - > Text tag Label Format elements Template fields in the Post To Web dialog box Label User-supplied text replacing $TEXT$ placeholder New NRCS Tool Features

129 129 HTML code showing the Post to Web output <B> Student Protests Strike Paris </B> User-supplied text that replaces the $TEXT$ placeholder The Clip Tag You use the Clip tag to create links to media files stored on a server. When you link a video clip to your story (see Linking Clips on page 123), Post to Web automatically creates a Uniform Resource Locator (URL) for the clip. The Clip tag inserts the URL into the Web page. You can also include text, such as captions, to accompany the media. The Clip tag takes the following form: <! - - CLIP Label format elements placeholder- - > Label is a field name specified in the template; it appears in the Video Fields tab of the Template tab in the Post To Web dialog box. Format elements are optional. They include any HTML tags used in formatting your Web page (for example, table tags), and they can precede and follow the placeholder The placeholder specifies the media file or text displayed on the Web page. The Clip tag can use the following placeholders: $URL$, which is replaced by the URL of a movie clip $IMGURL$, which is replaced by the URL of a graphics file used as the head frame of a movie clip $TEXT$, which is replaced by user-supplied text n If you do not specify a placeholder, Post to Web uses $URL$ as the default. Posting to the Web

130 130 The following examples show a Clip tag as it appears in a template, the template fields in the Post To Web dialog box, and the HTML code generated by the template when Post to Web creates a Web page. Clip tag in a template Clip tag Label Placeholders <! - - CLIP "Related Video 1" <P><A HREF = $URL$ > <B> $TEXT$ </B></A></P> - - > Format elements Template fields in the Post To Web dialog box Label Movie clip replacing $URL$ placeholder User-supplied text replacing $TEXT$ placeholder HTML code showing the Post to Web output <P><A HREF="ParisStudents.mov"><B> Students Rioting in Paris</B> </A></P> Movie clip that replaces the $URL$ placeholder User-supplied text that replaces the $TEXT$ placeholder New NRCS Tool Features

131 131 To format a story with a Web template: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box appears. 3. Click the Template tab. Pop-up menu Template text box Template fields 4. Do one of the following: n The t Click the Template text box and choose a template from the pop-up menu. pop-up menu lists the most recently used templates. t t Click the Browse button and select a template from the appropriate folder. Use Windows Explorer to locate a template file, and then click the template file and drag it to the Template text box. 5. Click the Text Fields tab. Posting to the Web

132 If the field has a Text column, click the column to the right of the field, type any text you want displayed on the Web page. Text column n The specific template you use defines which fields are displayed in the Text Fields and Video Fields tabs. 7. Repeat step 6 for each field you want to customize. 8. Click the Video Fields tab. 9. Select an item in the field and do one of the following: t Right-click in the Clip column and choose a clip from the shortcut menu. New NRCS Tool Features

133 133 Clip column Shortcut menu t Click a clip and drag it from an open bin. Place it in the appropriate row. 10. (Option) If the field has a Text column, click the column to the right of the field, type any text you want displayed with the clip on the Web page (for example, a caption), and then press Enter. Posting a Story to the Web When you post a story to the Web, NewsCutter XP creates one or more of the following files: An HTML file for the story, formatted with a template Video clips, created by using either ProEncode or NewsCutter XP export settings Image files taken from the head frame of each clip (displayed in the bin using Frame view) Once you apply a template to your script (see Using Templates on page 126), you need to set the options used for exporting the media files that accompany the story. If you have installed the ProEncode Posting to the Web

134 134 client software on your NewsCutter XP system and have configured a DMS broker on your Avid Unity or local area network, you can use the ProEncode option for Post to Web. In this case, the DMS broker provides export settings for your media files. For information on ProEncode, see Using ProEncode in the Avid NewsCutter XP User s Guide and the Help, as well as the Avid ProEncode Setup and User s Guide or the Avid ProEncode Help. You can also export clips through NewsCutter XP with the Direct Export option. In this case, you set export options through the Export Settings dialog box. For more information on export settings, see Exporting Frames, Clips, or Sequences and Customizing Export Settings in the Avid NewsCutter XP User s Guide and the Help. To post a story to the Web: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box appears. 3. Click the Post tab. Pop-up menus New NRCS Tool Features

135 Select either the ProEncode or the Direct Export option. n If you use Direct Export, and the format you want for your video clips does not appear in the pop-up menu, click the Options button and select a format from the Export Settings dialog box. 5. In the Format text box of the Video area, choose a video format from the pop-up menu. n ProEncode n For formats are supplied by the ProEncode DMS broker. The format name must include the file name extension enclosed in brackets; for example: low bandwidth QuickTime [.mov]. Only formats marked with bracketed file extensions are available for use with the Post to Web feature. ProEncode formats, the Options button applies only to the QuickTime reference movie sent to ProEncode. To edit the video format settings for ProEncode output, see the Avid ProEncode Setup and User s Guide or the Avid ProEncode Help. 6. In the Format text box of the Image area, choose a graphics format from the pop-up menu for the images associated with the video clips. 7. (Option) Click the Options button and select options as described in Exporting as a Graphics File in the Avid NewsCutter XP User s Guide or the Help. n If the format you want for your images does not appear in the pop-up menu, click the Options button and select a format from the Export Settings dialog box. Posting to the Web

136 In the Server Path text box of the Web Server area, do one of the following: n The n Post t Choose a server or shared volume folder from the pop-up menu. pop-up menu lists the most recently used folders. t t Click the Browse button and select a new server or shared volume folder. Use Windows Explorer to locate a folder, and click the folder and drag it to the Server Path text box. 9. (Option) Type a name in the Folder text box for the destination folder of the HTML file created by Post to Web. If you do not specify a name, Post to Web uses the story name as the default folder name. to Web assigns the name in the Folder text box to the HTML file created when you post the story to the Web. 10. Click the Post button. Post to Web creates the text file formatted for the Web, links the video clips and image files, and stores them in the folder specified in the Post tab of the Post to Web dialog box. New NRCS Tool Features

137 CHAPTER 8 New Workgroups Features This chapter describes the new features incorporated with Release 3.0 that allow NewsCutter XP to work in an Avid Unity for News network. The following topics are covered: Using Avid Unity MediaManager PortServer Pro Support Support for Avid Unity LANshare Using Avid Unity MediaManager Access to Avid Unity MediaManager has been changed to include new settings. The OMM Settings dialog box has been removed and replaced with the MM User Settings and MM Host Settings dialog boxes. Use these dialog boxes when configuring NewsCutter XP to work with MediaManager. See Configuring NewsCutter XP Systems to Work with MediaManager on page 138.

138 138 Configuring NewsCutter XP Systems to Work with MediaManager You need to configure your NewsCutter XP system before you can interact with MediaManager. See Specifying MediaManager Settings on page 138. After you specify these settings, you can check in clips to and check out clips from MediaManager. For more information, see the Avid Unity MediaManager Setup and User s Guide or the Avid Unity MediaManager Help. Specifying MediaManager Settings You must specify the MediaManager location to let NewsCutter XP know where to look for it on the network. You specify MediaManager in the MM Host Settings dialog box, which you open from the Settings scroll list of the Project window. For complete information on using settings, see the Avid NewsCutter XP User s Guide or the Help. The MM Host setting is a Site setting, which is a single setting that applies to all users of a particular editing system. If you want to access another MediaManager server, you must modify the MM Host settings to reflect the server. To specify your MediaManager location: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Double-click MM Host. New Workgroups Features

139 139 The MM Host Settings dialog box appears. 3. In the MediaManager Host Name text box, type the computer name of your MediaManager Server. It is important to type the correct computer name. This is the location where NewsCutter XP looks to check in the recorded media. 4. Click OK. n The connection defined in your MM Host settings identifies the MediaManager location to which you will be checking in media objects. You can check out objects from a different MediaManager by dragging and dropping clips from that MediaManager to a bin without changing the MM Host settings. For information on setting your MediaManager User settings, see the Avid Unity MediaManager Setup and User s Guide or the Avid Unity MediaManager Help. PortServer Pro Support NewsCutter XP is now supported as a client on a PortServer Pro. The PortServer Pro system allows NewsCutter XP to access MediaNet workspaces by using an Ethernet 100BASE-T connection. The NewsCutter XP system connects to a gigabit-uplink Ethernet switch, which in turn connects to the PortServer Pro system. The PortServer Pro is connected as a client to an Avid Unity MediaNet system through a Fibre Channel connection. PortServer Pro Support

140 140 This functionality allows up to 10 NewsCutter XP editing systems to be connected to each PortServer Pro. This solution enables many Avid editors to share media in real time at a low cost. n You c When can have multiple users editing on a NewsCutter XP system, but all users must have administrative privileges. Without administrative privileges, certain functions such as accessing projects and recording might not work correctly. You cannot change users permissions in the operating system while the NewsCutter XP application is running. Quit the NewsCutter XP application, make permission changes, and restart the application after making the permission changes. you are in a workgroup environment using a MediaManager server with the Norton AntiVirus Utility, you need to turn off the auto-protection feature when you access MediaManager. You can then turn the auto-protection feature back on. You need to perform this each time you access MediaManager. In addition, do not perform a Live Update. For more information, see the Avid NewsCutter XP Release Notes. To turn off the auto-protection feature: 1. Start Norton AntiVirus. The Norton AntiVirus window opens. 2. Click the Options button in the Norton AntiVirus window. 3. Select the Auto-Protect option under the System list. 4. Deselect the following options: - Start Auto-Protect when Windows starts up - Run or opened - Create or downloaded 5. Click OK. 6. Close the Norton AntiVirus window. New Workgroups Features

141 141 ProEncode Support on the PortServer Pro When you have a ProEncode server in your workgroup environment and ProEncode client software on your NewsCutter XP system, a Send to ProEncode option appears in the NewsCutter XP File menu. ProEncode takes your sequences or clips and distributes them to multiple encoding stations simultaneously, creating different output formats for distribution, such as MPEG-2, RealSystem, and QuickTime. For information on using ProEncode, see the Avid ProEncode Setup and User's Guide or the Avid ProEncode Help. Before sending media to ProEncode, you must configure NewsCutter XP as a client in a ProEncode network. You set the configuration options in the DMS Settings dialog box, accessed from the Settings scroll list. For information on DMS configuration, see the Avid ProEncode Setup and User's Guide or the Avid ProEncode Help. Formerly, the ProEncode server required a Fibre Channel connection. Now the ProEncode server can be connected to the PortServer Pro by using an Ethernet 100BASE-T connection or Fibre Channel. This functionality frees up MediaNet Fibre Channel connections for more clients. Support for Avid Unity LANshare NewsCutter XP can be used as a client in an Avid Unity LANshare workgroup system. LANshare allows you to share media with other clients connected to a high-performance server through an Ethernet network. To use LANshare, you need to set up the client in the NewsCutter XP application. For more information, see Setting Up the LANshare Client on page 142. Support for Avid Unity LANshare

142 142 For more information on using LANshare, including system requirements and supported resolutions, see the LANshare documentation and release notes. Setting Up the LANshare Client When you use NewsCutter XP with the LANserver, you need to set up the client so LANshare workspaces are recognized when the application is started. To recognize LANshare workspaces when you start NewsCutter XP: 1. Open a bin. 2. Click the Settings tab in the Project window. The Settings scroll list appears. 3. Double-click PortServer. The Port Server Settings dialog box appears. 4. Click Auto-connect at Launch. 5. Click Connect, and then click OK. The dialog box closes and auto-connect is set. New Workgroups Features

143 CHAPTER 9 New Effects Features The following sections describe new effects features: Real-Time Preview of Video Effects Keyframe Graphs IllusionFX Pack Plug-Ins Real-Time Preview of Video Effects You can preview video effects available in NewsCutter XP in real time. This allows you to play back sequences to which you have applied effects and to review the appearance of those effects. Real-time preview of video effects is available for all effects except motion effects. Understanding Real-Time Effects Processing To display a frame from a sequence that has a video effect applied, your system must calculate the result of the effect at that frame. For example, to display the midpoint frame from a dissolve between two clips, the system must calculate, for each pixel in the frame, a 50 percent blend between the color and luminance values in the

144 144 outgoing clip and those in the incoming clip. To display frames in real time, your system must be able to perform enough of these effect calculations per second to maintain the appropriate display rate for your project, for example 30 frames per second (fps) for NTSC video. When NewsCutter XP is unable to maintain real-time playback, it continues to play at the correct rate but does not display frames that it cannot process quickly enough. You might perceive a short stutter in the video playback, for instance, yet still get a useful sense of how the effect will look once rendered. You have a number of options for controlling how real-time effects preview operates. For more information, see Controlling Real-Time Effects Playback on page 148. Understanding Monitor Options for Real-Time Effects Preview Your system is not able to sustain DV output and real-time playback of video effects at the same time. You can enable or disable real-time effects as necessary for the current stage of your workflow, instructing the system to channel its processing resources either to DV output or to real-time effects processing. For more information, see Enabling Real-Time Effects on page 145. Because real-time effects preview and DV output cannot take place at the same time, it is not possible to preview effects in real time for the following monitors and situations: The Source/Record monitor within NewsCutter XP, if you are also outputting a DV signal A Client monitor, if the monitor receives its video signal from a DV device, for example, a camera or digital deck that is connected to your computer by means of a FireWire connection In these instances, you must always render effects to include them in final output. Depending on the nature and complexity of the material you want to output, you might not need to render every effect. You New Effects Features

145 145 can use the ExpertRender feature to determine which effects you need to render for successful output. For more information, see the ExpertRender section in the Avid NewsCutter XP Effects Guide and the Help. Enabling Real-Time Effects By default, your system is set to generate DV output and real-time effects are disabled. Since your system cannot sustain DV output and real-time effects playback at the same time, you must enable real-time effects if you want to preview effects at full speed. When real-time effects are disabled, effect icons have no colored dot in the Effect Palette and display a blue dot in the Timeline, indicating that they must be rendered before they will play in real time. When real-time effects are enabled, most effect icons have a green dot in both the Effect Palette and in the Timeline, indicating that they might play in real time, depending on the complexity of the effects and the sequence. Real-Time Preview of Video Effects

146 146 Blend effect category in the Effect Palette when real-time effects are disabled. No dots indicates that the effects will not preview in real time. Blend effect category in the Effect Palette when real-time effects are enabled. Green dots indicate that the effects might preview in real time. Effect icons in the Timeline when real-time effects are disabled. Blue dots indicate that the effects will not preview in real time. Effect icons in the Timeline when real-time effects are enabled. Green dots indicate that the effects might preview in real time. To enable real-time effects: t In the upper right corner of the Timeline, click the Real-Time Effects button. Real-Time Effects button To disable real-time effects: t In the upper right corner of the Timeline, click the Real-Time Effects button again. New Effects Features

147 147 When Real-time effects are enabled, the button displays a glowing green dot. When Real-time effects are disabled, the button displays a blue dot. The following illustration shows the two button states. When the Real-Time Effects button is green, real-time effects are enabled. When the Real-Time Effects button is blue, real-time effects are disabled. Understanding Real-Time Playback Information in the Timeline When your system is unable to maintain real-time playback of an effects sequence, color-coded bars appear in the Timecode track of the Timeline when playback ends. The following illustration shows a typical set of color-coded bars. Timecode track Color-coded bars These bars provide you with information about the difficulties the system had during playback. You can use this information to help you render only those parts of the sequence necessary to achieve real-time playback. Red bars mark the ranges where the system was unable to display frames. Yellow bars mark the ranges that caused difficulty for the system during playback. The ranges marked by yellow bars indicate effects the system recommends for rendering to achieve successful real-time Real-Time Preview of Video Effects

148 148 playback. If you mark IN and OUT points around these ranges, use the ExpertRender In/Out command, and then render the recommended ranges, the system will be able to preview your material successfully in real time. For more information, see the ExpertRender section in the Avid NewsCutter XP Effects Guide and the Help. Blue bars mark the location of frames that caused difficulty for the system because of disk speed limitations. If you find that your playback information often includes blue bars, it is likely that replacing your media disks with faster drives will improve your system s ability to play back effects in real time. Controlling Real-Time Effects Playback When your system is unable to maintain real-time playback of an effects sequence, there are a number of ways you can attempt to ensure that the sequence plays back successfully in real time. If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin. This allows the system to begin processing some of the effects frames before it must display them, decreasing the chance of difficulties with playback. In the Video Display Settings dialog box, increase the number of seconds of video to prefill. For information on using the Video Display Settings dialog box, see Using Video Display Settings for Real-Time Effects Preview on page 149. Use the Expert Render command on those parts of the sequence where the system had difficulties during playback. The system marks these parts of the sequence in the Timeline. For more information, see Understanding Real-Time Playback Information in the Timeline on page 147 and the ExpertRender section in the Avid NewsCutter XP Effects Guide and the Help. New Effects Features

149 149 Select the High Performance (more simultaneous effects) option in the Video Display Settings dialog box. This increases the system s ability to process effects at the expense of reducing image quality. For information on using the Video Display Settings dialog box, see Using Video Display Settings for Real-Time Effects Preview on page 149. Using Video Display Settings for Real-Time Effects Preview You can use settings in the Video Display Settings dialog box to control some aspects of the performance of real-time effects preview. You can: Select either the High Quality (fewer simultaneous effects) or the High Performance (more simultaneous effects) option for real-time effects. The High Quality (fewer simultaneous effects) option uses full image resolution but can handle only relatively limited effect complexity before the system begins to have difficulties with real-time playback. The High Performance (more simultaneous effects) option reduces image resolution and can handle greater effect complexity. n If your analog output hardware is not capable of resizing the video image, you cannot use the High Performance (more simultaneous effects) option in the Video Display Settings dialog box. The system automatically switches to the High Quality (fewer simultaneous effects) option. This might result in the system being less able to play back complex effect sequences successfully. Specify a number of seconds of video to prefill. This setting instructs the system to delay the beginning of playback by the number of seconds you specify. During this time, the system processes frames in advance and stores them in memory. When playback begins, the system starts to display the preprocessed frames while it continues to process new ones. The system will continue to play back the sequence successfully in real time unless it exhausts its supply of preprocessed frames. By Real-Time Preview of Video Effects

150 150 accepting a delay at the beginning of playback, you increase the likelihood that the system will play the material successfully. The maximum delay you can specify is 10 seconds. n If the amount of memory available is limited, the system might not be able to prefill the full number of seconds that you specify. As a result, the delay you experience before playback begins might be less than the number of seconds you specify. It cannot be more than that number. To modify Video Display settings: 1. In the Settings tab of the Project window, double-click Video Display. The Video Display Settings dialog box appears. 2. Select the options you want, and then click OK. New Effects Features

151 151 Keyframe Graphs This section describes how to use the new keyframing capability available with the Picture-in-Picture (PIP) effect. With this new capability, each keyframeable effect parameter has a separate Timeline track a keyframe graph with keyframes that are independent of other parameters keyframes. With traditional Avid effects, every keyframe affects every parameter. When you work with effects that have keyframe graphs, you can apply keyframes to many parameters, and each parameter s keyframes are independent of any other parameter s keyframes. You can still select standard keyframes, in which each keyframe affects all parameters. The following sections describe setting and customizing keyframe graphs. Promoting Effects to Keyframe Graphs You can promote Picture-in-Picture (PIP) effects to keyframe graphs. To promote a PIP effect to keyframe graphs: n Once t Click the Promote to Advanced Keyframes button on the Effect Editor toolbar. The Effect Editor displays the PIP effect with keyframe graphs as a Picture-in-Picture v2 effect. you promote a PIP effect to keyframe graphs, the Acceleration parameter category no longer appears. Acceleration of the effect is done by the keyframes you set and customize in the other parameter categories. Keyframe Graphs

152 152 Opening Keyframe Graphs Parameters with keyframe graphs appear in the Effect Editor with a triangular opener at the right side of the panel. Triangular opener for keyframe graph To open a keyframe graph: t Click the triangular opener. A keyframe graph appears. This is where you set and manipulate keyframes. Keyframe graph open New Effects Features

153 153 Keyframe Graph Components You use the Effect Editor toolbar and the keyframe graph shortcut menu to set and customize keyframe graphs. Effect Editor buttons see the Avid NewsCutter XP Effects Guide and the Help. Scale box Thumbwheel Table 9-1 describes the components of the Effect Editor toolbar for keyframe graphs. Table 9-1 Effect Editor Toolbar Components for Keyframe Graphs Component Rewind Fast Forward Add Keyframe Scale box and Thumbwheel Description Moves the position indicator one keyframe to the left, and activates the keyframe. If there is no keyframe to the left, nothing happens. That is, the position indicator does not move to the beginning of the effect unless you have a keyframe there. Moves the position indicator one keyframe to the right, and activates the keyframe. If there is no keyframe to the right, nothing happens. That is, the position indicator does not move to the end of the effect unless you have a keyframe there. Creates a keyframe at the current position. Alt+click this button to delete a keyframe. When you add a keyframe, a pop-up menu gives you additional selections. See Adding and Deleting Keyframes on page 154. Use the scale box and thumbwheel in the scale bar to zoom and scroll the keyframe graph display. See Adjusting the Keyframe Graph Display on page 169. Scale box Thumbwheel Keyframe Graphs

154 154 Other controls appear in a pop-up menu when you click the Add Keyframe button, and in the shortcut menu that appears when you right-click the keyframe graph. The following sections describe the menu selections. Adding and Deleting Keyframes You can add a keyframe using the Add Keyframe button on the Effect Editor toolbar, or you can use the keyframe graph shortcut menu. The first panel of the shortcut menu has commands for adding and deleting keyframes. To add a keyframe to the active parameter: 1. Move the position indicator to the point where you want to add a keyframe. 2. Right-click the keyframe graph, and choose Add Keyframe from the shortcut menu. An active keyframe appears at the position indicator. To add a keyframe using the Add Keyframe button: 1. Move the position indicator to the point where you want to add a keyframe. 2. Click the Add Keyframe button on the Effect Editor toolbar. The Add Keyframe Mode menu appears. New Effects Features

155 155 n If the Add Keyframe Mode menu does not appear, it has been deselected in the Effect Editor shortcut menu, or in the Effect Editor entry in the Settings scroll list. See Options for Using Keyframe Graphs on page 173. For more information on the command selections, see Using the Add Keyframe Mode Menu on page Click the Add Keyframe button a second time to choose the command that has a check mark next to it, or choose another command from the Add Keyframe Mode menu. An active keyframe appears at the position indicator. If you chose a command that results in multiple keyframes, other keyframes appear at the proper places. n You can set a default command using the Effect Editor shortcut menu. See Options for Using Keyframe Graphs on page 173. To delete a keyframe: 1. Click a keyframe to activate it. 2. Do one of the following: t t t Press the Delete key. Alt+click the Add Keyframe button on the Effect Editor toolbar. Choose Delete Keyframe from the keyframe graph shortcut menu. The system deletes the selected keyframe. Using the Add Keyframe Mode Menu Before you begin adding keyframes, it is important to understand the terms your Avid system uses to refer to parameters and parameter groups. These terms are in the menu that appears when you add a keyframe using the Add Keyframe button on the Effect Editor toolbar. Keyframe Graphs

156 156 n If n You the Add Keyframe Mode menu does not appear, it has been deselected in the Effect Editor shortcut menu, or in the Effect Editor entry in the Settings scroll list. See Options for Using Keyframe Graphs on page 173. can set a default command using the Effect Editor shortcut menu. See Options for Using Keyframe Graphs on page 173. In the following descriptions, group refers to the parameter category. Each description first defines the parameter category, and then gives the command that appears in the Add Keyframe Mode menu and illustrates the result of using that command when adding a keyframe. Group (parameter category) New Effects Features

157 157 Active Parameter The parameter that is currently active. For example, a slider that you clicked is pink. Add To Active Parameter The keyframe appears in the keyframe graph for the activated parameter only. Active Group The group to which the active parameter belongs. Add To Active Group Keyframes appear in the keyframe graphs of all parameters that are in the same group as the active parameter. The parameter group does not have to be enabled. Open Groups Groups that you opened by clicking the triangular opener next to the group name. Add To Open Groups Keyframes appear in the keyframe graphs of all parameters in groups that are currently open, whether the group is enabled or disabled. Enabled Groups Groups that you enabled by clicking the Enable button next to the group name. Add To Enabled Groups Keyframes appear in the keyframe graphs of all parameters in groups that are currently enabled, whether the group is open or not. n A group that does not have an Enable button is always enabled. Open Graphs Keyframe graphs that you opened by clicking the triangular opener next to the keyframe graph. Add To Open Graphs Keyframes appear in the keyframe graphs of all parameters with open graphs. All Parameters Every parameter represented in the Effect Editor that has a keyframe graph and is therefore keyframeable. Add To All Parameters Keyframes appear in all keyframe graphs. Keyframe Graphs

158 158 Moving a Keyframe Once you create a keyframe, you can move it to another location in the keyframe graph. To move a keyframe vertically, changing its value: t Click the keyframe, and drag it to its new position. You cannot change the time at which the keyframe occurs. To move a keyframe horizontally, changing its time: t Alt+Shift+click the keyframe, and drag it to its new position. You cannot change the keyframe s value. To move a keyframe: n You t Alt+click the keyframe, and drag it to its new position. You can change both the keyframe s value and the time at which the keyframe occurs. cannot move a keyframe past another keyframe. That is, keyframe movement is bounded by neighboring keyframes. Elastic Keyframes and Fixed Keyframes In previous releases of the Avid system, all keyframes were elastic. When you trimmed an effect, the Avid system scaled the keyframes to fit the new duration. For example, if an effect takes 2 seconds and you trim the clip to 3 seconds, the effect looks the same but is slower. This approach does not substantially change the look of an effect when you trim it, but it also does not allow precise control of effect parameters. New Effects Features

159 159 2-second clip with four elastic keyframes New material Same clip trimmed out to 3 seconds: time between keyframes stretches. With fixed keyframes, when you trim out a clip, your Avid system extends the first or last keyframe by duplicating parameters in the trimmed-out area. Using the previous example, if at the last keyframe of the 2-second clip the effect occupies the full screen, when you trim out the clip to 3 seconds, the effect still occupies the full screen at 2 seconds and stays at full screen until the end of the clip. 2-second clip with four fixed keyframes New material Same clip trimmed out to 3 seconds Last keyframe value holds until the end. Effect parameters default to elastic keyframes. You choose elastic keyframes or fixed keyframes from the shortcut menu for a parameter. n All keyframes for a parameter are either elastic or fixed. You cannot mix elastic keyframes and fixed keyframes within a single parameter. Keyframe Graphs

160 160 To choose elastic keyframes or fixed keyframes: t Right-click the keyframe graph for the parameter with which you are working, and choose Fixed or Elastic from the shortcut menu. The keyframe symbols for the parameter change to the selected keyframe type. All subsequent keyframes you add to this parameter appear as the selected keyframe type. Parameter Changes at Keyframes How an effect parameter changes at a keyframe is governed by which keyframe interpolation option you select. Interpolation refers to the method your Avid system uses to calculate the rate of change and the relative smoothness of change. For example, you can create an effect in which all changes occur abruptly, or you can choose to smooth out all changes. To select an interpolation option: t Right-click the keyframe graph for the parameter with which you are working, and choose one of the following from the shortcut menu: - Shelf - Linear - Spline - Bézier Each option is described fully in the following section. New Effects Features

161 161 Options for Controlling Parameter Changes at Keyframes You can select from the following options for controlling parameter changes at keyframes: Shelf The parameter value does not change between keyframes and then changes abruptly to the new value. Some applications call this Hold. Use Shelf to hold a parameter value for a fixed length of time. Linear The parameter value ramps smoothly between keyframes but then changes abruptly at each keyframe. The change in parameter value at a keyframe happens with no ease in or ease out. Spline The parameter value changes smoothly at each keyframe, creating a simple ease in or ease out effect. Spline is sometimes called Natural Spline or Cardinal Spline because the line representing the parameter value always goes precisely through each keyframe. Keyframe Graphs

162 162 With two keyframes, the Avid system changes the parameter value slowly at the beginning of the effect, speeds up the rate of change, and then slows down to come to rest gently at the end of the effect. Use three keyframes to create an arc. Bézier The Bézier interpolation option is similar to the Spline interpolation option, in that the parameter value changes smoothly at each keyframe. In addition, the Bézier interpolation option provides direction handles at each keyframe with which you can adjust the rate at which the parameter value changes. Active keyframe Active keyframe detail Direction bar Direction handles When you click a direction handle and drag it, you change the height and angle of the curve. The curve responds as if you were gently tugging it like a piece of string. The curve remains anchored to the keyframes on either side of the active keyframe. New Effects Features

163 163 To adjust the rate of change for parameter values with the Bézier interpolation option: 1. Click a keyframe to activate it. The keyframe changes to pink, and a direction bar with direction handles appears. 2. Position the pointer over one of the direction handles. The pointer changes to a hand pointer. 3. Do one of the following: t t For standard Bézier interpolation, which affects both sides of the keyframe, click the mouse and drag it to move the direction handle. The curve on both sides of the keyframe changes to show the new interpolation motion. To break the handle and adjust motion on one side of the keyframe independently of the other, Alt+click the direction handle and drag the mouse. The curve on the side of the keyframe you chose changes to show the new interpolation motion. The motion on the other side of the keyframe is unaffected. Broken direction handle 4. Repeat with the other direction handle to achieve the effect you want. Keyframe Graphs

164 164 Align Keyframe and Slip Keyframes Align Keyframe and Slip Keyframes give you another way to adjust the position of keyframes in keyframe graphs. Align Keyframe moves the active keyframe to the position indicator. The other keyframes do not move. Slip Keyframes moves all the keyframes of the parameter so the active keyframe aligns with the position indicator, and the rest of the keyframes maintain their relative location. n Disabling Set Position To Keyframe can make it easier for you to use Align Keyframe and Slip Keyframes. See Set Position To Keyframe on page 176. You can use Align Keyframe and Slip Keyframes within a single keyframe graph, by selecting a single active keyframe. You can also use Align Keyframe and Slip Keyframes to bring several parameters into alignment, by selecting an active keyframe in more than one parameter. To select more than one active keyframe: 1. Click on the first keyframe that you want to select. The keyframe appears pink (activated). 2. In each keyframe graph that you want to add to your selection, Ctrl+click the keyframe to use for Align Keyframe or Slip Keyframes. Each keyframe appears pink (activated). To align the active keyframes to the position indicator: t Right-click a keyframe graph, and choose Align Keyframe from the shortcut menu. The active keyframes move to the position indicator. New Effects Features

165 165 n In n When each keyframe graph, Align Keyframe will not move the active keyframe beyond an intervening keyframe; that is, a keyframe between the active keyframe and the position indicator. If there is an intervening keyframe, the active keyframe moves to within one frame of it. working with two-field media, Align Keyframe matches the new field number to the active keyframe s original field number. The result of applying Align Keyframe varies depending on whether you are working with single-field or two-field media, whether (in the case of two-field media) the position indicator has the same field number as the active keyframe, and whether there are intervening keyframes. - The active keyframe aligns with the position indicator if you are working with single-field media and there are no intervening keyframes. - The active keyframe aligns with the position indicator if you are working with two-field media, the active keyframe and the position indicator have the same field number, and there are no intervening keyframes. Before Align Keyframe After Align Keyframe Keyframe Graphs

166 166 - The active keyframe moves next to the position indicator, to the closest frame that has the same field number as the active keyframe (within one frame of the position indicator), if you are working with two-field media, the active keyframe and the position indicator have different field numbers, and there are no intervening keyframes. Before Align Keyframe After Align Keyframe - The active keyframe moves next to the nearest intervening keyframe if there is an intervening keyframe. If you are working with two-field media, the active keyframe aligns with the frame closest to the intervening keyframe that has the same field number as the active keyframe. Before Align Keyframe After Align Keyframe New Effects Features

167 167 To slip keyframes to the position indicator: t Right-click a keyframe graph, and choose Slip Keyframes from the shortcut menu. In each keyframe graph, all the keyframes move so that the active keyframe aligns with the position indicator, and the other keyframes maintain their position relative to the active keyframe. Before Slip Keyframes After Slip Keyframes n When you are working with two-field media, Slip Keyframes matches the new field number to the active keyframe s original field number, so that the new position of the active keyframe might be one field off from the position indicator. Extrapolate and Hold Extrapolate and Hold are the two methods your Avid system uses to determine parameter values before the first keyframe and after the last keyframe. The first keyframe and the last keyframe are the bracketing keyframes for the parameter. With Extrapolate enabled, your Avid system extrapolates that is, estimates more values for the parameter values at the start and end of an effect using the values at the bracketing keyframes. Parameter values continue to change over time. The system calculates new values using the interpolation option in effect for that parameter. Keyframe Graphs

168 168 Start of effect Parameter values change before and after the bracketing keyframes End of effect In the previous example, the blue lines representing the parameter value before and after the bracketing keyframes show the extrapolation of the parameter value. For example, if you are accelerating on the last keyframe, the parameter value continues to accelerate until the end of the move. Similarly, if the first keyframe is not at the very beginning of the clip, the Avid system extrapolates the parameter value from the start of the effect up to the first keyframe. With Hold enabled, your Avid system uses the parameter values at the bracketing keyframes to set values at the start and end of the effect. The parameter values hold steady that is, are the same from the start of the effect to the first keyframe, and again from the last keyframe to the end of the effect. Start of effect Parameter values hold steady before and after the bracketing keyframes. End of effect In the previous example, the horizontal blue lines indicate the parameter value before the first keyframe and after the last keyframe. New Effects Features

169 169 As you would expect, the setting remains in effect if you trim in or trim out the effect. For example, if you trim out an effect that has fixed keyframes, and Hold is enabled, the last parameter value holds without changing to the new end of the effect. n You set Extrapolate and Hold independently for each parameter in an effect. The default condition is Hold. To set Extrapolate or Hold for a parameter: t Right-click the keyframe graph and choose Extrapolate or Hold from the shortcut menu. The display changes to reflect the new setting. Adjusting the Keyframe Graph Display You adjust the keyframe graph display in the following ways: Zoom and scroll the keyframe graph display using the scale box and the thumbwheel on the Value Scale bar at the bottom of the Effect Editor. Resize the keyframe graph display by manipulating the size of the Effect Editor and by expanding or contracting the vertical size of the keyframe graph. Move the image in the keyframe graph by dragging the image. Zoom and Scroll You can zoom and scroll the keyframe graph display using the scale box and the thumbwheel on the Value Scale bar at the bottom of the Effect Editor. Keyframe Graphs

170 170 Scale box Value Scale bar Thumbwheel The scale box stretches and contracts the keyframe graph centered around the position indicator. This allows you to either zoom in to focus on a specific area of your keyframe graph or zoom out to display the entire keyframe graph. To zoom in on a section of the keyframe graph at the position indicator and then zoom out: 1. Click the scale box, and drag it to the right. The keyframe graph expands horizontally and shows more detail. New Effects Features

171 Click the scale box, and drag it to the left. The keyframe graph shrinks to its original size. The thumbwheel scrolls the keyframe graph left or right. To scroll the keyframe graph: 1. Click the thumbwheel, and drag it to the left. The keyframe graph scrolls to the right; that is, as part of the graph disappears on the right, more of the graph comes in to view on the left. 2. Click the thumbwheel, and drag it to the right. The keyframe graph scrolls to the left; that is, as part of the graph disappears on the left, more of the graph comes in to view on the right. Keyframe Graphs

172 172 Resizing the Keyframe Graph Display Resize the keyframe graph display by manipulating the size of the Effect Editor and by expanding or contracting the vertical size of the keyframe graph. To change the width of the keyframe graph display: t Click a corner of the Effect Editor and drag to resize the window. To change the height of the keyframe graph display: 1. Position the pointer over the lower edge of the keyframe graph that you want to change. The pointer changes to a vertical resizing pointer. 2. Click the edge of the graph and drag up or down. The height of the keyframe graph display gets smaller or larger. Moving the Keyframe Graph Image Move the image in the keyframe graph display by dragging the image. To move the keyframe graph image: 1. Ctrl+Alt+click the keyframe graph. The pointer changes to a hand. 2. Drag the hand in any direction to reposition the image within the keyframe graph display. Resetting the Graph View If you move the keyframe graph so that you can no longer see the keyframes, you can use the shortcut menu to vertically recenter the keyframes in the keyframe graph. New Effects Features

173 173 To reset the keyframe graph: n Depending t Right-click the keyframe graph, and choose Reset Graph View from the shortcut menu. The keyframes appear centered in the keyframe graph. on how you have scaled your keyframe graph, you might not see any keyframes. Try scrolling the keyframe graph left or right, or zoom out until keyframes appear. Options for Using Keyframe Graphs The commands in the Effect Editor shortcut menu give you options for displaying and playing keyframe graphs, and for governing the way the Add Keyframe button behaves. In the upper panel of the Effect Editor shortcut menu are commands that allow you to adjust the way the Effect Editor appears. The second panel contains commands for working with keyframe graphs and for playing effects with keyframe graphs. The lower two panels contain commands to set default behavior for adding keyframes. n The n The Effect Editor shortcut menu appears only in effects with keyframe graphs. Effect Editor entry in the Settings scroll list duplicates the Effect Editor shortcut menu. Keyframe Graphs

174 174 To display the Effect Editor shortcut menu: t Right-click the Effect Editor outside the keyframe graph area. The Effect Editor shortcut menu appears. Table 9-2 describes the shortcut menu items for the Effect Editor. New Effects Features

175 175 Table 9-2 Effect Editor Shortcut Menu Items Item Indent Rows Description When selected, parameter rows are indented from the parameter category row, and any parameter subgroups are indented again. When deselected, the left edges of parameter rows line up with the parameter category row. Indented parameter rows Non-indented parameter rows Large Text When selected, text in the Effect Editor appears in 12-point size. When deselected, text in the Effect Editor appears in the default size, 10 points. Normal text size Large text Keyframe Graphs