User Guide. Nexio Velocity. April

Transcription

1 User Guide Nexio Velocity April Delivering the Moment

2 Publication Information 2014 Imagine Communications Corp. Proprietary and Confidential Imagine Communications considers this document and its contents to be proprietary and confidential. Except for making a reasonable number of copies for your own internal use, you may not reproduce this publication, or any part thereof in any form, by any method, for any purpose, or in and language other than English without the written consent of Imagine Communications. All others uses are illegal. This publication is designed to assist in the use of the product as it exists on the date of publication of this manual, and may not reflect the product at the current time or an unknown time in the future. This publication does not in any way warrant description accuracy or guarantee the use for the product to which it refers. Imagine Communication reserves the right, without notice to make such changes in equipment, design, specifications, components, or documentation as progress may warrant to improve the performance of the product. Trademarks 6800+, ADC, CCS Navigator, Channel ONE, ChannelView, ClipSync, Delay, D-Series, D-Series DSX, Deliver the Moment, Delivering the Moment, FAME, Farad, G8, G-Scribe, HView, IconMaster, IconLogo, IconStation, IconKey, InfoCaster, InfoCaster Creator, InfoCaster Manager, InfoCaster Player, InstantOnline, Invenio, Live-Update, mcapture, Magellan, Magellan CCS Navigator, Magellan Q-SEE, MultiService SDN, NetPlus, NetVX, NewsForce, Nexio G8, Nexio AMP ChannelView, Nexio Channel ONE, Nexio ClipSync, Nexio Delay, Nexio Digital Turnaround Processor, Nexio Farad, Nexio G-Scribe, Nexio IconKey, Nexio IconLogo, Nexio IconMaster, Nexio IconStation, Nexio InfoCaster, Nexio InfoCaster Creator, Nexio InfoCaster Manager, Nexio InfoCaster Player, Nexio InfoCaster Traffic, Nexio InstantOnline, Nexio mcapture, Nexio NewsForce, Nexio NXIQ, Nexio Playlist, Nexio Remote, Nexio RTX Net, Nexio TitleMotion, Nexio TitleOne, Nexio Velocity ESX, Nexio Velocity PRX, Nexio Velocity XNG, Nexio Volt, OPTO+, Panacea, Platinum, Playlist, Predator II-GRF, Predator II-GX, Punctuate, Remote, RTX Net, QuiC, Q-SEE, SD-STAR, Selenio, Selenio 6800+, SelenioNext, Selenio X50, Selenio X85, Selenio X100, TitleMotion, TitleOne, Velocity ESX, Velocity PRX, Velocity XNG, Versio, Videotek SD-STAR, X50, and X85 are trademarks of Imagine Communications or its subsidiaries. Altitude Express, Connectus, Enabling PersonalizedTV, ICE Broadcast System, ICE Illustrate, ICE-Q algorithms, ICEPAC, Imagine ICE, Inscriber, Inscriber Connectus, Invenio, NEO, Nexio, Nexio AMP, PersonalizedTV, RouterWorks, Videotek, Videotek ASI-STAR, Videotek GEN-STAR, and Videotek HD-STAR are registered trademarks of Imagine Communications or its subsidiaries. Microsoft and Windows are registered trademarks of Microsoft Corporation. HD-BNC is a trademark of Amphenol Corporation. Some products are manufactured under license from Dolby Laboratories. Dolby and the double-d symbol are registered trademarks of Dolby Laboratories. DTS Neural audio products are manufactured under license from DTS Licensing Limited. DTS and the Symbol are registered trademarks & the DTS Logos are trademarks of DTS, Inc DTS, Inc. All other trademarks and trade names are the property of their respective companies. Contact Information Imagine Communications has office locations around the world. For location and contact information see: Support Contact Information For domestic and international support contact information see: Support Contacts: ecustomer Portal:

3 3 Contents Chapter 1 Overview...13 Velocity Work Flow...13 Input Output Creating User Accounts User Account Features User Account Templates...17 Creating a new User Template Applying a User Template to a New User Account Applying a User Template to a Current User Creating a User Template from a Current User...21 Chapter 2 User Settings...23 General Timeline Options...23 New Timeline Defaults...27 Timeline Clip Display Timeline Track Targets Eyecon View Options...32 Snap Tools Default Project Settings...35 Multi-Format Output Settings...35 New Gallery Defaults...37 Hotkey Setup...37 Viewing Your Shortcuts Creating Keyboard Shortcuts Changing Hot Key Assignments Saving Hot Key Settings to a File General Project Settings Keyframe Storage Defaults Resize Settings MXF Metadata Mapping VU Meter Settings VU Record Meter...47 Audio Settings... 49

4 4 Contents Audio Routing Defaults Field Dominance Defauts General System Settings COM Ports External Control System Setup Export Locations...57 PMM Settings...57 Invenio Settings Media Search Folders Advanced Chapter 3 Basic Skills Project Media Management (PMM) Opening and Closing Projects...64 Copying, Renaming and Deleting Projects...67 Protecting Project Media Viewing the Project Media Log Managing Your Workspace...71 Docking...71 Monitor Windows...72 Source Windows...72 Timeline Windows...72 Navigation and Editing Conventions...73 Choosing a Layout...73 Selecting an Auto Tile Layout...73 Timelines...73 Opening and Closing Timelines Copying, Renaming and Deleting Timelines...75 Recovering Timelines...76 Timeline Tracks...76 Track Viewing Options...77 Timeline Viewing Options Galleries Organizing Galleries Creating a Gallery Opening Galleries Adding Media to the Timeline...80 Finding Clips in a Timeline Log List Using Clips in Galleries and Timelines...84 Deleting Clips...84 Searching for Clips Audio Tracks...86 Adding and Deleting Audio Tracks...86 Adding Simple Effects... 87

5 Velocity User Guide 5 Muting an Audio Clip Un-mute Clip Audio Transitions Creating Transitions Navigating a Populated Timeline Zoom Options Media Naming Conventions MediaBase Metadata Naming Published Timelines (Edit IDs) Chapter 4 Importing Media...97 Media Sources...97 Capturing Media...97 Video Capture...97 Audio Capture Timecode HDV Support Capture Modes Using Timecode Capture Timecode Mode DV Deck Control Capture Settings Using Quick Capture Importing Media Supported File Formats Adjusting Graphic Imports Using 32-bit Image Files Collecting Image Sequences Monitoring Audio Levels During Playback Capturing on the Fly Batch Capture Lists Creating Batch Lists Capturing a Batch List Importing Platform Independent File Formats P2/XDCam Workflow Version 3.0 Enhancements General Workflow for the P2/XDCam Viewer Localize Versus Import General Hierarchy of Clips P2 Viewer Detailed Workflow Recommended P2 Device Workflow XDCam Viewer Detailed Workflow Recommended XDCam Firewire or USB Workflow Adding an FTP Connection in the XDCam Viewer Recommended XDCam FTP Workflow XDCam EX Viewer Detailed Workflow...127

6 6 Contents Recommended XDCam EX Device Workflow P2/XDCam General Information Highlighting Clips Using Localize for Velocity for XNG Localizing Clips for Velocity XNG Selecting which Clips to Localize Localize Clip Information Using Import with Velocity ESX and PRX Deleting a Device from the Browse Window Using Refresh in P2 or XDCam P2/XDCam View Options Creating Color Bars and Tone Files Creating Color Bars Creating Tone Chapter 5 Media Output Overview Create an Edit ID Create a Media ID Create an LXF File Create a Multi-Format File (non LXF) Export Files Exporting an AAF Exporting an EDL Exporting an OMF Exporting an FCP Exporting a BXF Exporting a Premier Pro XML Output Movies Adjusting the Movie Range Using Presets Producing a Movie from the Gallery Producing an AVI File Producing an MPEG File Producing a QuickTime Movie (MOV File) Producing a Real Media File (RM) Producing a Windows Media Movie (WMV) Producing a Flash Media Movie (SWF) Output Audio Output Sequences Output Single Frames Exporting Media to an XDCAM Device Exporting Media to a P2 Device Print to Tape HDV Support...186

7 Velocity User Guide 7 Chapter 6 Project Management Using the MediaBase MediaBase Filter Groups Clip ID Fields MediaBase Table FTP Client Services FTP Transfer Pane FTP Site Context Menu FTP Site Properties Using Galleries Gallery Status and Information Viewing Gallery Information Clip Indicators Working with Media in the Gallery Navigating the Gallery Collecting Clips in a Gallery Copying and Moving Clips Between Galleries Retrieving Media Sorting Galleries Sorting Icons Searching for Media Saving and Recovering Projects Autosave Crash Recovery Pushing to a Domain Chapter 7 Editing Basics Viewing Clip Information Viewing the Source and Timeline Monitors Preview and Playback Timeline and Playback Preview Playback, Mute and Solo Timeline Output Settings Scrub Moving Clips Between Bins and the Trim Window Gallery to Timeline Auto Adding Clips to Timeline Copying Clips from a Timeline to a Gallery Moving Clips into the Source Monitor Using the Apply Button Using the Drag to Timeline Button Using the Source Monitor Load a Clip to the Source Monitor Play a Clip in the Source Monitor Trim a Clip...237

8 8 Contents Using Two VGA Windows L and J Shaped Edits Zoom In on the Audio Match Frame (Reuse a Clip that is Already on the Timeline) 241 Simultaneous Edit Slip Trim Trim a Transition Index Markers Trim Window Settings Chapter 8 Using Timelines Virtual Clips Searching the Timeline Printing a Timeline to a List Timelines Track Headers Timeline Clips Status Bar Timeline Settings Timeline Duration Timeline Start Time Changing the Time Scale Timeline Editing Positioning Editing Tools on the Timeline Playhead Position In and Out Markers Indexes and Subclips Select Clips For Editing Lock/Unlock a Track Select a Range to Cut/Copy/Paste Save a Timeline Range as a Clip Sequence Clip Linking Moving Clips Around on the Timeline Move to Playhead Move Align (In or Out) Speed Change What to Expect with Timeline Playback of Various Clip Types 275 Trim a Clip on the Timeline Trim a Single Clip Extend Left and Extend Right Move Edit Simultaneous Edit (trim two adjoining clips) Razor Slice Slip Edit...281

9 Velocity User Guide 9 Slide Edit Lift Extract Trim to Playhead Trim to In / Out Velocity, Ripple and Overwrite Mode Functionality Transitions Trim a Transition Chapter 9 Audio Externally Monitoring Audio Levels Setting Audio Levels Headroom and Reference Points Editing and Adjusting Audio Using the VU Meter Displaying VU Channels in the VU Settings Using the VU Meters During Playback Audio Levels Audio Volume Adjusting the Volume of a Single Clip Auto Fades Adjust Audio Panning Copy/Paste Audio Attributes Voice Over Chapter 10 Multicamera Editing Multicamera Editing Load & Save Multicam files Multicam Settings Chapter 11 Using the Inscriber CG Interface Overview The CG Workspace The Tools Palette Work with Layouts Display Options Text Objects Create Text Objects Edit Text Objects Text Path Objects Vertical Text Objects View the Text Baseline...320

10 10 Contents Text Object Attributes Text Object Properties Text Object Size Spell Check Text Graphic Objects Simple Shapes Change Graphic Object Size Logo Objects Add a Logo Object Add Logo Embellishments Logo Mix Change Logo Image Constrain a Logo Clip Objects Supported Video Clips Add a Clip Object Change Video Clip Object Elements The Face Element Edge Elements The Depth Element The Shadow Element Sheen Elements Element Treatments Apply a Treatment The Style Library Add a Style to the Library Apply a Style to an Object Set as Default Style The Media Library Add Media to the Library Apply Media Manage Objects Select Objects Position Objects Rotate and Flip Objects Layer Objects Group Objects Layout Backgrounds Set a Layout Background Image Treatment Remove a Background Chapter 12 Applying Effects Video Effects Overview Adding An Effect...363

11 Velocity User Guide 11 Previewing An Effect Adjusting Effects Previewing Tracks With Effects Track Based Effects Working With Keyframes The Keyframe Interface Bezier Spline Controls Using Effects Macros Real Time Effects Settings Changing the Clip Play Speed Reverse Motion Fade In/Out Copy/Paste/Add Video Attributes Clip Effect Info Picture In Picture Effect Selecting and Customizing Transitions Copy & Paste Video Effect Attributes on Transitions Choosing a Transition Customizing Wipe Transitions Adding Transitions Adobe After Effects Integration Chapter 13 Rendering Resourcing Rendering Files Rendering a Portion of the Timeline Chapter 14 Using the NXEC400 External Controller Connecting the NXEC Configuring the NXEC Batch Capture and Print to Tape Deck Control NXEC400 Overview and Functionality Chapter 15 Using the NXFAD Audio Control Console Connecting the NXFAD Configuring the NXFAD NXFAD Overview and Functionality Channel/Master button Active button Vol/Pan button Gain/Node button Volume Adjust buttons

12 12 Contents Select, Lock, Solo and Mute buttons Glossary...395

13 13 1 Overview This User Guide documents the Nexio series of powerful Velocity media editors. Velocity ESX. Nexio Velocity ESX is an on-san, fully featured HD/SD high-resolution editor designed for use with the NEXIO shared storage system. The powerful Velocity editor operates directly on shared storage utilizing NEXIO server architecture and a powerful editing GUI. Velocity XNG. Nexio Velocity XNG is a laptop-based HD and SD editor designed for use in field locations. Velocity XNG can pull content from the Nexio SAN for field editing and then push content that was ingested and edited in the field back to the Nexio SAN. Velocity PRX. Nexio Velocity PRX is a proxy editor based on the Velocity user interface. Velocity PRX allows frame-accurate proxy editing of mirrored high-resolution content residing on the NEXIO SAN. Velocity offers a full-featured news, sports, and production editor. The system also integrates fully with newsroom computer systems (NRCS), such as AP s ENPS and Avid s inews, to create a truly collaborative newsroom. The strength of Velocity is its flexibility. You can customize your interface to flow in the manner most efficient for you including customizing keyboard shortcuts and default GUI layouts. With Velocity, you can interface with Nexio servers to manage projects and ingest video source material. You can work with a wide range of digital video, audio, image and animation files. In addition to the wide range of transitions and effects included with Velocity, you can also create customized transitions and effects. By using Velocity, you have many output options, including DVD, web distribution, direct digital output, and printing to videotape. You can also exchange edits with Final Cut Pro. Final Cut Pro needs to be connected to the NX1011FCP. Velocity Work Flow As with any non-linear editing system, working with Velocity follows a basic workflow of input, editing, and output.

14 14 Chapter 1: Overview Input Velocity XNG is designed as a standalone, software-based field editor for use on a laptop. You can capture media via firewire or P2\XDCam devices and edit new field material. You can also connect to the Nexio via Ethernet and edit local copies of content from the SAN. When back at the station, Velocity XNG can push finished edits on the SAN with full integration of most MOS-compliant newsroom computer systems. A General Plan for Non-linear Editing with Velocity 1 Review the material and determine which clips you are going to use. Build your timeline by creating a rough cut. Oftentimes, a project s first timeline is created by taking all your good clips and stringing them together. 2 When you have roughly assembled the clips onto the timeline, you can refine them. Tip: When refining the timeline, start with the big clips and edit them down for content; then edit them for flow and timing. 3 Create a radio cut by assembling the sound bites. Then smooth out the audio. A radio cut tells the story based on spoken word. 4 Create transitions. Tip: Try to get as close as you can to a complete project before adding effects. Output This last step in a non-linear editing project is outputting the final product, creating backup copies, and archiving the project. Creating User Accounts The first time Velocity is launched, the Log On window lists two account types: Admin and Guest. Use the admin account to create additional accounts. If you are logged in as an administrator, you can create user accounts with a variety of privileges and limitations. You can also delete accounts that are no longer necessary. Once you create a new admin account, the default admin account is automatically deleted. To create a new account 1 Double-click on the Velocity icon on your desktop. The Log On window opens.

15 Velocity User Guide 15 2 Type Administrator in the User Name field. 3 The default password is system. Tip: The password must be in lower case. 4 Click Log On or press the ENTER key on your keyboard. The Startup window opens. 5 Click New Project. 6 Select File > User Settings > User Management. The User Manager window opens. 7 Click New. The New Account window opens.

16 16 Chapter 1: Overview 8 Use the window to create a new account. The passwords can be between 1 and 16 characters long, they are case sensitive, and cannot include special characters. Control Definition Privileges Delete Access - The user account can delete projects. Admin Access - The account will have adminstrative privileges. This includes the ability to delete projects. Show only templates Check this box if you want to base the new user account on an existing template. If checked, templates will display in the drop-down list. Create as template Check this box to same the settings to a template that you can use to create new user accounts. If you leave both of these options unchecked, the user is assigned guest privileges. User Account Features User Account Features Velocity User Account Features Guest User Admin Requires Login Password Login to IOL not required Modify User Settings Save and Import User Settings

17 Velocity User Guide 17 User Account Features Velocity User Account Features Guest User Admin Load Template User Settings Save As Template User Settings Field Dominance Defaults Resize Settings System Settings User Management Manage Timeline and Capture Settings Project Manager Unprotect Media From Project Manage Private Media Delete Private Macros Delete Timeline Template Delete/Purge Clip From MediaBase Change Metadata (ID Properties) Change Metadata (multiple clips) Rename ID Show Hidden Clips in MediaBase Consolidate ID Destructive Trim Velocity PRX User Account Features Velocity PRX User Account Features Guest User Admin Video FX Audio FX Video Fades Inscriber TitleMotion GS User Account Templates A User Template is a file which contains saved settings that can be applied to future or existing user accounts. The User Template can be useful if one or more users tend to use the same project settings when they create new user accounts. They can also be helpful for multiple users (a group of editors, for example) who use specific settings for editing functions.

18 18 Chapter 1: Overview You have the option to create a User Template file, which can be applied to new or current user accounts. User Template files are stored on the RAID set. The following preferences can be set in a user template file: General Timeline Options. These include specific editing preferences. New Timeline Defaults. These include timeline display options. Timeline Clip Display. How clips appear on the timeline (title, file name, etc.) and how Picons are displayed. Timeline Track Targets. Here you can target track profiles for your timeline. Snap Tools. Set the snap strength for moving and editing with clips. Default Project Settings. Choose the timeline output settings for your project. New Gallery Defaults. These include gallery display options. Hotkey. Set default hotkeys for specific functions. Creating a new User Template To create a new user template file 1 Select File > User Settings > User Management. The User Manager window opens. 2 Click New to open the New Account window. 3 In the Name field, enter a name for the template file.

19 Velocity User Guide 19 4 Click the Create as template check box to enable it. 5 Click OK. The new template has been added to the accounts list as a template. 6 Select the new template, and click Properties. The User Settings window opens. 7 In the User Settings window, select the appropriate settings for the user template file.

20 20 Chapter 1: Overview Applying a User Template to a New User Account To apply a user template to a new user 1 Select File > User Settings > User Management. The User Manager window opens. 2 Click New. The New Account window opens. 3 Add Name, Password, and Privileges for the new user account. 4 In the Templates section of the New Account window, select the appropriate template file that you want applied to the new user. Tip: Enable the Show only templates option to filter out all regular user accounts and only display user templates. 5 Click OK. The new user account is added to the accounts list with the appropriate settings chosen in the user template. Applying a User Template to a Current User You also have the option to apply a user template to a current user. To apply a template to a current user 1 Select File > User Settings > Load Template. The Update From User Template window opens.

21 Velocity User Guide 21 2 Choose the appropriate user template to be applied to the current user and click Open. 3 A message opens saying that the current user needs to log off and log back in again to apply the change. Click Yes to continue or No to cancel. Once the user has logged off and back in again, the chosen user template is applied to the user account. Creating a User Template from a Current User You also have the option to create user template attributes while logged into a current user. You can go to User Settings while in a project and make changes to supported user preferences and save those changes into a user template. To create a user template from a current user 1 After choosing appropriate settings while logged in as a current user, go to File > User Settings > Save As Template. The Save As Template window opens. 2 Give the new user template a name and click Save. The user template is saved as a normal user template file and can be applied to new and current users.

22 22 Chapter 1: Overview

23 23 2 User Settings This chapter describes the controls available from the User Settings window. You can access these settings in three ways: On the Main menu, navigate to File > User Settings > Modify Settings. Click the Preferences icon in the toolbar. Press F5 to display the User Settings window. Here is a list of settings listed by function. Project Defaults Timeline Defaults General Timeline Options Playback and Scrubbing Defaults Defaults for Adding and Moving Clips Effects and Transitions Settings General Timeline Options To access, press F5 and navigate to User Settings > Timeline > General Timeline Options.

24 24 Chapter 2: User Settings Control Auto playback highlighted range Show video feedback Enable audio scrubbing Allow scrubbing during playback Stop playback at last clip Definition Automatically plays a range on a timeline when you right-click and drag the mouse across the range. You can temporarily disable this setting by pressing Shift while you drag. Displays the current frame on the video monitor while you trim, slice, or index a video clip. A small window displays next to the cursor showing the current timecode of the frame you are editing on the timeline. Enables audio scrubbing during timeline editing. Selected this feature to get audio feedback while you are editing. Use this feature to scrub the timeline while video is playing back. Automatically stops playback at the end of the last clip in the section. This option is enabled by default.

25 Velocity User Guide 25 Control Audio scrub resolution Display video tracks stacked upward Show warning when deleting transitions Disable horizontal clip movement Move index with group move tool Move In/Out markers with group move tool Keep In/Out when moving or copying to or from Gallery Keep Effect/Filter when Moving or Copying to or from Gallery Ignore sync group while trimming Show sync values during move Definition Sets the play interval for each audio feedback point. You can tune the scrub resolution for the best audio scrub quality. Tip: Start with 1/8 th of a second, then adjust based on the resulting scrub quality. If the scrub resolution is too small, the audio sounds choppy. If the scrub resolution is too large, the audio echos and slows editing. Displays video tracks ordered with the highest-numbered track at the top. This places V1 at the bottom of the list. When this option is not selected, video tracks begin at the top with V1. Displays a warning whenever you are about to remove a transition. For Example: A transition is deleted when you move a clip on an a track which forms a rendered transition with a clip on a b track (in expanded track mode). You could also lose a transition if you move a clip when it forms a transition in a single track with an overlapping clip. When this control is enabled, you can only move clips horizontally (in relation to time) when you press Alt. Tip: If you work without this option enabled and you want to move a clip to a different track without moving it horizontally, press Alt to ensure the clip does not change on the timescale. Moves index markers on the timeline with their clips. When this option is not enabled, index markers stay where they are in relation to the timeline. Causes the In and Out Marks on the timeline to move with their clips when the Group Move (Gap) tool is used. When this option is not enabled, In and Out marks stay where they are with respect to the timeline. Moves the In and Out marks with a clip when you move the clip from the timeline to the gallery. All of the media associated with the clip remains available whether or not this option is enabled. Retains any effects you have applied to a clip when you copy it from the timeline to the gallery. Used to trim a portion of a sync group in the timeline without trimming the entire group. When this option is disabled, audio and video from a sync group are trimmed simultaneously. For Example: If you trim a clip with video and audio tracks, the portion of the clip (audio or video) than your mouse is hovering over when it gives the IN or OUT flag is trimmed, but the other portion of the clip is not trimmed. Tip: You can toggle this option on and off when you perform individual trims. The default keyboard shortcut for this is W. Displays an indicator when you trim an un-synced clip on the timeline that shows how many frames a clip has moved and the distance it has moved from sync. This option is enabled by default.

26 26 Chapter 2: User Settings Control Auto scroll timeline during playback Obey clip indices during timeline index navigation Obey Target Tracks on Drag/Drop from Gallery and Trim Window. Keep Sync on Drag/Drop Definition The playhead is always visible during playback. When enabled, you can skip from index to index using both clip and timeline indices. When disabled it will only skip or navigate through the timeline index markers. You can create timeline target profiles and assign one or more of your timelines. Enable to ensure that the clips you use in the timeline adheres to the profile assigned to it. By default, when you drag a clip that contains audio to the timeline, both the video and audio remain in sync even when the clip is moved or cropped. When you clear this box, once the clip is moved to the timeline, the audio and video act as independently. Scroll Mouse Settings Use these settings to customize the scroll wheel actions on your mouse. To access, press F5 and navigate to User Settings > Timeline > General Timeline Options. Control None Scroll Vertical Scroll Horizontal Zoom Definition The mouse scroller has no effect. The mouse scroller will scroll vertically. The mouse scroller will scroll horizontally. The mouse scroller will zoom in and out on the timeline. Undo Levels The Undo Levels control defines the number of undo operations that are retained by the software. Undo operations affect the trim window, gallery, timeline and VU Meter. To access, press F5 and navigate to User Settings > Timeline > General Timeline Options. The number of undo levels is limited by the memory that is available to your machine. Velocity displays an error message if enough memory is not available to retain the number of undos you have selected.

27 Velocity User Guide 27 Tip: If you notice that Velocity is responding slowly to timeline commands, try reducing your number of Undo Levels. Default Image File Length The Default Image File Length setting automatically assigns a time length to clips brought into the timeline from the gallery. This setting changes the amount of time the still image takes up on the timeline. The default value is 3 seconds. New Timeline Defaults You can adjust the start time, duration, number of tracks, view options, and track heights of your timeline. To access, press F5 and navigate to User Settings > Timeline > New Timeline Defaults.

28 28 Chapter 2: User Settings Control Timeline Number of Tracks View Track Height Define Default VU Settings Show All Tracks Waveforms Definition Shows the default start time and duration of your timeline. Shows the default number of video and audio tracks on your timeline. Select Single Track A/B Roll Transition to create transitions by dragging and dropping a clip onto another clip in the same track. Adjust track heights for video track, transition tracks, and audio tracks. Click Reset All Track Heights to reset all track heights to their default settings. Selects the VU Meter defaults for the new timeline. Check this box to display audio waveforms on the timeline clip. Timeline Clip Display By default, timelines display clips with their file name, link and sync information, effects and speed changes. Use these settings to customize clip information displayed on the timeline. To access, press F5 and navigate to User Settings > Timeline > Timeline Clip Display. Tip: These settings are for the entire timeline and cannot be applied to individual clips.

29 Velocity User Guide 29 Control Definition Clip Name/Title Title. Displays clips on the timeline by their title. File Name. Displays clips on the timeline by their file names without with extensions. Show File Extension. Displays clips on the timeline by their file names complete with extensions. Descriptor. Displays clips on the timeline by their description. If a clip has no title, it displays on the timeline by its file name complete with file extension on the timeline. FX Shows the number of effects in the top left corner of any video clip that has effects applied as # FX. An FD indicator alerts you when there is a fade on the clip. If there are effects in addition to a fade on the clip, they are both displayed as (FX+FD). Speed Change % Shows speed change as a percentage. Displays in the top-right corner of the clip. Sync (S1, S2, S3...) Shows the number of syncs that have been applied to the clip. Displays in the top left corner of the clip in front of the FX value. Sync Warning A sync warning displays when audio and video are out of sync. It includes the number of frames out of sync. Link (L1, L2, L3...) Displays in the top left corner of the clip before sync and FX. Clips that share a sync indicator S# or that share a link indicator L# are part of a group. Synced or linked clips move together. Audio Channel Shows the source channel number of the audio clip.

30 30 Chapter 2: User Settings Picon View The Picon View displays a frame of each clip on the timeline for your reference. To access the Picon View settings, press F5 and navigate to User Settings > Timeline > Timeline Clip Display. Control None Middle Begin-End Definition No picons appear. A single picon appears in the middle of the clip. The image is the trimmed first frame of the clip. Picons appear at the beginning and end of the clip. The images are the trimmed first and last frames of the clip. All the way Picons appear back-to-back all across the clip. Buffer Type Video - uses video buffer. Alpha - uses alpha buffer. Both - uses both video and alpha buffer. To return all picon view settings to their defaults, right-click a blank space on the ight-click a blank space on the Timeline and select Set All Picon View Clips to Defaults. This will override individual clip settings. Timeline Track Targets You can create up to 10 different timeline track target profiles. When you open or create a timeline, you can then apply one of the profiles.

31 Velocity User Guide 31 To access, press F5 and navigate to User Settings > Timeline > Timeline Track Targets. Click one of the Edit buttons to display the Timeline Target Defaults window. Control Timeline Tracks Account for Video Tracks Audio Tracks Definition Select up to 16 video and audio tracks. Clear the checkbox next to the video tracks you want to deactivate. Clear the checkbox next to the audio tracks you want to deactivate. All tracks are deactivated (all boxes are checked) by default.

32 32 Chapter 2: User Settings Apply Profile to Timelines If you have several timelines, you can apply a different profile to each one. 1 In the Timeline, right-click anywhere in the first column and select Patch Profiles. 2 Select the profile you want from the list to apply it to the timeline. Eyecon View Options Eyecons are clip previews that display next to the timeline track headers. Use the Eyecon View Options window to select default Eyecon views. To access, press F5 and navigate to User Settings > Timeline > Eyecon View Options. Tip: Eyecons can be viewed by dragging the separator bar between the timeline and track headers to the right.

33 Velocity User Guide 33 Control Definition Display Mode Eyecon Only. Single frame images from the clip currently under the playhead. Timecode Only. Shows the timecode of the clip currently under the playhead. The timecode is displayed using the same settings as the timeline, so if the timeline timecode is displayed in frames, it will be displayed in frames in the Eyecon view as well. Both. Displays both the Eyecon and clip timecode. Clip Info Display Mode Select the type of information that will display for each clip. Timecode and Clip Info Size Buffer Type Update during Movie Bar, In/Out Marker, Index Marker and Razor Tool Edits. Update during playback. Update During Clip Moves. Update during Clip trims. Select the size of your timecode and clip. Select the type of buffer. Select to constantly update the Eyecon bar during the listed activities. As they are all scrub-based, this setting does not affect performance. Select to constantly update the Eyecon bar during timeline playback, including when the default keyboard shortcuts (JKL) and smooth scrub are used. If this is enabled, you can choose to use theplayhead, Clip In point or Clup Out point as the reference during clip moves. This determines what shows in all the Eyecons during dragging clips. If this is enabled, you can choose to use either the Playhead or the Clip s Trim Point as the reference. If none of the Update Options items are enabled, the Eyecon View only updates when the playhead is left over a clip.

34 34 Chapter 2: User Settings Snap Tools When you move one item near another item on the timeline, the way that second item affects the first one is referred to as Snap. To customize the snap properties, use the Snap Tools window. To access, press F5 and navigate to User Settings > Timeline > Snap Tools. The Moving settings affect what happens when you drag clips from the trim window, gallery or around the timeline. These settings affect the Gap tool as well as dragging individual clips. determine how close together two elements have to be in order for the edge to snap. The Editing tools in this section affect how the clip edge reacts when trimming it on the timeline. Tip: You can reverse the snap tool by holding down the BACKSPACE key. Control Snap to clip edge. Snap to Index. Definition Make the edge of a clip automatically snap to the edge of any clip it encounters on the timeline. Use this setting to place two clips together without any space between them. Makes the edge of a clip automatically snap to a timeline or clip point that contains an index marker. Use this setting when you have an index marker that defines a specific time you want more clips to start.

35 Velocity User Guide 35 Control Snap to Playhead. Snap to reate Transition. Strength Definition Makes clips automatically snap to the Playhead when it is within range. Makes clips snap to the default transition length as set in the trim window settings (these are set by right-clicking the trim window). Determines how close together two elements have to be in order for the edges to snap. Default Project Settings Project settings determine the video and audio output when rendering a movie. Make sure that your timeline settings match your Video Capture settings. To access project settings for all new projects, press F5 and navigate to User Settings > Default Project Settings. To access project settings for a single project, navigate from the toolbar menu to Output > Timeline Settings. Multi-Format Output Settings Use this page to modify output types and create a multi-format output batch list. To access, press F5 and navigate to User Settings > Multi-Format Output Settings.

36 36 Chapter 2: User Settings To modify output types 1 Check the Enable Multi-Format Output box. 2 From the Output Type menu, select an output file. If you want to modify settings for the output file, click Modify Settings. 3 Under Setting, enter a name for your output file and click Add. The name is then displayed in the Multi-Format Output Batch List field. 4 Click OK to accept the changes and close the window.

37 Velocity User Guide 37 New Gallery Defaults You can change gallery view options, sorting options, and thumbnail sizes. To access, press F5 and navigate to User Settings > Timeline > New Gallery Defaults. Control View Thumbnail Size Sort By Definition Selects the view display for the gallery. If you check Alpha, text information will be displayed alphabetically. Selects the size of thumnail display. Select the sort order. Hotkey Setup Hot keys let you use the keyboard instead of the mouse to issue system commands and provide convenient shortcuts to commonly used Velocity functions. Many commands have already been assigned to keys by default. However, you can use the Hotkey window to change, rearrange, and customize the keyboard for your own system comfort and convenience. To access, press F5 and navigate to User Settings > Timeline > Hotkey. Tip: You can access the User Definable Hotkey window by pressing default shortcut F6.

38 38 Chapter 2: User Settings The General, Capture, and Multicam tabs at the top of the window represent different areas of the interface. General tab contains keyboard shortcuts for timelines, galleries, the trim window, and the VU meters. Viewing Your Shortcuts Function-to-key assignments are labeled on the respective keys and via hover-help. To view additional mappings, press and hold the Shift, Ctrl, Alt, Shift + Ctrl and Ctrl + Alt key combinations. Click the Print button to print a list of function-to-key assignments or a graphical template showing a map of the function-to-key assignments. Click the Search button to search for hotkey assignments by keyword or key label. Shortcuts in Different Windows Some keyboard shortcuts are valid for all windows. Some keyboard shortcuts can be applied only to the current window. For example, if you execute an insert, an insert occurs whether you have the timeline or gallery window selected. If you press the shortcut assigned to stop, and the timeline window is selected, play is stopped on the timeline. If the trim window is active, play is stopped in the trim window. Shortcuts on International Keyboards International keyboards may have a different look from the Velocity keyboard interface. The shortcut keys will correlate to the same characters (not locations) to your keyboard. The Velocity keyboard interface creates key-based assignments instead of position-based assignments.

39 Velocity User Guide 39 Creating Keyboard Shortcuts Customized keyboard shortcuts can be used to match your key functions with the way you work. You can align shortcuts for similar functions in different programs that you use, or create key combinations that are easy for you to remember. 1 From the Hotkey window, select a function from the list. 2 Drag the highlighted function and drop it onto a key on the keyboard map. A label representing the function displays on the key. To move a function from one key to another, click the key and drag its label to the key you want. Dark gray highlighted keys on the keyboard map cannot be assigned hot key functions. Tip: To assign a function to a key combination, hold the CTRL, ALT or SHIFT key on your computer keyboard, grab the tool from the list, and drag it onto the key you want to assign. When you assign a new shortcut, the shortcut is listed next to the respective tool in the tool list. If you have multiple keyboard shortcuts assigned to a tool, the list displays all shortcuts with the tool. Changing Hot Key Assignments Right-click to display the Hot Key context menu to remove or reset key assignments. Remove Assignment. Removes the hot key assignment for the selected key. Reset Single Default. Resets the factory default value to the selected hot key. Remove All. Removes all hot key assignments. Reset All Default. Resets all hot keys to their factory defaults.

40 40 Chapter 2: User Settings Saving Hot Key Settings to a File You can save your hot key settings to a file. This allows you to copy your hot key settings to another user account or to another Velocity device. To save hot key settings click the Save As button to display the Save Settings pop-up. To import hot key settings click the Load button to display the Load Settings pop-up. Select the file you want to load, then click Open. The file loads and the hot key settings are updated to match the file.

41 Velocity User Guide 41 General Project Settings To access, press F5 and navigate to Project Settings > General Project Settings. Control Auto backup during segment render. Save project before making move Auto-Populate Description Field Use Timeline Name for Output Auto Fade Settings Video Transition Duration Definition Automatically backs up the active timeline every minute while rendering. Prompts the user to save whenever Movie Output is used. The project name and the timeline name automatically populates the Description field. When enabled, the specified name (e.g., Test1) appears in the output rather than the default name(e.g., Timeline1). Set default rate at which auto fades occur and where they are used on the timeline in the General Project Settings window. The auto fade default is applied to all video, image, and title files that have auto fade activated. Enter a time value for the default video transition duration.

42 42 Chapter 2: User Settings Control Audio Transition Duration Center at Cut Start at Cut End at Cut Definition Enter a time value for the default audio transition duration. The transition is centered at the cut. The transition starts at the cut. The transition ends at the cut. Keyframe Storage Defaults The keyframe storage defaults determine the storage preferences for keyframes. To access, press F5 and navigate to Project Settings > Keyframe Storage Defaults. Control New Effects Keyframe Defaults Scale Keyframes (Percentage-Based) Preserve Absolute Keyframe Position (Frame-Based) Definition Select a setting for new effects created with a keyframe. Applies keyframes to clips in a percentage that is based on the clip length. Applies keyframes to clips based on the frames in the effect. The number of frames in the effect remains the same for every clip it involves.

43 Velocity User Guide 43 Control Preserve Relative Start/End Keyframe Position (Frame Based) Paste Effects Keyframe Defaults Maintain Current Settings Scale Keyframes (Percentage-Based) Preserve Absolute Keyframe Position (Frame-Based) Preserve Relative Start/End Keyframe Postion (Frame-Based) Reset Don t ask me this again Setting. Definition Applies keyframes to clips based on the frames in the effect. The effect maintains the same start and end keyframe position for each clip involved. Select a setting for effects that are pasted with a keyframe. Maintains the current settings of pasted keyframes. Pastes keyframes to clips in a percentage that are based on the clip length. Pastes keyframes to clips based on the frames in the effect. The number of frames in the effect remains the same for every clip it involves. Pastes keyframes to clips based on frames. The effect maintains the same start and end keyframe position for each clip involved. Click to reset to the disabled state. Default = disabled. Resize Settings You can customize the settings for video display through the Resize Settings window. To access, press F5 and navigate to Project Settings > Resize Settings.

44 44 Chapter 2: User Settings MXF Metadata Mapping P2, XDCam, and XDCam EX media (MXF files) have their own specific metadata information. Since NEXIO files on the SAN (LXF files) do not have the same metadata fields, Velocity offers a tool to map metadata into a specific field (displayed in the MediaBase). For Example: If you set (MXF Metadata) Creator to (LXF Metadata) Agency. Whenever you import an MXF file from P2, XDCam, or XDCam EX the information that is stored as Creator on the original file is stored and displayed as Agency in MediaBase. You can map your metadata using the through the MXF Metadata Mapping window. To access, press F5 and navigate to Project Settings > MXF Metadata Mapping.

45 Velocity User Guide 45 VU Meter Settings To access, press F5 and navigate to Project Settings > VU Meter Settings. Tip: You can also open the VU Meter setting window by right-clicking on a blank area in the VU meter window of the screen.

46 46 Chapter 2: User Settings Control Show Scale Analog Simulation Resolution Definition Select to display numbers on the color volume indicators. Select to change the scale on the VU Meters from a digital audio scale to an analog style audio scale (with 0 db at the top of the scale).this puts 0 at the dividing line between the green and yellow parts of the scale, and shows positive values for red and yellow, and negative values for green. Select to define which part of the scale you would like to view. Viewing from 60 db includes the entire red, yellow and green range. You can also zoom in stages until you are viewing just the top 12 db, which includes just the red and yellow range.

47 Velocity User Guide 47 Control Lock Bus Left/Right Notify on Audio Saturation Shows Preview VUs Auto Resize VU Window VU Width Settings Display Column Definition Select to lock the left and right audio channels. When you drag one slider, the other one is dragged by the same amount. Select to set an automatic warning when audio saturation is detected. If you want to record or playback audio without audio distortion you must turn down the audio levels when saturation is detected. Select this option to be able to adjust the preview VUs, which affects clip levels during gallery and trim window playback. Select to automatically contract and expand the VU window as new channels are added and removed. Select to adjust the width of the VU meters (for stereo and mono tracks) using the slider. Choose which audio tracks have sliders on the VU Meters. Select the tracks you want to display with sliders. Channels. Displays the VU meters for the individual Timeline track. Output. Displays the VU meters for routed output. This is set as Hardware Playback in Audio Routing Defaults. This window can make it difficult to use the sliders during audio capture and will stop timeline playback, so there may be times when you will want to disable this function. A red warning marker appears on the VU Meter when audio saturation is detected and this feature is either selected or disabled. Tip: To add or remove tracks from the timeline, right-click on the timeline and click Add Tracks or Remove Tracks from the menu. VU Record Meter You can create default settings for the VU record meter through the VU Meter VU Record Meter window of the Project Settings window. To access, press F5 and navigate to Project Settings > VU Record Meter.

48 48 Chapter 2: User Settings Control Show Scale Analog Simulation Resolution Lock Left/Right Definition Shows a numerical scale on the VU display. Unchecked no numbers on the display. When enabled, the scale on the VU meters changes from a digital audio scale (with 0dB at the top) to an analog style audio scale that puts 0 at the dividing line between the green and yellow parts of the scale, with positive values for red and yellow parts of the scale and negative values for green parts of the scale. Defines which part of the scale to view. Locks the left and right audio channels so that when you drag the one slider, the other one is dragged by the same amount.

49 Velocity User Guide 49 Audio Settings Use this window to set audio fade. To access, press F5 and navigate to Project Settings > Audio Settings. Control Face Nodes Storage Audio Fade Default Update Existing Clips Definition Fade In and Fade Out are subsample audio fades applied to the beginning and end of a clip. They can be enabled if audible pops are heard at cut points between clips. Otherwise, they should remain disabled. Store Percentage Based and Store Frame Based deals with how the nodes are handled when copying and pasting Audio Attributes between clips. Percentage Based will scale the nodes to match the duration of the target clip. Frame Based will not scale. In both cases, the raw clip duration (not trimmed) is used in determining the positioning of the nodes. This setting dictates the default fade type applied to an audio fade. Select between Linear, Fast, Slow, Sharp and Smooth. Enabling 'Update Existing Clips' will apply the selected fade type to all audio fades. Check this box if you use the same format for your movies.

50 50 Chapter 2: User Settings Audio Routing Defaults The settings you choose in the Audio Routing Defaults are applied to new Edit IDs, Media IDs, Movie IDs, or Audio only ID outputs. To access, press F5 and navigate to Project Settings > Audio Routing Defaults. Control Definition Audio Output Channels You can choose from 2 to 16 channels. Bits Per Sample Choose between 16, 20, or 24 bits. Input Timeline Track This section corresponds to the number of timeline audio tracks you selected. Red text indicates that the tracks are currently not routed. The red text indication is also displays in the Timeline audio track header. Output Timeline Track Check which channel to assign each audio track. Display ID Output Controls the routing of the ID that is published to the SAN.

51 Velocity User Guide 51 Control Hardware Playback Link Both Preset Definition Controls the routing to the physical hardware output as well as the Output VU meters. Select Link Both to use the same settings for ID Output and Hardware. If Link Both is not selected, the ID Output and Hardware playback can have different settings. Select an audio preset. Field Dominance Defauts Field Dominance defaults determine how (interlaced) clips are played on the timeline for different file types. For Example: If you choose field 1 dominant under MPEG, all MPEG clips placed on the timeline are played back with the upper field first. To access, press F5 and navigate to Project Settings > Field Dominance Defaults. For each of the groups (NTSC, PAL, Unknown) select Default, Progressive, Field 1 Dominant or Field 2 Dominant. Check Adhere to timeline Default for new Clip if you want clips already on the timeline to remain unaffected.

52 52 Chapter 2: User Settings General System Settings To access, Press F5 and navigate to System Settings > General. Control VST Filters Location Global Proxy Settings Global Proxy Disabled Global Proxy Output Only Global Proxy Output and GPRX Mediabase GPRX Server IP Prompt MOS gateway communication error Definition Use this field to identify audio plug-in location. This field is available in cases where Global Proxy is enabled by the Software License Key. Will not output a Globl Proxy file nor show GPRX MediaBase. Will only output a proxy file. Will enable both Global Proxy Output and GPRX MediaBase. Sets the connection to the GPRX server. This option is enabled automatically if your system is connected to a MOS newsroom computer system. (NRCS).

53 Velocity User Guide 53 Control Video Standard Audio Routing Mode I/O device Playback or Capture Definition This setting is utilized on Velocity PRX and XNG. This setting will only be honored when no remote LLM connection is detected. Select your audio options between Mono or Stereo. This controls behavior of the Timeline audio, VU Meters, and Audio Routing Defaults. Select the playback and capture devices from the lists. You must restart Velocity before changes can take effect. COM Ports To access, press F5 and navigate to System Settings > Com Port. Use this area to select which COM ports to use with your external devices. You can also select up to sixteen regular COM ports or up to four Afterburner3 COM ports. The Afterburner2 ports are used to plug into and control the tape decks. You can use up to 4 ports on your VTR for Print to Tape, Capture, and Recapture.

54 54 Chapter 2: User Settings Control Definition VTR Enable. Activates the choices made in this area. Print to Tape. Use this setting for completed timelines. Capture. Select which COM port to capture media. Recapture. Select which COM port to recapture media. External Controller Identify the COM ports the Jog/Shuttle controllers are plugged into. Audio Console Check Enable for VTR or External Controller options. External Control Use these settings to define how the play button on the NXEC400 external controller operates in the External Control Settings window. If you don t have an NXEC400 connected, these settings have no effect on your system. To access, press F5 and navigate to System Settings > External Control.

55 Velocity User Guide 55 Control JOG Settings: Play button behavior. JOG Settings: Record button behavior. FAD Settings Definition Play entire. The Play button plays the entire clip. Play from In to Out. The Play button plays from the In marker to the Out marker. Controls the Record button inside the Capture window in Timecode Mode. Record. Performs on-the-fly capture. Batch Capture. Captures the entire list. Select a Bank. A bank is a group of audio channels. For Example: Bank 1 represents channels 108. Select the bank you want to work with. System Setup You can define the names of the User Fields displayed in the MediaBase window. To access, press F5 navigate to under System Settings > System Setup.

56 56 Chapter 2: User Settings Control User Field Names Kill Date Enable Remote LLM Enable IOL IOL Manager Definition Use these settings to define custom field labels in the MediaBase for User Fields 1 through 4 metadata. Set a default kill date for media, IDs, and projects. Kill data is the date the media should be deleted or archived. When media reaches its kill date, it is highlighted red in the MediaBase. Enable Remote LLM for connection to the FTP Server or SAN. Set the IP address of the remote NEXIO server or media gateway.. Enable IOL to send media to InstantOnline automatic confirm engine. Set the IPs of the IOL manager so you can submit jobs to InstantOnline and monitor status in the IOL client.

57 Velocity User Guide 57 Export Locations You can define the file locations for output when using the Multi-Format Output feature. To access, press F5 and navigate to System Settings > Export Locations. To define Export locations, enter the desired location for each of the outputs. PMM Settings Velocity PMM simplifies file management and creates an environment similar to the file sharing workflow. It provides a single, pre-determined location for projects and media. This is useful when one machine is shared among multiple users. All projects and captured media are stored in the PMM location. For exported media, you can choose a pre-determined PMM location or you can save the media to another location. User accounts, user templates, macros, and render bank files are also saved in locations specified by the PMM. By default, the paths for storing the specific files are set to the PMM folder which is located within the installation directory for Velocity. If the host machine has an additional dedicated hard drive for media, these paths can be changed to point to that location. PMM can be configured upon installation to point to a network drive that is shared between multiple Velocity users. In this case, projects, users, and the rest of the PMM files are accessible and shared with the multiple users. The PMM settings will default to this location and can be overridden as necessary. PMM also can include Multi-Format Output settings. These are enabled when the Follow PMM Settings check box is enabled within the Export Locationsthe settings.

58 58 Chapter 2: User Settings When you install Velocity, the default folders for saved projects and captured media are located in C:\Harris\Velocity\PMM. To change these locations, press F5 and navigate to System Settings > PMM Settings. To define Export locations, enter the desired location for each of the outputs. Invenio Settings You can enable Invenio motion and NewsForce applications and identify Invenio settings. To access, press F5 and navigate to System Settings > Invenio Settings. Control Invenio Settings Invenio Motion Settings Definition Click to enable Invenio or NewsForce. Enter settings for your Invenio application.

59 Velocity User Guide 59 Media Search Folders You can select the folders that will be searched when importing an EDL or XML with missing unlinked media. To access, press F5 and navigate to System Settings > Media Search Folders. Use Browse to identify file folders for media searches, then use the Add and Remove buttons to put them into the Selected Folder list. Use Move Up and Move Down to set them the order you want. Advanced You can define advanced options for processing and playback so you can manage system bandwidth. To access, press F5 and navigate to System Settings > Advanced.

60 60 Chapter 2: User Settings Control Enable Smart Publish Enable L-GOP Variable Data Rate Output Enable I-Only Variable Data Rate Output Enable Smart Import Disable Picon Disable Waveform Disable VGA Output Disable Eyecon Disable Audio Nodes Definition If the source clip matches the timeline settings (the render bar is green), this process is able to create an Edit ID faster and more efficiently without tranditional rendering. For L-GOP clips, if everything except the data rate matches the timeline settings, the render bar will still be green; smart publish is used if it has been enabled. For I-Only clips if everything except the data rate matches the timeline settings, the render bar will still be green; smart publish is used if it has been enabled. Retains original codec or media without transcoding if codec is supported. When disabled, all imported media will be transcoded to match the currently selected Timeline settings. Disables the Picon View which displays a frame of each clip on the timeline for your reference. Disables the ability to see the audio waveforms displayed on the timeline clip. Disables VGA display in the Trim window. Disables the Eyecons (clip previews) that display next to the timeline track headers. Disables audio nodes that display on the timeline. These nodes show audio fade in and fade out.

61 61 3 Basic Skills Velocity 3.0 software features the new, enhanced User Interface that is now common among NEXIO software applications. This interface provides a common look and feel and across the NEXIO platform for software services such as FTP and MediaBase. The UI allows you to drag and dock most windows so you can customize your workspace and enhance your throughput. This chapter describes the basic skills you will need and the processes you will use to create a project using Velocity. Project Media Management (PMM) PMM in Velocity simplifies file management and creates an environment similar to the Velocity file sharing workflow. This gives you the convenience of a single, pre-determined location for projects and media which leads to better organization to find or delete assets. This is important when one machine is shared among multiple users. All projects and captured media are stored in the PMM location. For exported media, you have the choice to use a pre-determined PMM location or to save the media to another location. User accounts, user templates, macros, and render bank files are also saved in locations specified by the PMM. By default, the paths for storing the specific files are set to the PMM folder which is located within the installation directory for Velocity. If the host machine has an additional dedicated hard drive for media, these paths can be changed to point to that location. PMM can be configured upon installation to point to a network drive that is shared between multiple Velocity users. In this case, projects, users, and the rest of the PMM files are accessible and shared with the multiple users. The PMM settings will default to this location and can be overridden as necessary. PMM also can include Multi-Format Output settings. These are enabled when the Follow PMM Settings check box is enabled within the Export Locations settings (see Export Locations). Updating the PMM When you install Velocity, the default folders for saved projects and captured media are located in C:\Harris\Velocity XNG\PMM. You can use the PMM Settings window to change these locations.

62 62 Chapter 3: Basic Skills To change PMM settings 1 Close any open project. 2 On the Main menu, select File > User Settings > Modify Settings. 3 Under System Settings, select PMM Settings. 4 Click the ellipsis (...) next to each location you want to change. 5 Click OK to save the changes and close the window. Managing Private Media You can use the Manage Private Media dialog box to manage your private clips. To manage private media 1 On the Main menu, select File > Manage Private Media. The Manage Private Media dialog box appears.

63 Velocity User Guide 63 Private clips currently protected appear in the Protected Clips list, and private clips that are not currently protected appear in the Unprotected Clips list. 2 Follow these steps if you want to inspect the protection currently assigned to the clip: In the Protected Clips list, click the clip. Click Identify Protection. The Identify Protection dialog box appears showing you which projects or Timeline templates are protecting the clip. Click OK to return to the Manage Private Media dialog box. 3 If you want to deleted clips that are in the Unprotected Clips list: In the Unprotected Clips list, click the clips that you want to delete. Click Delete. 4 Click OK when you are done managing your private media.

64 64 Chapter 3: Basic Skills Deleting Private Macros You can delete any macros that you have created while working with projects. 1 On the Main menu, select File > Delete Private Macros. The Delete Private Macros dialog box appears. 2 Click the down arrow and select the type of macro that you want to view. The choices are: All, Effects DPM Macros (DPM), or Effects FLT Macros (FLT). 3 Select the macros that you want to delete from the list. 4 Click Delete. Opening and Closing Projects Creating a New Project Each time you create a new project, a default name is assigned. You can change the name after the project is created. Once you have created a new project, you can import galleries and timelines from other projects. You can create a new project when you start Velocity by using the Startup window or by using the file menu any time after that. Both procedures are shown in this section.

65 Velocity User Guide 65 To create a project when opening Velocity: 1 Open Velocity and log on. The Startup window displays. The Startup window opens. 2 Click New Project. The New Project window displays. 3 Enter a unique name for the project. 4 Enter a New Timeline Name. 5 Click OK. To create a new project when Velocity is open you can use the New Project toolbar or navigate to File > New Project. icon on the Tip: If another project is already open when you create a new project, the first project closes when the new project is opened. Be sure to save your work on an existing project before opening or creating a project. The project is written to the PMM location. Saving a project On the Main menu, select File > Save Project. This causes Velocity to saves all associated timelines and galleries. Click on the Save Project icon. Use CTRL+S.

66 66 Chapter 3: Basic Skills The project is saved to the PMM location. Opening an Existing Project You can open existing projects when you start Velocity using the Startup window, or by selecting File > Open Projects. You can save a project (or abandon changes) and switch to another one at any time. Tip: Velocity can only have one project open at a time. A project can, however, open galleries and timelines from various projects. See Galleries and Using Timelines in Volume II for more information on using galleries and timelines. If you re opening Velocity: Log in and click Load Existing Project on the Startup window,. If you re working on a project and want to open another one: Click Open Project on the toolbar. Click anywhere in the Timeline. Then from the Main menu, select File > Open Project. The Open Project window displays. Select the project you want and click Open. Velocity remembers the individual layout of each project you have worked on and where you were when you closed the project. Therefore, when a project opens, you will see the same position and zoom level of the timeline, position of the playhead, first opened gallery, preview/ trim window and VU meters you were using when you last saved the project. If you are working on an unsaved project and open another project, a message prompts you to save or abandon changes to the current project. Click YES to save the current project before opening the new one.

67 Velocity User Guide 67 Closing a Project 1 On the Main menu, select File > Close Project. 2 If you are prompted, click Yes to save any changes to the project before closing it. Tip: To exit, select File > Exit, or press CTRL+Q. Copying, Renaming and Deleting Projects Using Save As to Copy a Project When you use the Save a Project As option, Velocity creates duplicate folders of your entire project under a new project name and stores copies of all the media in the current project. A replica of the project is created while leaving the original project with the same name. To save a project as 1 Click any where in the Timeline. 2 On the Main menu, select File > Save Project As. The Save Project As window opens. 3 In the Project Name field, enter a project name. Each project must have a unique name. 4 Click OK. The project opens with the new name. Renaming a Project When you rename a project, you can change the project s name, including its folder names and location. All components of the project that contain the project s name the project folders in the system drive as well as the project.vprj file are renamed.

68 68 Chapter 3: Basic Skills When you create new galleries or timelines in the renamed project, they are saved in the project s system folder. However, if you open galleries from other projects, they launch as part of the current project but remain in their old location. To rename a project 1 On the Main menu, select File > Rename Project. The Rename Project window opens. 2 In the Project Name field, enter a project name. Each project must have a unique name. 3 Click Rename. Deleting a Project When you delete a project, the project, galleries and timelines are removed from the system. However, all of the media is retained. You cannot delete a project if it is in use, protected, or if files in the selected project are used in another project. To delete all files associated with a project 1 On the Main menu, select File > Project Manager. The Project Manager window opens.

69 Velocity User Guide 69 2 Select the project you want to delete. Tip: Use the SHIFT or CTRL key to select more than one project. 3 Click Delete Project(s). The following message appears asking you if you want to delete the media. 4 Click Yes to receive a confirmation window for each project; click Yes to All to delete all projects at once. The projects are deleted and are removed from the Project Manager. 5 Click Done. All files associated with the project are removed. Protecting Project Media By default, any media that resides inside the PMM directory that is placed within a Project Gallery or Timeline is automatically protected by the Project. However you can disable project protection from the Project Manager. Protection can be re-enabled either through the Project Manager or through the Protect Project Media option. To enable the Protect Project Media option On the Main menu, select File > Protect Project Media. Viewing the Project Media Log You can find all audio, video, and graphic material included in a project by opening the Project Media Log. The Project Media Log contains all material used in all Timelines and Gallaries in the project, including backup versions of the Timelines. To access, select File > Project Media Log.

70 70 Chapter 3: Basic Skills Field Protected Unprotected Unreferred Protected External Definition Clips which reside in the PMM directory and are protected by the current project. Clips which reside in the PMM directory and are unprotected by the current project. Clips which once resided in the PMM directory and were protected by the current project but are no longer active in the project. Clips which reside outside of the PMM directory and cannot be protected.

71 Velocity User Guide 71 Managing Your Workspace Docking You can drag and drop windows to dock them within your Velocity workspace. When you select a window s title bar with your mouse, two things happen at the same time. First, the window begins to float so you can move it around the workspace with your mouse. Second, a docking indicator displays in the workspace. Docking Indicator To dock a window within your workspace, select the windows title bar and drag it toward the indicator. When you drag your cursor over the indicator, a section of the workspace will activate showing a blue-shaded rectangle. Log List window dragged to the left of the docking indicator. Shaded rectangle displays to the left of the workspace. When you release your mouse button, the floating window will dock in place of the shaded rectangle. You can dock the floating window toward the top, bottom, left, or right side of the docking indicator. Log List window docked to the workspace.

72 72 Chapter 3: Basic Skills Monitor Windows You can display the timeline, source, transition, and dual-trim monitors by navigating from the main menu to View > Preview. Each monitor window displays in the top right area of the workspace. Click on the appropriate tab to view a monitor. Source Windows File management services such as MediaBase and FTP Transfers and editing tools such as Gallery and Transitions typically display in the top left area of the Velocity workspace. These windows display in tabs and are loaded by navigating from the View menu. Timeline Windows You can build your timelines in a window that typically displays along the bottom area of the workspace. You can dock Source services and Timelines in the same window. In this case, double-clicking a clip will bring the Source monitor to the foreground. Selecting a clip on the Timeline will bring the Timeline monitor to the foreground.

73 Velocity User Guide 73 Navigation and Editing Conventions If you double-click a cut point on a Timeline, the Dual-Trim Monitor displays in place of the Source Monitor. If you double-click a transition, the Transition Monitor will open in place of the Source Monitor. Timeline tabs will stay docked together. A selected tab can be closed by clicking the X in the window that contains the tab. Choosing a Layout You can customize your Velocity workspace by dragging and dropping the trim window, gallery and timeline bins and VU meter. Velocity allows you to save the layout of your customized workspace using the Auto Tile Select control. When you launch Velocity without loading a project, Velocity displays the last workspace layout used. When you launch Velocity with an open a project, Velocity displays the workspace layout used in the last project loaded. Tip: Click Auto Tile on the toolbar to reset the screen layout to the currently selected preset or custom Tile. Selecting an Auto Tile Layout From the menu, click Auto Tile Select and select the auto tile you want to use. If the project you are working on has more bins than the auto-tile configuration you select, some of the bins will be minimized. If the project you are currently working on has less bins than the auto tile configuration you select, windows are placed in auto tile positions closest to their current locations. Timelines Each new project opens with a blank timeline. You can add up to ten timelines per project. And you can use timelines from other projects as well. By creating several timelines, you can create different renditions of the project you re working on and keep them all in one place.

74 74 Chapter 3: Basic Skills Opening and Closing Timelines Creating a New Timeline 1 To create a new timeline, navigate to File > Timeline > Add New to display the New Timeline pop-up. 2 Add a name or use the default name provided. This adds a timeline in the selected bin. Closing Timelines 1 Click on the timeline you want to close. 2 Navigate to File > Timeline > Close. Opening an Existing Timeline To open a saved timeline 1 Right-click in an empty space in the existing timeline you want to open. 2 Select Timeline > Open Project Timeline. The Open Project Timeline window displays.. 3 Browse to and select the project that contains the timeline you want.

75 Velocity User Guide 75 4 Select the timeline you want to open from the Available Timeline(s) area. Tip: You can use the SHIFT or CTRL keys to select more than one timeline. 5 Click Open to add the timeline to your project. Copying, Renaming and Deleting Timelines Copying Timelines 1 To copy a timeline to a new timeline within the current project. Right-click in the timeline you want to copy and select Timeline > Copy to new timeline. The New Timeline window displays. 2 Enter a new name for the timeline and click OK. This opens a new timeline in the current bin and copies the contents of the first timeline to the new one. Renaming a Timeline 1 To rename a timeline, navigate to File > Timeline > Rename to save your timeline with a new name. 2 Enter a new name and click OK. Deleting Timelines 1 Select the timeline you want to delete, then navigate to File > Timeline > Delete. Tip: You can use the SHIFT or CTRL keys to select more than one timeline. 2 View the message that displays. Click Yes to confirm the deletion.

76 76 Chapter 3: Basic Skills This deletes the selected timelines from the project without saving it. All associated timeline temp files will be deleted from the hard drive. Recovering Timelines You may be able to recover a timeline if Velocity closes before you save it. 1 To recover a timeline, navigate to File > Timeline > Recover. The Select Recovery Option pop-up displays a list of the most recent timeline backups. The versions are listed in order by date and time. 2 Select the backup file you want to recover and click OK. The file you selected will overwrite the previously saved version of that timeline. Timeline Tracks When you launch a timeline in Velocity, it contains video tracks and audio tracks by default.

77 Velocity User Guide 77 To add tracks 1 Select a timeline. 2 On the Main menu, select Edit > Add Track. Or you can also right-click on a blank space on the timeline and select Add Track. The Add Track(s) window opens. 3 Enter the number of tracks you want added to one or both sections. 4 Click OK. There is only one circumstance where Velocity will add the tracks required without your prompting. This may occur when copying and pasting a group of clips from one timeline to another. If there are insufficient tracks for a particular group of clips, a message displays asking if you want to add more tracks. Velocity PRX is limited to to a total of 2 video and 16 audio tracks. To delete track 1 On the Main menu, select Edit > Delete Track. Tip: Or right-click on a blank space on the timeline, and select Delete Track. The Delete a Track window opens. 2 Enter the number of tracks you want deleted to one or both sections. 3 Click OK. Only the last track(s) of the selected type can be deleted if they are empty. Also, you can delete all but one video track. Track Viewing Options Collapsing/Expanding Tracks Velocity can display tracks as either a single track or as an A/B roll with a transition track between them. By default, Velocity will show the tracks in the collapsed version.

78 78 Chapter 3: Basic Skills Expanded Tracks Collapsed Tracks In the collapsed mode shown here, transitions are indicated by horizontally demarcated segments. Display Video Tracks Stacked Upward By default, video tracks display V1 at the bottom rather than at the top of the list. You can use F3 to toggle the display to show V1 at the top of the list. You can also change the default setting by pressing F5 and navigating to User Settings > Timeline > General Timeline Options and clearing the Display video tracks stacked upward control. Timeline Viewing Options You can adjust the view range of the timeline to show either frames or the timecode. You can also adjust which tracks are visible. To change the timeline viewing options, navigate to View > Time Scale and select the settings.

79 Velocity User Guide 79 Galleries Organizing Galleries When organizing media into galleries, it is a good idea to keep gallery size and naming conventions in mind. These two properties can help you locate and retrieve media more efficiently. Small galleries can be used for speedy retrieval. Performing searches in small groups of closely-related shots or effect files helps you search quickly. When naming galleries, consider using the tape name, date, location, subject or clip format. By using a common naming convention, you will have accurate criteria when searching for shots. For example, you can use the date and location of a shot to follow a series of shots from a common starting point. You can begin organizing your media with a tape-named gallery, then break it down further based on content. Creating a Gallery 1 To create a new gallery, navigate to File > Gallery > Add New. 2 Enter a name for the gallery. 3 Click OK. A new gallery tab appears in the currently selected bin. Opening Galleries You can open galleries located within the current project or in other projects. 1 To open a gallery select the bin that contains the gallery you want. 2 Navigate to File > Gallery > Open Project Gallery. The Open Gallery File window displays. Tip: You can also right-click a gallery, then click Gallery > Open.

80 80 Chapter 3: Basic Skills 3 Select the project and version you are currently working on. 4 Select the gallery you want to open from the Available Gallery(s) area. 5 Click Open. The selected gallery opens in the current bin. Galleries are always opened within a bin. If you want a gallery in its own bin, you can move it after it is open. To change the Gallery view. 1 Right-click on an empty space in the Gallery. 2 Select View and select the option you want. Sorting Clips in a Gallery Use the Manual Arrange mode to leave spaces in the gallery between clips. When you move a clip in manual arrange mode, the space it vacates is left empty. When you move clips to the locations currently held by other clips, those clips are bumped to the right. To arrange clips manually, tight-click on an empty space in a Gallery and select Sort By > Manual. To move a clip, select the clip and drag the it to another location. Adding Media to the Timeline Adding Media to the Timeline You can add media to the timeline from the MediaBase, the gallery or log list by dragging and dropping. You can also use these instructions to add media via the trim window. To add a clip from the Trim window to the timeline: 1 From the Gallery, double-click on a clip. The video displays in the Source Monitor of the Timeline Window.

81 Velocity User Guide 81 2 Click either the Insert from In Point (-) button or the Overwrite from In Point (=) button. The clip is inserted into the timeline. Cut/Copy/Paste Clip Clips can be copied from place to place in a timeline, or they can be copied from one open timeline to another. Use the options in the Edit menu. Use the option icons on the Toolbar menu. Use standard hotkeys: Cut. CTRL+X Copy. CTRL+C Paste. CTRL+V When a clip is copied and pasted, index markers placed on the clip are copied and pasted with it. 1 To copy and paste a clip, right-click on the clip and select Copy. 2 Right-click and select Paste. A ghost clip or clip outline appears. 3 As you move the cursor, use the outline of the clip to place it in the position you want. 4 Left-click your mouse button to paste the clip to the new location.

82 82 Chapter 3: Basic Skills Finding Clips in a Timeline To find a clip in the timeline 1 Right-click a blank space on the Timeline and select Find Clip (CTRL+F). The Find Clip window displays a list of all the clips on the timeline. 2 Select any of the find options: Reverse Sort. Check this box if you want to reverse the order of the listed clips. Print list to text file... Opens a window so you can select a location and save your list as a TXT file. Sort By. You can select to sort the clips by Start Time, Track, Duration or Clip Name. When you sort by clip name, all clips whose titles begin with capitals are placed before all clips whose names begin with lower-case letters. 3 Click on any item in the list, and click OK. The timeline position is adjusted. The clip is selected and appears at the left edge the screen. Log List The Log List tab in the gallery lists all the media used in the current project. It updates automatically as you create or delete timelines, galleries and media from the project. It also lists timelines and galleries borrowed from other projects. Each section within the Log List contains a list of media stored within a gallery or timeline.

83 Velocity User Guide 83 Field File Name Usage Count Tape Start Time Duration Definition Lists the name of the file without the extension. The number of times the clip has been used in the timeline or the number of copies of the clip exist within the gallery. Time the tape startes. The clip s length in its original form. The length of time the clip lasts in the timeline may vary. You can change the View in the Log List. 1 Right-click in an empty area of the Log List. Log List Detail Text 2 Select the mode you want. Log List Thumbnail and File Name

84 84 Chapter 3: Basic Skills Using Clips in Galleries and Timelines Adding Clip Notes 1 To add a note to a clip, right-click on a clip and select Clip Info. The Clip Information window displays. 2 In the Note field, type in the notes for the clip. 3 Click OK. Tip: You can use notes to search for a clips. Deleting Clips To delete a clip, you can do one of the following: Select the clip, and press the DELETE key on your keyboard. Right-click on the clip and select Delete from the context menu. The clip is deleted from the gallery but not from the hard drive.

85 Velocity User Guide 85 Searching for Clips You can locate a clip by searching for a keyword related to the clip. You can also locate a clip by searching the clip s timecode. To locate a clip by searching for a keyword 1 Right-click a blank space in the timeline and select Search > Notes. The Search Notes window displays. 2 Enter your search text in the Keyword field. Use the check boxes to indicate whether you want to search by clip title, clip notes or both. The title of the clip is not the same as the clip s file name. 3 Click Find Next. When a clip is found, that clip is highlighted in the timeline. To locate a clip by searching for its timecode 1 Right-click a blank space in the timeline and select Search > Timecode. The Search Timecode window opens. 2 Enter the Timecode and Reel Name of the clip you want to find. Tip: If you do not specify a reel name, there may be more than one clip that has the timecode you are searching for. 3 Click the Find Next button until you locate the clip you are looking for. When a clip is found, that clip is highlighted in the timeline. Identifying Missing Media When you open a project and its clips are not in the locations where Velocity expects to find them, the missing media message displays.

86 86 Chapter 3: Basic Skills The spaces on the timeline and in the gallery where these clips should be are filled with virtual clips. You can perform most timeline and gallery functions even when media is missing from your project. See Using Timelines for more information on working with virtual clips. Replacing Missing Media To replace missing media 1 On the Main menu, select File > Replace Virtual Clips in. 2 Click one of the following menu options: Active Tle/Gal. Replaces virtual clips in the active timeline or gallery. All Tle/Gal. Replaces all virtual clips in the project. The Replace Clip window opens. 3 Locate and select the clips or their replacements. 4 Click Replace. Audio Tracks When a new project opens, the playhead timecode in the timeline is set to zero. Adding and Deleting Audio Tracks To add or delete audio tracks to the timeline 1 Right-click in a blank space on the Timeline, and select Add Track. The Add Track(s) window opens. 2 Enter the number of tracks in the Audio Tracks section. 3 (Optional) Change the number for the video tracks in the Video Tracks section. 4 Click OK. The tracks are added or deleted at the bottom of the timeline.

87 Velocity User Guide 87 Adding Simple Effects Audio Cross fade outside of Video Transition When two audio clips are not in a transition, but overlap each other on the timeline, you can still apply an audio cross fade between them. To apply an Audio Cross Fade between two clips 1 Click and hold a clip that contains audio. A Filmstrip icon appears. 2 Press CTRL+SHIFT and drag the selected clip to overlap the other clip. The Filmstrip icon becomes a Cross Fade icon. The pink X indicates a Cross Fade. Both audio clips are combined on a single track. 3 Right-click on the Cross Fade to select a fade style. Tip: If a clip s In point has an audio fade on it, you can still apply a cross fade to that clip. When you move a clip with a cross fade applied, that cross fade is updated and maintained as long as the two clips in the cross fade overlap.

88 88 Chapter 3: Basic Skills Applying Auto Fade on a Single Clip To fade in or out on a single clip 1 Right-click on a clip and select Audio Clip > Audio Fade. The Audio Auto Fade pop-up displays. The in-point on the clip corresponds to the Fade In field. The out-point corresponds to the Fade Out field. You can manually adjust the fade in and fade out points by clicking and dragging them. Note. When the Set As Default box is not checked, the Fade in and Fade Out values default to one second. If you press OK, the default fade In and Fade Out are used. 2 Type a timecode into the Fade In field. 3 Type a timecode into the Fade Out field. 4 Press OK to close the window. Muting an Audio Clip To mute a single clip, right-click on the clip and select Audio Clip > Mute. To mute all clips on a track, click on the Mute icon on the track header. The Mute icon turns red when activated. Muted clips appear gray on the timeline and have an audio node icon in their top right corners.

89 Velocity User Guide 89 To mute the left or right channel of a stereo pair 1 Right-click on the clip and select Audio Clip > Mute Channels. A Mute Audio window opens. 2 Check the boxes to indicate the channels you want to mute. 3 Click OK. Un-mute Clip Audio To un-mute a clip, right-click the muted clip and select Audio Clip > Mute. The mute menu item checkbox will disappear. Transitions The default for transitions is in collapsed mode where you view your V1, X and V2 tracks on a single track. The information included below provides instructions on how to view the tracks in both modes. Creating Transitions To create a transition in dual track A/B roll mode, you need to have two clips, one on each track of the dual track (i.e. V1a, V1b). Tip: For information on collapsing and expanding tracks, see Using Timelines in Volume II. Expanded Tracks To create a transition in Expanded Tracks mode Drag one clip to a position where it vertically overlaps the other clip.

90 90 Chapter 3: Basic Skills Clip A Transition Clip B Collapsed Tracks (default mode) There are three ways to create a transition in the default collapsed mode. It is also referred to as Single Track A/B roll mode. To create a transition in Single Track A/B Roll mode Option 1 Use the Transitions tab in the Gallery and drag and drop any transition icon to a cut point. Option 2 Shift-double click a cut point to use the default transition (defaults to dissolve). For Options 1 and 2, a Transition Settings dialog opens to enter a duration and to chose an alignment option. Option 3 1 Select the clip with the mouse. 2 Hold down CTRL+SHIFT. The Transition curser appears. 3 Overlap the other clip until a transition has been formed. Tip: You can also perform the same operation while dragging clips from the gallery. After the transition has been created, you may fine tune it by selecting one of the clips involved in the transition or the transition itself and using the left and right arrow keys. You do not have to hold down CTRL+SHIFT. Option 4 1 Enter the hotkey dialog (F6). 2 Assign a hotkey to the item labelled Add Vid Xsition in the hotkey list. Now, when on the timeline, pressing that hotkey will add a transition to the video cutpoint nearest the playhead. To do the same with audio clips, assign a hotkey to the Add Aud Xsition item in the hotkey list.

91 Velocity User Guide 91 Navigating a Populated Timeline The timeline scrolls ahead as the clip plays either forward or backward. The timeline also moves backwards and forwards as you adjust the scrub bar at the bottom of the timeline bin. Timeline Navigation Tool Use the Timeline Navigation tool to view your entire timeline at a glance, locate and jump to any point of your timeline, zoom in and out of your current timeline view, and scroll your timeline to any location. The Navigation Bar is the length of the timeline. The left-most side of the Navigation Bar represents the beginning of the timeline, and the right-most side represents the end of the timeline regardless of whether there are clips spanning the entire timeline or not. If your timeline is very long and only has clips at the beginning, much of the navigation bar will be empty. The Timeline Navigation Tool shows the first eight tracks on the timeline in the Navigation Bar. Each clip is represented by a line. Video clips are dark gray and audio clips are black. Any change you make to the timeline is automatically made in the Navigation Bar simultaneously. For example, if a clip is added to the timeline, it also appears in the Navigation Bar. To change the portion of the timeline currently viewed Grab the dark gray In View Marker on the Timeline Navigation tool and drag it left or right to scroll the timeline. The timeline updates as the slider is dragged. To change the zoom level of the timeline Grab the left or right edge of the In View Marker and drag it right or left. The zoom level of the timeline changes to the nearest increment. Zoom Options Quick Navigate The Quick Navigate function can be used to zoom out to a view that includes all present clips on the timeline, then zoom back in to a chosen point at your previous viewing scale.

92 92 Chapter 3: Basic Skills To activate the Quick Navigate function 1 Make sure the Timeline window is active. 2 On the Main menu, select View > Quick Navigate (SHIFT+Z). The timeline view immediately zooms out to show all the present clips on the timeline as the cursor turns into a stylized magnifying glass. 3 With this magnifying glass, click on the point on the timeline that you want to view. The view refreshes to the new selected area at the previously used time scale. Magnifying Glass: Zoom In/Zoom Out To activate the Magnifying Glass do one of the following Press Z or Magnifying Glass on the Toolbar to activate Zoom In/Zoom Out. Left--click on the timeline to zoom in, right-click to zoom out. Use ESC to clear the Zoom tool or swoop the magnifying glass cursor over the bottom of the timeline. Pan Mode Pan mode turns the mouse cursor into a dragging tool so you can pull the timeline up, down, left and right until you find the spot you are looking for. To activate Pan Mode 1 Make sure the Timeline window is active. 2 Do one of the following: On the Main menu, select View > Pan mode. Right-click in a blank area of the timeline and select Pan mode. Press SHIFT+N. Tip: To terminate pan mode, click the cursor outside of the timeline bin. Middle-Button Zoom If you have a three-button mouse, you can zoom the timeline with the middle button. Hold the button down and drag the mouse to the left to zoom out. Or drag the mouse to the right to zoom in on the timeline. Lasso Zoom You have the option of zooming in on a specific part of the timeline by performing a lasso zoom.

93 Velocity User Guide 93 To perform a Lasso Zoom 1 Hold down SHIFT+CTRL. 2 On the timeline, click and drag to create the box-shaped area to be zoomed in. 3 Let go of the mouse for the zoom to occur. Zoom Highlighted Region Hold the CTRL key while using the right mouse button to drag a highlighted range. You can also press A after the range has already been defined. When you release the mouse button, the timeline zooms and adjusts so the entire range appears on the screen. Go to a Timeline Location To move to a specific Timecode location on the Timeline 1 Do one of the following: Right-click a blank space on the Timeline and select Go To. Press CTRL+G. The Go To window opens. 2 Enter the timecode (or Frame) to which you want to go. Tip: You can also enter negative numbers (for example, -15) in the Go to Time textbox for Frames. 3 Click OK. The timeline playhead moves to the timecode you entered and shifts your view to that area.

94 94 Chapter 3: Basic Skills Media Naming Conventions The NEXIO server system features a large database of video, audio and graphic files, the MediaBase. When using the MediaBase to retrieve files, it is critical that each user can easily identify the raw and edited material required for editing and play-out. MediaBase Metadata Velocity is designed to integrate with the NEXIO server system of digitized media. Media is primarily captured into the NEXIO MediaBase through ingest from the NEXIO Operating System, NXOS or Ingest Control Manager (ICM). Raw ingested clips are called parent clips. The incoming video/audio signal is converted and stored as a compressed digital MPEG or DV file. Metadata that helps to identify and categorize the media is entered when the record ID is created and saved with the file. The following metadata is assigned when a new item is recorded. Unique ID Duration User Field 1-4 Description GOP File Name - Windows file path Agency Bit-rate Record format Date Kill date Start time-code Although high-resolution metadata is matched to the low-resolution version, the MP4 Global Proxy clips themselves (as shown through the standard Windows File System) use the original clip name when created. Thus, any re-naming is not reflected in Windows. Naming Published Timelines (Edit IDs) You can use naming conventions for projects, timelines and Edit IDs to locate media based on the project or timeline it is used in. Naming conventions can also be used by others as well as automation systems to identify Edit IDs for playback. The Edit ID displays in the ID column, while the project and timeline name display in the description field. A slug can be used to identify a story in a Newsroom Computer System (NRCS) and in the NEXIO system. If you name the published timeline (Edit ID) after the assigned slug, the play-out operator or automation system can identify the story by the slug as it exists in the rundown. Project and timeline names include: Project Name. Generic name for the event, for example CITY HALL FIRE.

95 Velocity User Guide 95 Timeline Name. Contains the TYPE and NEWSCAST TIME, for example PKG 6PM is a package for the 6pm newscast. In the above city hall example, the description field in MediaBase would display CITYHALL FIRE PKG 6PM (the project and Timeline name). The assigned Edit ID displays in the ID field. For a project that spans multiple days, create a naming scheme that reflects the three stages of a project. Use the following naming method to help maintain version continuity while protecting earlier versions. Start of day. At the beginning of a day, copy the final timeline of the previous day to a new timeline bin. Name this timeline for the start of a day s work, such as StartTL. Copy the section you are currently working on and save it to a new timeline in the new bin, naming it InProgress. End of Day. At the end of a day, move the section you worked on back in the start timeline and fix any sync issues that arise. Name the end of day timeline EndTL. Project Previews/Final Version. To show a producer the completed project, you can easily find all EndTLs and put them together, naming this sequence PreviewTL or FinalTL.

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97 97 4 Importing Media This chapter explains how you can add new media to Velocity, including video, audio, graphic files, and platform independent file formats such as EDLs among others. This chapter also includes best practices for naming conventions when importing new media in order to maximize searches to find files easily. Media Sources Velocity can import media from the following sources: Captured media using a FireWire or SDI capture device Digitized media from the NEXIO server network (MediaBase) or LAN Created images or rendered animations from a 3rd party application Created stills, rolling or crawling titles for real-time playback Captured audio from a CD as a WAV or MP3 file Gallery bins are used to store collected files. For more information on using galleries and bins, see Project Management. Capturing Media This section contains instructions on capturing new media. Velocity allows you to capture new vedia via Firewire or SDI capture devices. Before you capture media, you must hook up video, audio and timecode inputs to your computer. Video Capture To set up video capture, attach your video source to the IEEE Firewire connection on your editing station.

98 98 Chapter 4: Importing Media Audio Capture To set up audio capture, use an 1/8 minijack to record voiceover. To record from VTR, use SDI (embedded) or AES. Tip: To capture audio from a CD, you can use Import to bring in the input from your computer s CD-ROM drive. If you are using DV audio, it travels through the same cable as the video. If the DV source (camera or VTR) has separate audio outputs, you can capture the audio through those outputs as well. Timecode When you capture via DV, your timecode is part of the signal. For other types of video, you can hook up timecode directly to your system or through your propanel. This is useful in cases where you want to use timecode capture, batch capture or batch recapture, HDV Support Velocity can capture media from an HDV deck. HDV must be chosen in the capture settings for this to take place. Capture Modes To Get a Capture In a project gallery, right-click and select Capture. On systems with SDI Capture hardware, a Capture Input dialog prompts you to select between SDI Cpature and Firewire Capture. On systems without SDI capture hardware, the Firewire capture mode is used. The following media capture modes are supported. Control Quick Mode Timecode Mode Definition Captures clips one at a time as you view the source tape. As well as adding deck control, you can capture individual clips with timecode and reel name.

99 Velocity User Guide 99 Control Batch Capture Batch Recapture Voice Over Definition An extension of timecode mode, use this to import or create a batch list and then capture that list. Recapture clips previously captured using timecode mode or a batch capture list. You can also import an EDL and recapture the clips on it. This is useful if you want to capture initially with low-resolution clips and then recapture just the portions of the clips that you need at a higher resolution. Play your timeline with video and up to eight tracks of audio as you capture another layer of audio which is immediately aligned on the timeline. Using Timecode Capture Timecode Mode Clips captured using Timecode mode include reel name and timecode. They can later be re-batch captured. Timecode Mode is used to control an external device to digitize multiple video clips from a source tape. DV Deck Control DV device control can be handled through the IEEE-1394 cable without further setup. Once the VTR or DV device is connected to the computer, it can be controlled by Velocity. Use a batch capture list to create low resolution clips which may be used while editing. When you are ready to create the final output, create a batch recapture list using your timeline trim points and replace the low resolution clips with new high resolution clips using the new batch recapture list. You can also use batch lists in combination with saved galleries, image files and a timeline to archive your project in case you need to recreate it again later. Use the timecode mode to view a tape while marking In points and Out points and assigning names and settings for individual clips before going back and capturing them later all at once. Follow these steps to use the Capture Window. 1 In the Gallery, click on the Capture button located in the bottom left of the gallery window, or right-click in a gallery then click Capture. 2 Select a Timecode Mode. 3 Enter information to identify the media you want to capture. 4 Click Settings.

100 100 Chapter 4: Importing Media Capture Window Capture Window Controls Definition Modes Quick Capture. Captures individual clips without timecode as the video signal is being played. Timecode Mode. Use with a DV device controlled via firewire. When you choose Timecode Mode, the Capture window displays deck control options and a batch capture list. The capture list specifies the start and end time codes to be used when capturing clips, then controls the DV device to record all the clips on the list. Timecode mode can also be used to capture single clips that include timecode and reel name which can later be recaptured (this also applies to clips captured from a batch list). VU Meter The VU meter shows audio levels for each channel. You can also drag the sliders to change the audio levels for recorded clips. Clip Timecode This uniquely identifies each frame of the clip you are viewing. Clip Preview Displays the clip as you are capturing it. Record/Stop Use to start or stop recording. Clip Shows clip name.

101 Velocity User Guide 101 Capture Window Controls Reel Title Settings Drop Frame Notes Batch Capture Controls Capture Status Bar Batch Capture List Deck Controls Definition The name of the media that the video/audio has captured. The reel name does not have to be unique. However, if all your reels are the same, capture may be aborted because Velocity encounters Batch List entries with timecodes that are not available. A Batch Capture list with multiple reels is normally sorted by reel so that all clips on one tape are captured before moving onto the next reel. You can add a name to the clip. Unlike the Clip field, you can enter a more descriptive name for the clip in the Title field. This opens a window where you can select Video Standard (AVI or MPG) as well as frame rate, width, height, and other settings. Only available in Quick Mode. You must manually specify this control if you want the clip to be captured as a drop frame or not as a drop frame. Notes added here are displayed in the MediaBase. See Batch Capture Lists. Use status to see how many reels have been captured, selected, or have failed. You can also select all or none of the reels here. See Batch Capture Lists. See Deck Controls. Capture Settings To access, click Settings in the Capture window. The settings window has two groups of controls. In the General Options group, you can choose the Video Standard to determine the length of the handles, customize Hotkeys and select several video input options. In the Deck Options group, you can set the VTR Delay and enter the length of time for the Pre-Roll. Video Input Settings The Video Standard section of the Settings window contains video settings for capture. Tip: Make sure that your video settings match your timeline settings. Choose either DV or HDV in the Input drop-down box. If you select HDV, you will then see a second drop down list where you can select the specific format that matches your HDV device.

102 102 Chapter 4: Importing Media General Video Capture Settings Sticky Mode Jog/Shuttle Definition This control stays where it is when you release it. When this option is not selected, the Jog/Shuttle deck control goes back to stop when you release the control. This setting affects deck control only. Automatically Add New Row This control creates a new batch list entry when you mark an In point, then an Out point and another In point. When this option is not selected, you must manually add entries to a Batch Capture list by clicking Add or pressing the shortcut CTRL+A. This setting affects batch capture only. This option only has an affect when you are in Timecode capture mode. If this option is not enabled, capture continues over broken timecode. This can make batch recapture difficult later because Velocity does not count every frame of timecode but stores the first number and arrives at the others by adding frames to it. Fail recording on error Capture is aborted when Velocity detects an error during recording. If this option is not selected, Velocity continues to attempt to record the clip.

103 Velocity User Guide 103 General Video Capture Settings Retry Failed Recording Velocity tries to capture a clip again if the first attempt fails (as many as three times). This setting affects batch capture and batch recapture. Keep Files after Failed Recording If this is checked and recording fails, the file is saved anyway. If this setting is not selected, the clip resulting from a failed recording is discarded. During DV Capture, if Timecode is broken, the capture will abort, so keeping this option checked will help you retain the portion of the clip that had been digitized before the timecode break. Keep Files after Partial Capture Saves the clip if capture is aborted before the clip is complete but after capture has started. If this setting is not selected, the partially captured clip is discarded. Append Captured Clip to the Timeline Delete Existing Files before Recapture Definition When this is checked, each clip that is captured is added to the end of the timeline. As a result, you can finish capturing clips and have a rough cut of your edit completed at the same time. Click this to remove the clips that are being batch recaptured automatically. If this option is not checked, the clips continue to take up space on your media drives. This option only applies to batch recapture. Replace Using Origin Names This option becomes available when you delete the original files before batch recapture. When it is checked, clips have the same name as the originally captured clip. When this option is unchecked, newly recaptured file names are appended with a numeric suffix. This option only applies to batch recapture. When enabled, in cases where a long clip has been divided on the timeline and trimmed so there are two portions with an unused portion in the middle, a single clip with a timecode is captured. If this option is not enabled, two clips, containing only the portions of the clip that were used plus handles (if selected) are captured.

104 104 Chapter 4: Importing Media Handle Settings Handles are extra frames before the In time or after the Out time defined for a clip. When a clip with handles is collected in a gallery, it has the In and Out points that were assigned prior to capture. The extra media captured before the In point and after the Out point is also available when you load the clip into the trim window or place it on the timeline. Handles are only applied to batch captured and batch recaptured clips. Handle Setting Controls: Add Handle Frames. Activates the Handle feature. Head. The number of frames added before the marked In point of a clip. Tail. This is the number of frames added after the marked Out point of a clip. User Defined Hotkeys Use this button to open the User-Defined Hotkeys screen for Capture. For details see Hotkey Setup. Deck Options Deck Options only have an effect when you use Deck Control from Velocity. Delays. Some VTRs may experience a small delay between receiving a command from the computer and executing that command. This results in recordings that are off by a few frames. The VTR delay slider can be used to compensate by +/-5 frames. Preroll. A setting of greater than five seconds ensures that your tape player is up to speed when capture begins. Using Quick Capture Quick Capture is used to quickly access record functions on Velocity. If you have Time of Day control enabled, Quick Mode will use that timecode. Otherwise, it starts at zero. Quick Capture is useful when the following conditions exist: The accuracy of a recording is not important. You do not have a vast number of clips to capture. You have a live feed that cannot be recaptured later. Follow these steps to capture a clip using Quick Capture 1 Check your Settings. 2 Put a tape in your DV device and press Play. Video displays on your video monitor and sound plays from your speakers. 3 Enter the following clip information:

105 Velocity User Guide 105 Capture Settings Clip Field Title Field (Optional) Notes field Definition Enter a unique name that identifies the material being captured in the Clip drop-down menu. When you capture a clip, audio and video files are created using this name. When you successfully capture a clip, the text in this field automatically increments so you can capture another clip immediately. Enter a title for the files. Unlike a clip name, titles can be longer and can contain any keyboard character. Titles can even contain punctuation marks. You can also sort by titles and display titles on timelines and in galleries. Enter notes for the clip. Notes and titles are saved in the gallery with the clip and can be searched. 4 Click Record, or press ENTER on your keyboard, when you get to the part of the tape that you want to capture. 5 (Optional) Click the Index button (or press the comma (,) key) to place Index Markers in your clip as you capture. Tip: Index markers are numbered sequentially in the clip. 6 Click Stop, or press ENTER on your keyboard, when the segment you want to capture is over. Or press ESC to abort the capture. Your capture is automatically saved. If you performed a video and audio capture, this creates an audio file that consists of the audio data and a pointer to the video file saved on your media drive. Tip: If you do not change the clip s name, each clip is numbered sequentially. If you want to terminate a capture without saving the video or audio files to disk, press ESC. You can overwrite an aborted capture using Quick Capture. You can use the same clip name, title, notes, etc. Overwriting the previous capture is handy if you want to keep trying to capture an elusive camera event and want to use the same name for every trial. If you abort capturing MyClip020, the next clip is called MyClip020 (unless you have chosen to save each aborted capture in the Capture Settings window). The gallery drop-down menu determines the gallery that the captured clips are sent to when the capture session is finished. If you alter the setting partially through a capture session, the first clips go to one gallery, and the latter clips go to another.

106 106 Chapter 4: Importing Media Importing Media Velocity can import the following types of video, audio, image and animation formats. Supported File Formats Clip Type Video Audio Graphic Image/ Animation File Formats Supported LTA and LTV DVA and DPS MXF DV25 AVI WAV AIF/AIFF Abode AE files (AEP) BMP DIB DPT ICG JPG QuickTime files (MOV) MPEG, MPEG-4, MP4 LXF Windows Media (WMV) MP3 Chyron Lyric (LYR) PCT PSD TGA TIF Video vs. Graphic Files The key difference between working with video and working with image files is that video must be 720x480 (NTSC), 720x576 (PAL), or 1920x1080/1280x720 (HD) whereas image files can be any size. Image files are rescaled to fit the screen when they are imported. Graphic Files Graphic files are handled differently from video files in a number of ways. If you are creating your own images use BMP files that are 720x480/576 (NTSC/PAL), 1920x1080 (HD), and 1280x720 (HD). Tip: You can extend image files to any length on the timeline without altering the way they are interpreted or the way they use the hardware s resources. Bitmap Conversion When working with graphics, Velocity uses 24-bit bitmap files. Velocity converts all files to a 24-bit bitmap file (except ICGs and 32-bit TGAs, which are handled natively) and stores them on the server. 24-Bit BMP Files Velocity natively uses 24-bit BMP files of the following types:

107 Velocity User Guide x480 (NTSC) 720x576 (PAL) 1920x1080/1280x720 (HD) Adjusting Graphic Imports The pixels on your computer screen are square, while the pixels on your video monitor are slightly rectangular. For NTSC, pixels are higher than they are wide, and for PAL, pixels are wider than they are high. Because of this, graphics that you create on a computer can appear distorted when you preview them on a video monitor. For example, if you create an image with a large circle in it in a paint program and then import that image file into Velocity and preview it to a video monitor, the circle appears slightly egg-shaped. To compensate for differences in pixel shape. 1 Create your graphics at a 4:3 ratio, such as 720x540 pixels. 2 Resize your picture in a paint program to the raster size used by your video standard. Using this procedure when creating graphics gives you an image that looks slightly squashed on your computer screen. However, it will appear correctly on your video monitor. Using 32-bit Image Files You can use 3rd party CGs or paint programs to create 32 bit and TGA, BMP and PSD files with an internal Alpha channel and collect them into the gallery to use as real time titles, logos, etc. If you have a paint program such as JASC Paint Shop Pro 6 or Adobe Photoshop, you can create these 32-bit (24 bit RGB file with an 8 bit mask channel) files. When imported into Velocity, place the 32-bit TGA file in a higher-numbered track to create an alpha-keyed logo, title or graphic. To create a 32-bit Image File 1 Create a new image size that is set in your timeline settings: 720x486 for NTSC 720x576 for PAL 1920x1080/1280x720 for HD Pixels in video are rectangular, whereas pixels in a computer screen are square. Hence, if you are creating a graphic that involves circles and you want it to have the same proportions as it will on video, you should set the aspect ratio of your image to 4:3. 2 Acquire images to work with by scanning or creating an original image. Tip: To clean up the edges for a cleaner key, you can convert the images to fewer colors, then convert them back to 24-bits. However, do not using Undo to convert back to 24-bits. 3 Select the background area. If you use a magic wand tool, you can hold down the shift key to add new areas to your selection. Some paint programs have an option

108 108 Chapter 4: Importing Media for Select Similar. This selects only the portions of the image that are your background color. 4 Invert your selection and save it as an Alpha Channel: In PhotoShop, choose Select > Save Selection > Create Alpha Channel. 5 If you create an image at a different screen size than the one you are using, resize it to the proper dimensions to match your video: For full-screen NTSC, use 720x486. For PAL, use 720x576. For HD, use 1920x1080 or 1280x Save your file as a TGA file. If your paint program asks if you want to save your image as a 32-bit or 24-bit TGA, select 32-bit. Collecting Image Sequences You can import a series of sequentially-numbered image files to view as a single video file. You can do this by importing the files as a sequence. When you import files as a sequence, multiple graphic stills can be viewed as a single video file. To import an image sequence, it must be at a color depth of 24 bits (or 32 bits if you are also saving an Alpha channel) in one of the following file formats: BMP IFF PIC RAS RLA SGI VPB TGA TIF To collect an Image Sequence 1 In the gallery, make sure the explorer tab is visible. If it is not, go to the View menu item and select Explorer. 2 Browse to the directory that contains the image sequence you'd like to collect. 3 Right-click anywhere in the right pane of the explorer tab (where the image sequence is displayed), and select Enable Image Sequence.

109 Velocity User Guide Right-click the first file in the image sequence, and select Ship to Gallery. There may be a slight delay, depending on the number of files in the image sequence, while the sequence is compiled. 5 Click on your gallery tab, and you will see the image sequence. Monitoring Audio Levels During Playback When capturing audio, you can control the input level using the VU Meter. You do not want the audio peaks to cause distortion or the overall level to be barely audible. Velocity has a VU (Volume Unit) meter that you can use to adjust the audio level during recording and playback. Tip: The sound level should stay primarily in the green region (below 2 dbfs, or, if you have enabled Analog Simulation, below 8dB). If you are capturing audio from a properly recorded source, you should be able to set the audio gain to 0 db. This means that the level of the audio signal that you record matches the audio signal of the source. Your audio input level (shown by the colored scale) should hover around 0 db (-20 dbfs). If it is lower (due to under-recording), you may encounter signal/noise problems. If it is higher (due to over-recording), you run the risk of audio saturation. If the sound level is too high, the meter goes into the red region. This indicates that your signal is too loud to be recorded without some distortion. Use the sliders to reduce the audio level before recording. If the audio signal is very quiet, the audio scale barely lights up and stays at the bottom of the meter. If you know that you are playing back a very quiet section, this is normal. However, if you know that the audio was under-recorded, turn up the sliders to increase the audio level. Increase the signal by up to 12 db. Even when there is no audio signal being played back, there is a very small signal indicated. This is audio noise and is common to all analog recording devices. As long as it is a very low signal, it should not be noticeable in your final production. Capturing on the Fly Capture on the fly is like Quick Capture; you view the tape and push the record and stop buttons. It is like Batch Capture; you can control a deck via the computer interface or an external JOG controller. You can also capture timecode and reel name information to make batch recapture easier later. Follow these steps to capture a clip on the fly: 1 Do one of the following to launch capture: Right-click in a gallery and select Capture. Press the Capture button in the bottom left corner of the gallery. 2 In the Capture window, select Timecode Mode from the capture mode drop-down menu.

110 110 Chapter 4: Importing Media 3 Press the Settings button on the Capture window. Pay particular attention to the input, timecode type, and deck option delay settings. 4 When you are finished adjusting the Settings screen, click OK to save your settings and return to the Capture window. 5 Adjust the clip settings in the top half of the Capture screen. See Using Timecode Capture for more information. 6 In the Reel field, enter a name for the tape you will be capturing from. This common name identifies all the clips captured from this tape in case you need to recapture them again. You can also sort by reel name in galleries. 7 Put a tape in your DV device and press Play, or use the deck control buttons. You should see the video on your video monitor and preview window and hear the sound. 8 When you see the video that you want to capture, click Record (the button label then switches to say Stop). 9 (Optional) To place Index Markers in your clip as you capture it, click the Index button or use the comma. When you subsequently load your clip into the trim window or timeline, you can view and snap to these index markers which are numbered sequentially. 10 Press Stop to end the capture and save the clip or press ESC to abort the capture. If you set a Duration (by checking off the single file limit box and entering a number), capture stops automatically when the duration is reached. A new entry appears in your batch list every time you capture a new clip. The status of the clip is listed as Done as soon as you click the Stop button. You can record another clip by repeating steps 5 and 6. The clip name will be automatically advanced (clip1, clip2, etc.), or you can enter a new name every time. You cannot capture to a file with the same path and name as a saved capture file.

111 Velocity User Guide 111 Deck Controls For the Jog/Shuttle wheel and the VTR buttons, there are corresponding settings. Go to the Beginning Shuttle Backward Reverse Play Reverse One Frame Pause Go to the End Shuttle Forward Play Forward One Frame Stop If you have a NXEC400 editing controller, you can use it to perform the same deck control and Batch Listing functions. Batch Capture Lists This section explains how to use batch capture lists. A batch capture list contains information to describe the clip to be captured. To alter an item on the Batch Capture List Click on its row. The fields above update to reflect that clip s data. As you alter that data, the entry in the batch list is updated.

112 112 Chapter 4: Importing Media Batch Capture Columns Check Box Reel Clip Title Source In/Out Duration V/A Audio Settings Notes Status Definition Use the first column to select individual clips for capture by either checking or unchecking them. The name of the media that the video/audio will be captured from. It does not have to be unique. However, if all your Reels have the same name, capture may be aborted as Velocity encounters Batch List entries with timecodes that are not available. A Batch Capture list with multiple reels will normally be sorted by reel so that all clips on one tape are captured before moving onto the next reel, etc. Each clip must have a unique file name. Another name for the clip, which does not have to be unique. Clip titles are usually more descriptive. Clips can be labeled and sorted by title or by clip name on timelines and in galleries. The tape time when capture starts (In) and stops (Out). The Out time minus the In time (inclusive) provides this number. Displays which video/audio tracks will be captured. Audio quality mb/s, mono or stereo. Displays the Input selected in the Settings dialog box. Information typed here is carried with the clip in the galleries and timeline. Capture, Done or Incomplete. To resize batch list columns Drag the dividers between column headings. Resize the list portion of this screen vertically by adding rows to the list. To sort a batch list Click on any column header. If you sort by the Reel Name, all clips from the same reel will be together.

113 Velocity User Guide 113 Creating Batch Lists To create a Batch List 1 Adjust the Settings once during a tape or capture session. This includes Reel, V/A, and Audio. Once you have set it, this information gets copied from line to line. Tip: When creating a Batch Capture list that draws from multiple reels, be sure to change information for relevant entries. 2 Put your source tape in your DV device and use the buttons at the left of the Batch Capture window to control its playback. When you have located the section that you want to use for a clip, you are ready to create an entry in the Batch Capture list. 3 Set the In point of your first clip Source In. You can set this to the currently displayed timecode by clicking In Point (the green bracket). You may also highlight the In time and type in the timecode either in the top half (the data entry portion) of the screen, or in the batch list (spreadsheet portion of the screen). 4 Set the Out Point of your first clip (Source Out). You can set this to the currently displayed timecode by clicking Out (the red bracket). You may also highlight the Out time and type in the timecode either in the top half (the data entry portion) of the screen, or in the batch list (spreadsheet portion of the screen). If you have the Out time highlighted while you are using the Batch Capture controls to play the clip, the time showing when you press Stop is entered as the Out time. 5 If you want to have a specific duration, type plus (+) and a number in the Out field and press ENTER. The new number is added to the In time to generate a new Out point. (If you type +500 in the Out field, the out time is five seconds after the In point.) 6 Assign a unique name in the Clip field. If you do not assign a name, the clip name automatically increments (Clip001, Clip002, etc.) 7 (Optional) Click the Play In to Out button to the right of the Duration field to play the tape from the In point to the Out point without capturing the clip. 8 Enter information in the Notes and Titles field. These fields remain blank unless you enter information in them. These settings are not integral to the successful capture of a clip. To create another row in the list 1 If you have chosen the option in the Settings screen of Automatically Add new row and you mark an In and an Out, and then you mark a new In, another line in the Batch Capture list is created, automatically with this new In point. 2 Press the Add button on the Timecode Mode screen or F5 on the keyboard. A new blank row is created. 3 After you enter the In and the Out, press ENTER and the focus moves to the Duration field. 4 Press ENTER again, and you are ready to add another In and Out point.

114 114 Chapter 4: Importing Media As you create an entry, it will take on the attributes of the entry before it, so it will have the same audio settings, etc. You can alter these on a clip-by-clip basis. You can create as many entries in a batch list as you want. To copy batch entries Use the F4 shortcut. This might be useful, for example, if you are capturing footage from a multiple-camera shoot and want to use multicam editing on the timeline later. Remember to change the reel name and file name for duplicate shots from other cameras. To update several clips at once 1 If you need to change a piece of information in several clips, such as Reel Name, Audio, etc. you can click on multiple rows (holding down the SHIFT key to select a range, or the CTRL key to select individual clips). 2 Change the piece of information you need to change in the appropriate field in the data entry area in the top portion of the interface, and it is updated for all the selected clips. If you type a name for all the clips selected, it names them and puts an incrementing number after the clip name. 3 When your Batch capture list is complete, click Save. Saving Batch Lists To save your batch list, press the Save or Save As button. The first time you save your file, a Save As window opens. These batch lists can only be saved in the MediaBase. It is saved as a batch capture (BRT) file. If you have already saved your batch capture file and have made changes to it, pressing the Save button automatically saves your updates. Opening Batch Lists If you have a saved batch list file, you can open it by pressing the Open button. A window opens. Choose the appropriate BRT file from the list. Capturing a Batch List To capture a batch list 1 Before capturing a batch list, select the items from the list that you want to capture. All clips that have a check mark in the left edge of the batch list will be captured, so if you don't want a clip captured, remove the check mark. To capture all items in the list, press the All button in the bottom left corner of the window. 2 Press Batch Capture to start recording. The timecode numbers shown at the top of the Batch Capture window turn red when clips are being recorded. 3 (Optional) If you want to abort the Batch Capture, press ESC on your keyboard. A message appears on the screen asking if you want to capture remaining clips.

115 Velocity User Guide 115 Click YES to skip only the current clip and go on to the next one, or No to abandon capture completely. When you create a batch recapture list, a number is appended to each clip name, so each clip name is unique. Importing Platform Independent File Formats You can import the following file formats from another non-linear editing (NLE) program for use in Velocity. Media Formats EDL AAF OMF FCP Definition An EDL (Edit Decision List) is a text-based file that references media used on a timeline and ties the references to timecodes. This can be a useful tool for restoring old projects where a timeline is no longer available, or for creating a timeline from an EDL that was created on another system. An AAF (Advanced Authoring Format) is a higher level EDL. More information can be stored than with an EDL. An OMF (Open Media Framework) is an Avid standard format for high-end digital video. An FCP (Final Cut Project) is used when you have a 3rd party editor connected with the NLE Integration Gateway or any application utilizing FCP compatible XMLs utilizing FCP 7 (.xml) or FCP X (.fcpxml) XMLs. To import an EDL, AAF, OMF, or FCP File 1 Select the Timeline. 2 On the Main menu, select File > Import.

116 116 Chapter 4: Importing Media 3 Select a file type for import. Tip: If you are importing an AAF, the Open window displays. Navigate to the file and click Open to import it. The Import Options window opens. Enter the following information for the appropriate Import Options window: Media Formats File Path EDL Format Timeline Name Definition Enter the path to the EDL file, or click >> to browse to the file. Select the EDL format from the list (Sony 9100 or CMX 3400/3600) or select Auto Detect to import according to the format Velocity detects. Enter a name for your timeline. If you do not enter a name, the timeline default name is timeline followed by a number. 4 Click Import. The new Timeline opens. Tip: If you import an AAF file, the name of the file plus the AAF extension is used for the timeline name.

117 Velocity User Guide 117 Velocity opens the file as a new timeline populated by clips. Re-linking of media is automatically attempted at this time. If the media is found, the clips will show up normally. If they are not found, them will show up normally. If they are not found, they will show as virtual. Handling Audio and Visual Effects When importing an EDL, effects and transitions are not preserved. When importing OMF, AAF, and FCP, transitions are preserved. When importing FCP, select video FX, video fades, and audio levels will be preserved. When you import a file, clip effects and transition key frames are not preserved. If you have a transition above V1, the clip s timing is converted to Velocity and all transition information is lost. A clip may be bumped to a higher track to compensate for the overlapping media. P2/XDCam Workflow Velocity allows easy access to file-based media such as P2, XDCam, and XDCam EX through P2 Viewer, XDCam Viewer and XDCam EX Viewer. These tools allow a user to connect directly to P2, XDCam, or XDCam EX media either through a connection to an external device, or by connecting to archived media on a shared file storage. You can view a list of available P2/ XDCam media, preview the media, and load the media into a Velocity project. Version 3.0 Enhancements The following P2/XDCAM enhancements were implemented with Version 3.0 Velocity software. XDCam and P2 supports multiple source clips imported as a single ID when enabling Import as One Clip. Support for mark In and Out points from the Source Monitor to allow a trimmed portion of the clip to be imported. Import options to route files via IOL, FTP, or local. Both IOL and FTP options allow for background import and IOL can be used for transcoding. Clips which have already been imported show with a purple color status. These clips can be hidden from showing in the Viewer using the Hide Imported Clips option. Hidden items that show purple color status in the Viewers can be hidden. General Workflow for the P2/XDCam Viewer 1 Browse to P2 Card / XDCam media. 2 While adding the P2 Card Reader/XDCam connection, select a main local directory to use for copying files. Once the directory is added and checked in the Browse dialog, the Viewer shows the clips from those P2 Cards/XDCam disk via Direct Access rather than copying all of the clips locally right away.

118 118 Chapter 4: Importing Media 3 When accessing directly, if the Proxy clip is available (this is always the case with XDCam), the Proxy will be used within the Velocity project. If Proxy is not available, the full resolution clip will be used. Tip: The General Hierarchy of Clips section shows the order in which the clips will be used for editing in a Velocity project. 4 In the Viewer, select the P2 or XDCam file(s) that you want to import to the server. P2 or XDCam file(s) will be pushed to InstantOnline, which will then import the high-resolution copy to NEXIO MediaBase. The full resolution copy, not the proxy, will always be used for import. If a proxy clip exists locally and the associated full resolution clip is no longer accessible on the connected P2 Drive or XDCam Deck, a dialog displays indicating that the correct disk or card must be inserted before import can take place. Tip: It is possible to use proxy only media that resides on an SD card, network share, or has been downloaded from an FTP site. Such proxy media is divorced from the high res content. Editing can begin using just the proxy clips. When the full duration of the high res media is imported (from the original media, on the same or different machine), re-opening of a Velocity Project that contained the local proxy only clips will re-link with the imported on-san versions (if available). Once re-linked, the edit can be published to InstantOnline. Localize Versus Import The Localize function is provided in Velocity XNG as a means to copy content from the removable media onto the local system's hard drive. Once content is localized, the removable media can be returned to the field. Localized content remains accessible from within the P2 or XDCam Viewer. The Import function is provided in Velocity ESX and PRX, as well as XNG when connected to the SAN. Importing allows moving the content directly from the removable media to the SAN. In XNG, Import can also be used on previously Localized media. Imported content is a available through the MediaBase. General Hierarchy of Clips The following general hierarchy is used to determine which clip to use for editing in Velocity. Clips are used in the Following Order 1 Local Full Resolution. If it exists, use the local full resolution copy of the clip. 2 Local Proxy Copy. If the full resolution clip does not exist, and a proxy copy exists, proxy is used. 3 P2 or XDCam Proxy. If clip is not copied locally, the proxy clip will be accessed directly from the P2 Card or XDCam Deck. 4 Direct Full Resolution. If proxy is not available, the direct full resolution copy will be used from device.

119 Velocity User Guide 119 Clip Hierarchy Order Access Type Full Res or Proxy Icon(s) displaying on Picon in Viewer 1 st Local (Copy) Full Res 2 nd Local (Copy) Proxy 3 rd Direct Proxy 4 th Direct Full Res P2 Viewer Detailed Workflow To add a P2 Viewer device 1 On the Main menu, select View > P2 Viewer. The P2 Viewer tab appears in the Gallery bin. 2 Right-click in the P2 Viewer window, and select Browse P2 Cards from the menu. The Browse P2 Cards window displays. 3 Click Add P2 Device to connect to a P2 device via USB. The Add P2 Device window displays.

120 120 Chapter 4: Importing Media 4 In the Card Path Range area, enter the First and Last drive letter to be included in the drive range for a given device. This could be a minimum of one drive (same drive for as both first and last) or a maximum of 26 drives (first is drive A, last drive is Z). The Browser List will then display all drives between the defined range. 5 In the Label box, enter a name for this range of folders. 6 In the Copy Directory area, enter or browse to the location to which you want to copy the clips. Tip: You can click the ellipsis (...) to browse for the various locations. 7 Click OK to close the Browse for Folder window. 8 In the Add P2 Device window, click OK. You are prompted to begin copying all clips from the device to the local directory. 9 You can also enter a local Virtual Card Directories with a copied P2 Card image to use in the P2 Viewer. For this type of directory, select Add from Local. 10 Click on the ellipsis (...). The Browser for Folder window opens. 11 Navigate to the folder that contains the Contents folder for the card image, and click OK. The Browse for Folder window closes. 12 Right-click on a clip and select Highlight/UnHighlight, or use the hotkey (E) to toggle between highlight and unhighlight. In the P2 Viewer, specific clips (one or many) can be highlighted. Highlight can be used as a way of marking clips to Localize without having to worry about inadvertently selecting or deselecting clips.

121 Velocity User Guide 121 The clips are highlighted in yellow. Highlight can be used on a clip-by-clip basis. Clips that are highlighted stay that way until localized or manually unhighlighted. Tip: More details regarding Localizing, see Localizing Clips for Velocity XNG. A main target directory is set on the local drive for the card reader. The Browse P2 Cards window will now list the source drives for the P2 Device, as well as any Local Virtual Card directories. If checked, clips from those directories are displayed in the Viewer. If unchecked, clips from those directories are not displayed in the Viewer. Recommended P2 Device Workflow In Velocity, you can edit with clips accessed directly from the P2 device, localize the trimmed portions of media to local storage or import to SAN, then create your output. Or, you can localize selected clips first or import to SAN, then edit those clips on the timeline. The P2 Card must be inserted in the connected device through the entire workflow. Using P2 Direct Access - Edit First, then Localize or Import To edit clips first in Direct Access 1 Add your P2 Device in the Browse window (see To add a P2 Viewer device). 2 Check all of the Source Drives in the Browser and click OK. All clips from the P2 Device should display. 3 Insert clips from P2 Viewer to the Timeline. 4 Edit the clips. on the timeline. 5 Once edits are complete, output such as a Movie ID can be created.

122 122 Chapter 4: Importing Media Tip: With Velocity ESX in order to publish Edit ID or Media ID, the P2 media must be imported to the shared storage first. However, using Movie ID you can publish without having to import. To localize only edited portions of the media to local drive 1 From the Main menu, select File > Localize P2/XDCam Media. 2 Select the Timeline where your clips are located, and click OK. Once localized, P2 card can be removed from the P2 Device, and media can continue to be available on the Timeline. 3 (Optional) Handles may be added to each end of the trimmed portion of the clip when localized. If a full resolution clip is not available, then the import cannot be completed. To edit with proxy clips rather than full resolution, change the playback method to Preview Quality in the Timeline Monitor (orange button). Using P2 Direct Access Localize First then Edit To localize clips first in Direct Access 1 Add your P2 Device in the Browse window. 2 Check all of the Source Drives in the Browser and click OK. All clips from the P2 Device should display. 3 Select the clips in the Viewer that you want to use in the project. 4 Right-click on your clips and select Localize Selected. 5 Insert the clips from the MediaBase to the Timeline. 6 Edit the clips on the Timeline. 7 Once the edits are complete, output such as Edit ID can be created as normal. XDCam Viewer Detailed Workflow Firewire or USB Connection The Add from Firewire option can also be used for a USB connection to an XDCam device.

123 Velocity User Guide 123 To use the Firewire Connection with the XDCam Viewer 1 Select XDCam Viewer from the View menu. Right-click and select Browse XDCam Disks. 2 Click Add from Firewire. The Browse XDCam Discs window displays. 3 In the Disc Path field, select the Drive Letter assigned to the XDCam disc that is connected via Firewire (using FAM connection) or via USB.

124 124 Chapter 4: Importing Media Local Archive To use a local connection with the XDCam Viewer 1 In the XDCam Viewer, select Add from Local in the Browse XDCam Discs window. 2 In the Disc Path field, browse to locate and select the XDCam disc image. Recommended XDCam Firewire or USB Workflow In Velocity, you can edit with clips accessed directly from the XDCam device, localize the trimmed portions of media to local storage or import to SAN, then create your output. Or, you can localize selected clips first or import to SAN, then edit those clips on the timeline. To edit clips from the XDCam first before localizing 1 Add your XDCam Firewire Device in the Browse window. 2 Check the Source Drive in the Browser and click OK. All clips from the XDCam Disc display. 3 Insert clips from XDCam Viewer to the Timeline. 4 Edit the clips. 5 On the Main menu, select File > Localize P2/XDCam Media. 6 Select the Timeline where your clips are located, and click OK. Once localized, the XDCam disc can be removed from the XDCam Device, and media can continue to be available on the Timeline. 7 (Optional) Handles may be added to each end of the trimmed portion of the clip when localized (see Handle Settings). If a full resolution clip is not available, then the import cannot be completed. To localize clips from the XDCam first before editing 1 Add your XDCam Firewire Device in the Browse window. 2 Check the Source Drive in the Browser and click OK. All clips from the XDCam Disc display.

125 Velocity User Guide Insert clips from XDCam Viewer to the Timeline. 4 Select clips in Viewer to use in the project. 5 Localize the clips to local storage. 6 Insert clips from Viewer to the Timeline. 7 Edit the clips. Once edits are complete, output such as Edit ID can be created as normal (see Create an Edit ID). Adding an FTP Connection in the XDCam Viewer To add an XDCam FTP connection viewer 1 Select Add from FTP in the Browse XDCam Discs window. 2 Enter FTP IP Address and Login information for the XDCam device connected to the system via FTP network connection. 3 Select a main target Copy directory on the local drive where XDCam files will be copied to via FTP. 4 Choose whether to copy only proxy media to the local drive, or both full resolution and proxy media. The Browse window shows the FTP address for the XDCam Device. 5 Click OK in the Browse window. Clips from the inserted XDCam disc are listed in the Viewer, and files begin to copy via FTP from XDCam disc to local copy directory. The progress of the copy can be seen in the XDCam Viewer by the Loading progress bar over the clip icons. Recommended XDCam FTP Workflow In Velocity, the suggested workflow is: Copy proxy files only Edit in Velocity using the proxies.

126 126 Chapter 4: Importing Media Localize the trimmed portions of the media to the local storage, then make your output. Or, you can localized selected clips first, then edit those clips on the timeline. To edit first then localize 1 Add your XDCam FTP connection in the Browse window and select Proxy Only. 2 Select the FTP site in the Browser and click OK. All clips from the XDCam Disc display. 3 Insert clips from XDCam Viewer to the Timeline. 4 Edit the Proxy clips. Once edits are complete, you are ready to localize the edited portions of media to the server. 5 On the Main menu, select File > Localize P2/XDCam Media. 6 Select the Timeline where your clips are located, and click OK. Once localized, the XDCam disc can be removed from the XDCam Device, and media can continue to be available on the Timeline. 7 (Optional) Handles may be added to each end of the trimmed portion of the clip when localized (see Handle Settings). If a full resolution clip is not available, then the import cannot be completed. To localize first then edit 1 Add your XDCam FTP connection in the Browse window (see Adding an FTP Connection in the XDCam Viewer) and select Proxy Only. 2 Select the Source Drive in the Browser and click OK. 3 All clips from the XDCam Disc display. 4 Select the clips in Viewer that you would like to use in the project. 5 Localize the clips to local storage. 6 Insert clips from Viewer to the Timeline. 7 Edit the clips. Once edits are complete, output such as Edit ID can be created as normal. To delete Proxy clips 1 When you are finished using the media (make absolutely sure you are finished with it), go to the Browse dialog. 2 Select the Local Copy directory. 3 Click Delete. The directory is removed from the list in the Browse dialog. That folder (and its contents) which was copied to the local drive for that disc is deleted from the hard drive. See Deleting a Device from the Browse Window.

127 Velocity User Guide 127 XDCam EX Viewer Detailed Workflow To add an XDCam EX Viewer device 1 On the Main menu, select View > XDCam EX Viewer. The XDCam EX Viewer tab appears in the Gallery bin. 2 Right-click in the XDCam EX Viewer window, and select Browse XDCam EX Discs from the menu. The Browse XDCam EX Cards window displays. 3 Click Add XDCam EX Device to connect to a XDCam EX device via FireWire or USB. The Add From XDCam EX FireWire window displays.

128 128 Chapter 4: Importing Media 4 In the Disc Path Range area, enter the First and Last drive letter to be included in the drive range for a given device. This could be a minimum of one drive (same drive for as both first and last) or a maximum of 26 drives (first is drive A, last drive is Z). 5 In the Disc Label box, enter a name for this range of folders. 6 In the Copy Directory area, enter or browse to the location to which you want to copy the clips. 7 Click OK. The available cards found between the defined range appear in the Browse XDCam EX Cards window. 8 Click OK. You are prompted to begin copying all clips from the device to the specified location. 9 To also enter a local Virtual Card Directory to use in the XDCam EX Viewer, select Add from Local. The Add From Local window displays. 10 In the Disc Path area, click on the ellipsis (...). The Browser for Folder window opens. 11 Navigate to the Contents folder for the card image and click OK. 12 Right-click on a clip and select Highlight/UnHighlight, or use the hotkey (E) to toggle between highlight and unhighlight. In the XDCam EX Viewer, specific clips (one or many) can be highlighted. Highlight can be used as a way of marking clips to Localize them without having to worry about inadvertently selecting or deselecting clips. The clips are highlighted in pink. Highlight can be used on a clip-by-clip basis. Clips that are highlighted stay that way until localized or manually unhighlighted. Tip: More details regarding Localization, see Localizing Clips for Velocity XNG. A main target directory is set on the local drive for the card reader.

129 Velocity User Guide 129 The Browse XDCam EX Cards window will now list the source drives for the XDCam EX Device, as well as any Local Virtual Card directories. If checked, clips from those directories are displayed in the Viewer. If unchecked, clips from those directories are not displayed in the Viewer. Recommended XDCam EX Device Workflow In Velocity, you can edit with clips accessed directly from the XDCam EX device, localize the trimmed portions of media to local storage or import to SAN, then create your output. Or, you can localize selected clips first or import to SAN, then edit those clips on the timeline. The XDCam EX Card must be inserted in the connected device through the entire workflow. Using XDCam EX Direct Access - Localize or Import First then Edit To edit clips first in Direct Access 1 Add your XDCam EX Device in the Browse window. 2 Check all of the Source Drives in the Browser and click OK. All clips from the XDCam EX Device should appear. 3 Insert clips from XDCam EX Viewer to the Timeline. 4 Edit the clip(s) on the Timeline. 5 Once the edits are complete, output such as Movie ID can be created. To localize only edited portions of the media to local drive 1 From the Main menu, select File > Localize P2/XDCam Media. 2 Select the Timeline where your clips are located, and click OK. Once localized, the XDCam EX card can be removed from the XDCam EX Device, and media can continue to be available on the Timeline. To edit with proxy clips rather than full resolution clips, right-click in the Timeline Monitor side of the Trim Window to open Trim Window Settings. Change the setting for Preview Quality to something less than full size. 3 (Optional) Handles may be added to each end of the trimmed portion of the clip when localized. See Handle Settings. If full resolution clip is not available, then import cannot be completed. Using XDCam EX Direct Access - Localize First then Edit To localize clips first in Direct Access 1 Add your XDCam EX Device in the Browse window. 2 Check all of the Source Drives in the Browser and click OK. All clips from the XDCam EX Device should display. 3 Select the clips in the Viewer that you want to use in the project.

130 130 Chapter 4: Importing Media 4 Right-click on your clips and select Localize Selected to localize your items to the selected local copy directory. 5 Insert the clips from the Viewer to the Timeline. 6 Edit the clips on the Timeline. 7 Once the edits are complete, output such as Edit ID can be created as normal. P2/XDCam General Information Highlighting Clips In the Viewer, specific clips (one or many) can be highlighted. A highlighted clip is used as a way of marking one or more clips to be included in the Import or Localize functions. This eliminates the problem of inadvertently selecting or unselecting clips. The Viewer differs from the Gallery in that you can highlight on a clip-by-clip basis instead of by an attribute. To highlight a clip Right-click on a clip and select Highlight/UnHighlight, or use the Hotkey (E) to toggle between highlight and unhighlight. The clip is highlighted in yellow. Highlight can be used on a clip-by-clip basis. Highlighted clips remain highlighted until Imported, Localized, or manually Unhighlighted. Using Localize for Velocity for XNG To use Localize 1 In the P2 Viewer, with your P2 Device set up (see To add a P2 Viewer device), ensure that the correct Source Drives are checked. Clips from P2 Cards that have been inserted in the device should display. 2 Select the clips. 3 Right-click on a clip and select Localize Selected. After Localizing to a directory, the Local Directory opens in the Browser for the P2 Viewer. 4 In the Browse window, check the Local Copy Directory to view the copied clip(s) in the P2 Viewer (should be checked by default after creation). Once localized, the icon changes to a red C (meaning clip is copied locally), as opposed to a black D (meaning clip is being accessed directly from the device). 5 Remove the P2 Card once all necessary clips are Localized. As long as the Local Copy Directory you are using is checked in the Browse window, those localized clips will display in the P2 Viewer.

131 Velocity User Guide Clips can now be brought from the P2 Viewer window to the Timeline. 7 Edit the clips and output them. 8 When done using the copied media (make absolutely sure you are finished with it), go to the Browse window, select the Local Copy Directory, and click Delete. The directory is removed from the list in the Browse window. That folder and the files within it are deleted from the hard drive. Localizing Clips for Velocity XNG Localize Options Copies files from the P2 Card to a Local Copy directory. To access these options, right-click in the P2/XDCam Viewer. Localize Highlighted. This option would localize only those clips that are Highlighted (as opposed to selected). Localize Selected. This option would localize only those clips that are Selected (as opposed to highlighted). Localize All. This option would localize all clips listed in the Viewer currently being accessed directly from a P2 Device. Selecting which Clips to Localize To localize clips do one of the following: Media Type. Select the Radio button to copy proxy media, or both full resolution and proxy media (same as in Add to dialog). When using P2. Select an existing subdirectory within the main Copy to: directory set for that P2 Device. Select a new subdirectory within the main Copy to: directory set for that P2 Device.

132 132 Chapter 4: Importing Media Use the main Copy to: directory to dump to the Content folder. When using XDCam. Create a folder for Disk ID within the main Copy to: directory set for XDCam deck. Once localized, the same clip cannot be localized again. Any previously localized clips included as part of a multiple selection to localize are ignored. As an individual clip is being copied local, the status bar appears over the picon of that clip. The clip is not drag-droppable (as in current functionality). In the meantime, all other clips are accessible for editing. Velocity only: P2. When selecting the Localize option, P2 clips are defaulted to localize in Project/Media/ VideoIn/CONTENTS. XDCAM. XDCam clips are localized to Project/Media/VideoIn. Localize Clip Information When localizing clips, a dialog requests the following information: P2. Select one of the following: Dump to general Contents folder within main Copy to: directory. Add a new subdirectory within the main Copy to: directory set for that P2 Device. For example, C:\P2 Media\Fire An existing subdirectory within the main Copy to: directory set for that P2 Device. If a subdirectory was already added previously, more files can be copied to that same subdirectory. XDCam. A subdirectory is automatically created for a given Disk ID within the main Copy to: directory set when XDCam connection was added in the Browser. Once localized, as long as a clip exists in a Copy directory associated with that Device, the same clip will not be localized to that directory again; localize action will be ignored for these clips. While an individual clip is being localized, the Status Bar appears over the icon of that clip showing localize progress. The clip cannot be dragged from the Viewer during this process. All other clips in the Viewer are accessible for editing. Localized clips remain displayed in Viewer because the new folder is automatically added to the Browse list and enabled for viewing. Using Import with Velocity ESX and PRX To Import All Clips Right-click in the P2 Viewer tab and select Import All. This option imports all clips whether or not they are highlighted. To Import Localized Clips Right-click in the P2 Viewer tab and select Import Highlighted. This option imports only those clips marked as hilighted.

133 Velocity User Guide 133 To Import Selected Clips Right-click in the P2 Viewer tab and select Import Selected. This option imports all selected clips. The Import function should always import full resolution media only. If a clip is being accessed using Copy Access and a full resolution clip is available locally, import that local full resolution clip. Otherwise, import the associated full resolution clip from the source drive (whether it s a P2 Card Reader or device, or XDCam deck. If a clip is not available by any of these methods, you are prompted to insert the disk (XDCam or card (P2) into the necessary device in order to access the full resolution media (this is already done in the case of XDCam). To Import Full Resolution Media There are two methods you can use to import full resolution media. Method 1: Right-click in the Viewer and select one of the Import options to import an entire clip to the shared storage. Method 2: Follow these steps. Bring the clip from the Viewer to a Timeline or Gallery. On the Main menu, select Import and Replace Local Media. Select the Timeline or Gallery where your clip is located. (Only the trimmed portion of the clip will be imported to the shared storage.)

134 134 Chapter 4: Importing Media You can also add a common prefix or suffix to the clip name when importing. The clips will have unique names (the names given on the P2 or XDCAM media) that also include an identifying name such as the story that the clips pertain to. For Example: you can name a clip House Fire_00054C where House Fire is the new common name entered and 00054C is the original clip name. This makes sorting, finding, and managing media much easier and does not clutter Agency and Description fields. Deleting a Device from the Browse Window If you choose to delete an entire device within the Browse dialog, you are warned that you will no longer have access to media on those drives. You are asked if you would like to delete the media on the local directories associated with that drive (within the main Copy to: directory). There are several options when deleting a device: If you select Yes, the media is removed from the local drive that is not part of the open project. If you select No, that disk is removed from the Browse list. However, the media is kept in their local directories.

135 Velocity User Guide 135 If you want to delete a specific local directory listed underneath an XDCam Deck or P2 Device in the Browse dialog, the same Yes, No, or Cancel options are available to delete actual media from those directories. The Delete option is not accessible to Guest users. To delete a Device from the Browse Window A Device can be removed from the list of devices in the Browse window by selecting the actual device source select either the Source Drive(s) or the FTP address. Click Delete. To reconnect a device Once a device is removed, to reconnect that device, the Device must be added again from the Browse window. See P2 Viewer Detailed Workflow and XDCam Viewer Detailed Workflow. To delete an individual Local Copy directory from Browse 1 Select a Copy Directory listed underneath an XDCam Device or P2 Device in the Browse window. 2 Click Delete. That local copy directory is then removed from the Browse list, and the file folder and media stored on the local drive for that copy directory is deleted from the hard drive. If Delete is performed from the Browse Window in the Viewer, it cannot be undone. Using Refresh in P2 or XDCam Use the Refresh function to compare the files in the Copy to: directory and the Source Device (P2 or XDCam). If new files exist on the device that are not currently listed (and do not exist in the main Copy to: directory or any subdirectories), those new clips are added to the Viewer. At the same time, clips that no longer exist in the main Copy to: directory nor exist on the Source Device may be removed from the list of clips in the Viewer. P2/XDCam View Options You can select one of four ways to view the clips in either the P2 or the XDCam Viewer tabs.

136 136 Chapter 4: Importing Media To select a view 1 Right-click in either the P2 or XDCam Viewer tab and select View. 2 Select one of the listed options. To change the size of the Picons Tiny (60x45) Small (80x60) 1 Right-click in either the P2 or XDCam tab window and select Size. 2 Select one of the following options: Medium (120x90) Large (160x120). The Size option is not available for Detail Text. To use the Ship to Gallery Right-click in either the P2 or XDCam tab window and select Ship to Gallery (F). Clip locations are color coded in the Timeline, Gallery, and Viewer: Light Blue. These clips still reside on removable media or have been localized to an internal drive. Normal Blue. These clips that have been imported to the server. Velocity shows local clips as normal blue when not connected to a server, but will be light blue when connected to a server. Colored border. The Gallery is shown as a colored border around the thumbnail. Creating Color Bars and Tone Files You can create a graphic bars/pattern file and virtual wave file (tone) in the gallery. This lets you determine the length of the files and place the files on a timeline and trim them as though they were normal graphics or WAV files.

137 Velocity User Guide 137 Creating Color Bars To Create Color Bars 1 On the Main menu, select View > Media Generator. The Media Generator opens. 2 From the menu in the top left corner, choose which bar or pattern graphic you would like to use and click OK. A bitmap (.Bmp) file appears in the gallery. This bitmap has the same name as the pattern graphic you chose. 3 Drag the bitmap file to the timeline, and edit it like any other bitmap file. The image s default duration is determined by the default image length preference in the General Timeline Options (press F5 to view), but you can trim it or stretch it as you like, just as with any bitmap file. The color bar patterns are all stored inside the Velocity folder (the same one that has DPSNLE.exe in it) in a folder called data\colorbars\pal or NTSC, depending on which type of system you have. Should you need to place additional color bars or patterns on your system, save them (properly formatted) in this folder and they will appear on the list when you choose Create Color Bar/Pattern in the gallery. Creating Tone To Create a Tone file 1 On the View menu, click Media Generator. The Media Generator opens.

138 138 Chapter 4: Importing Media 2 Select Tones. 3 Choose a Name. Location is not important, as this is a virtual clip. 4 Choose a Duration, and a Frequency, and click OK. A Tone file appears in the gallery. It looks like any other wave file. Tone files are mono. When you drag the tone file to the timeline, it can only be made shorter than the original duration specified when it was created. Any audio edit you can make to a normal wave file can be made into a tone wave file.

139 139 5 Media Output This chapter explains the different ways you can output media types such as movies, still files, edit decision lists, image sequences, and audio files from Velocity. Overview When you complete an edit on Velocity, you can either create an Edit ID or Media ID if you are connected to the NEXIO SAN, or you can output your edit in a variety of other multimedia formats. When you have completed the edit, you may need to export video from Velocity to some other format. This can be for production stills, client approvals, or for final broadcast. You may also want to preserve a file or archive a copy of your project. Create an Edit ID An Edit ID is an output file that can be played back on either the Velocity timeline or through a channel on a server system. Edit IDs can ONLY be stored in the MediaBase and can not be saved on a local drive. Like video files, operations such as trimming, adding transitions and adding effects can be done with Edit IDs. To create an Edit ID in Velocity, you must be connected to a NEXIO server. Tip: Before creating the Edit ID, you may want to verify the settings for the audio routing defaults and/or the multi-format output settings. To Create an Edit ID 1 Place the movie range over the area on the timeline in which you want to output. 2 On the Main menu, select to Output > Create Edit ID. The Create Edit ID window opens.

140 140 Chapter 5: Media Output 3 Use the controls to define your ID. Create Edit ID Control Auto ID ID SOM (Start of Media) Agency Description User Fields 1 through 4 Audio Channels Audio Bits per Sample Definition When selected, the system automatically assigns an ID to each clip. Use if you want to select an ID from the drop-down list. You may also enter a unique name. Use this to offset the timecode for the Edit ID. If you enter SOM in Velocity, outputting an Edit ID from any of the Velocity clients to IOL takes SOM into account. A MediaBase field used to organize your clips. Use to add a description to the clip. The description displays in the MediaBase. User defined metadata. Select between default (setting in the Audio Routing Default) or from 2 to 16 channels. Select from default, 16, 20 or 24 bits. 4 (Optional) If you want to route certain audio tracks of the Edit ID to different default output settings, click on the Change Default Audio Routing button.

141 Velocity User Guide 141 The Edit ID Audio Routing window opens. 5 Place a check mark next to the appropriate track and under the appropriate output column. 6 Click OK. The Edit ID is created. Create a Media ID A Media ID is an output file that can be played back on either the Velocity timeline or through a channel on a server system. It is identical to the Edit IDs you see in the NEXIO MediaBase, except that unlike an Edit ID, Media IDs are not playable until the publish process is 100% complete. Media IDs can ONLY be stored in the MediaBase and can not be saved on a local drive. Like video files, operations such as trimming, adding transitions and adding effects can be done with Media IDs. Media IDs are mainly server playback files and can t be played back on the Velocity timeline. You can still choose the number of audio channels, bits per sample, agency and description like you could do in the Create Media ID window. Media IDs can only be created when Velocity is connected to the NEXIO SAN via a remote LLM connection.

142 142 Chapter 5: Media Output To Create a Media ID 1 Make sure the movie range on the timeline is covering all desired clips on the timeline and has no gaps within the range You will NOT be able to create a Media ID if there are gaps within the timeline. 2 On the Main menu, select Output > Create Media ID. The Create Media ID window opens. 3 Here you can choose a name for your Media ID as well as the Agency, Description and Audio settings. 4 (Optional) Check Auto ID in order to have Velocity create an ID name for you. When this option is checked, the ID field will be grayed out. 5 Click OK. The Media ID will be created and stored in the MediaBase. Create an LXF File You can choose Create LXF from the Output menu to create an LXF file, including NEXIO Metadata, on the local hard drive. This LXF file can be pushed to the NEXIO SAN at a later time.

143 Velocity User Guide 143 Create a Multi-Format File (non LXF) You can choose Create Multi-Format (non.lxf) Outputs from the Output menu to create a multi-format (non.lxf) file on the local hard drive. This file can then be used for other applications outside Velocity. Export Files This section contains information on how to export the following different summaries of a movie, including an edit decision list (EDL). Exporting an AAF 1 Select the timeline. 2 On the Main menu, select File > Export > Export AAF. The AAF Export Options window opens. 3 For File Path, select >> to open the Save As window. 4 In the Save As window, navigate to a specific location and click Save. 5 Click Export to save the file and close Export Options window. Exporting an EDL An EDL is a text file that describes the structure of edited video. The EDL identifies the timecodes of the segments used on the original source tape. It synchronizes the video decks to use the original source tapes to produce the high quality finished product. When transferring a project from one manufacturer s system to another, an EDL can be the easiest solution. EDLs are limited to one or two tracks of video (if you have transitions) and up to four tracks of audio. Consider these limitations when exporting your timeline as an EDL Transitions. You are limited to standard wipes and dissolves. Best business practice is to use standard cross fades and cuts. Filters/Effects. These do not appear in your EDL. Titles/overlays. These do not appear in your EDL. Audio. You can have either four tracks of audio or two tracks of stereo audio in the EDL.

144 144 Chapter 5: Media Output RT-Specific Effects. These effects are not translated to and from the CMX EDL. The EDL file has several major components: Header. Contains the title you gave the file when you saved it. This is not the file name. Frame Count Mode (FCM). The FCM for NTSC video shows whether your source is using Drop Frame or Non-drop Frame mode. Notes. The EDL contains notes or other information. Notes applied to clips appear in an EDL. Notes are not shown in the example below. Numbered Edit Lines. These are your edit decisions. A cut uses a single edit line and an effect (such as a dissolve, wipe, filter) uses two edit lines. Each line consists of: Edit number. Each single edit line begins with an edit number. Reel name. The name of the tape containing the clip Note that on the EDL this must be 8 alphanumeric characters or less with no more than 7 characters preferred to allow for the added B for B-Rolls. Edit Type. Shows audio (AA) and/or video (V) clip. Transition Type. This is followed by a duration (in frames) where appropriate Source In/Source Out. The timecode when the clip starts and ends on the source tape. Record In/Record Out. The timecode when the clip starts and ends on the output tape. To Export an EDL 1 Select the timeline. 2 On the Main menu, select File > Export > Export EDL.

145 Velocity User Guide 145 The EDL Export Options window opens. 3 In the EDL Video list, select the tracks you want to export. All video and images on other tracks are ignored. For example, you can select either Video1/2, which will produce an A/B roll timeline when re-constituted, or V3 or V4. Tip: If you select None, just an Audio EDL is exported. This is useful for post audio mix-down. EDLs use the NewsFlash, CMX 3400/3600 or Sony 9100 format. 4 Under EDL Audio from the timeline, click Audio Tracks. The Audio Tracks window opens. By default the first four audio tracks are chosen for export. Check the audio tracks you want to export and click OK. All audio tracks on your timeline appear in the Track list. However, you can only export four tracks of audio or two tracks of stereo audio to an EDL. Tip: To export none of the audio tracks in your EDL, unselect everything in the Export column. 5 Return to the EDL Export Options window. 6 In the File Path field, click >> to browse to the location where you want to save the EDL file.

146 146 Chapter 5: Media Output The EDL file name to be used by an on line system must be 6 or less Alphanumeric characters long, and it must include the.edl file extension. 7 In the File Title field, enter a title for the EDL. The EDL file can contain an optional 16 character title. 8 In the Edl Format field, select NewsFlash, CMX 3400/3600 or Sony Select a Transition Method: Preread. The source Output video of V1 of a transition is extended to include the transition duration. B-Roll. Renames the reel-name of the second clip in a transition to the original name + B. None. Transitions are ignored. 10 Click on Export. The EDL file displays on your screen. The CMX 3600 EDL file is a simple ASCII file ( text only ) that uses a very specific format. The other EDL file formats (GVG, SONY, etc.) are similar, but incompatible. If your EDL will be used by an online system that uses another file format, it may be converted using third party EDL software (such as EDLMAX, Turbo Trace Pro or EDL Pro). Exporting an OMF 1 Select the timeline. 2 On the Main menu, select File > Export > Export OMF. The OMF Export Options window opens. 3 Select >> to open the Save As window. 4 In the Save As window, navigate to a specific location and click Save. The Save As window closes. 5 (Optional) In the OMF Export Options window, select one or more of the following options: Skip warning messages when media is missing Export video to MOV. Depending on the length of your timeline, selecting this option may increase the amount of time needed to export the timeline. Export movie range only. 6 Click Export to save the file and close Export Options window.

147 Velocity User Guide 147 The following section contains instructions on how to export a single image file (still) or an image sequence. Exporting an FCP 1 Select the timeline. 2 On the Main menu, select File > Export > Export FCP. The Export FCP window opens. 3 Click... next to the Target File Name box to open the Export FCP window. 4 In the Export FCP window locate the desired file, and click Save. 5 Click Export. Exporting a BXF 1 Select the timeline. 2 On the Main menu, select File > Export > Export BXF The Export BXF window opens. 3 Click... next to the Target BXF File box to open the Export BXF window. 4 In the Export BXF window locate the desired, and click Save. 5 Click... next to the Source BXF File box to open the Source BXF window. 6 In the Source BXF window locate the desired file, and click Open. 7 Click Export. Exporting a Premier Pro XML 1 Select the timeline. 2 On the Main menu, select File > Export > Export Export Premier Pro XML.

148 148 Chapter 5: Media Output The Export FCP window opens. 3 Click... next to the Target File Name box to open the Export FCP window. 4 In the Export FCP window locate the desired file, and click Save. 5 Click Export. Output Movies This section describes how to adjust the movie range, use presets, and output movies to available formats. Adjusting the Movie Range The movie range is shown as a light blue bar at the top of the timeline. When you output to a file, all video, audio and special effects under this range are included. A movie range can be used to designate clips to render. When you use the file output options, the movie range determines the start and end of the file. When a project first opens, the movie range is small. Render Bar Movie Bar Adding clips to the timeline does not automatically increase the size of the movie bar. You must adjust the length or the placement of the movie bar to include that segment of the timeline you would like for the final movie version.

149 Velocity User Guide 149 To adjust the movie range 1 Double click anywhere on the Movie Bar to open the Change Movie Starting / Ending Time window. 2 Set two of these three fields listed below to automatically define the third setting and define at what hour, minute, second, and frame the file starts and ends. 3 Choose one of the four options described in the table and click OK. Change Movie Time Control All Clips In View All Selected Clips Markers Definition Sets the movie bar to include all the clips in your timeline. Places the movie bar over almost the entire range of the screen, no matter what the view scale is. If only one clip is selected, the movie range equals the in and out timeline timecode of that clip. If you have selected multiple clips while holding down SHIFT, the movie range starts with the In time of the first clip and ends with the Out time of the last clip. If you select individual clips while holding down CTRL, all unselected clips that fall between the In of the first clip and the Out of the last clip are included in the movie range. The All Selected Clips button only displays if you have selected clips prior to checking on the Movie Bar. You cannot select clips after this window is opened. Sets the movie range to the same duration as the In/Out markers. The Markers button only displays if you have added In and Out points to the timeline. To adjust the movie range while keeping the same duration 1 Move the cursor to the Movie Range. 2 Click and drag the area between the In and the Out triangle. Two hair lines are displayed for alignment. Using Presets Several of the movie output settings windows have a Presets button that allows you to load and save profiles to use later. The following settings windows allow you to select presets.

150 150 Chapter 5: Media Output AVI Settings Main Concept H264/MPEG-4 AVC Settings QuickTime Movie Settings Windows Media Movie Settings SWF Settings To select a Preset 1 In one of the settings windows, click the Presets button. 2 Click a preset from the available choices, or click Browse to locate a preset to load. To save settings as a Preset 1 In one of the windows mentioned above, modify the desired settings. 2 Click the Save button. 3 In the Target File Name box, enter a unique name for the preset. 4 Click Save. The saved preset now displays in the preset drop-down menu. Producing a Movie from the Gallery To output a movie from the Gallery 1 In the Gallery, select one or several clips in the gallery. 2 Right-click and select Movie Output. Tip: The toolbar s Movie Output button is NOT available when the gallery is active. The Movie Output window opens. 3 Choose the type of movie you want to create and give it a name. Velocity renders a new file for each clip selected and places them in the gallery. Each file contains the name you have assigned followed by an underscore, then the original file name and the new file type extension.

151 Velocity User Guide 151 Producing an AVI File AVI files are video/audio files commonly used on PCs. To output an AVI movie 1 Select the timeline. 1 Adjust the movie length (see Adjusting the Movie Range). 2 On the Main menu, select Output > Movie Output> AVI. The Output Movie window opens. 3 In the Output Movie window, click Modify Setting.

152 152 Chapter 5: Media Output The AVI Settings window opens. 4 Enter the following information: AVI Settings Definition Frame Rate Select 24, 25, or 50. Width/Height Set the image size. If you want to maintain an aspect ratio, click the Lock Aspect button. The Height and Width ratio fields become enabled so you can enter the aspect ratio. Common aspect ratios are 4:3 and 16:9. Aspect Computer screens use square pixels, whereas video does not. When outputting for display on a computer, use a 4:3 aspect ratio for video. For example, a video file at 720 x 486 (NTSC) should be scaled to 720 x 540. This way, the circles that you created initially will still look like circles on the video monitor. Compression Choose a Codec from the drop-down menu. Some AVI codecs, such as Indeo and Microsoft Video 1, install as part of your operating system. You may have installed others also. If you do use a codec other than the default, No Compression, check that codec s documentation for Options and configuration settings.

153 Velocity User Guide 153 AVI Settings Definition Color Some codecs will have more color options than others. 24 bits will provide the best quality, but may take longer to render and may not be available with all codecs. Playback Platform If you leave the compression at the default of No Compression, you have no Playback Platform options. You can change the bitrate the file plays back at by using other codecs. Field Handling Choose from Frame, Field 1, Field 2, or Interlaced Field order A or B. Choose a setting that matches whatever you will be playing the AVI back on. Audio Check Enable if you want sounds to be present and rendered as part of the AVI. Press the Settings button and select the audio depth that is used by your project (44 or 48 khz, Mono or Stereo).The Options button is used to set an Interleave rate (how many frames of video are stored per unit of audio). Presets/Save The Presets and Save buttons are used to create and reopen AVI settings files which end with the.ostavi file extension. 5 In the Audio area, click Settings. The Audio Settings window opens. 6 Select the Sample Size, Sample Rate, and Channel from the list and click OK to return to the AVI Settings window. 7 In the Audio area, click Options. The Audio Options window opens.

154 154 Chapter 5: Media Output 8 Use the slider to select the Audio-Video Interleave Rate (Frames) and click OK to return to the AVI Settings window. 9 Click OK to return to the Output Movie window, then click Create Output to produce the movie. Producing an MPEG File Many types of MPEG and XDCAM files can be output using the MPG option. 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 On the Main menu, select Output > Movie Output> MPG. The Output Movie window opens. 4 In the Output Movie window, click Modify Setting. The MainConcept H264/MPEG-4 AVC Settings window opens.

155 Velocity User Guide 155 information: MPEG Settings Mux Type Encoder Type Frame Rate Width and Height Display Aspect Ratio Field Handling Definition Select Mux type. Select encoder. Only MPEG2 is supported. You can choose from a wide variety of frame rates including (NTSC) or 25 (PAL). If you are in NTSC mode, is the only option. If you are in PAL mode, 25 is the only option. Set the image size. To maintain the shape of the screen, click the Lock Aspect button. Enter the aspect ratio in the H and W fields below the button. Common aspect ratios are 4:3 and 16:9. Select aspect ratio for the display. Choose from Frame, Field 1 or Field 2 and from two interlaces (Fld Order A and Fld Order B). Choose a setting that matches whatever you will be playing the file back on.

156 156 Chapter 5: Media Output MPEG Settings Embedded General Wave File Presets/Save Definition Select MP3 or AAC if you want sounds to be rendered as part of the file. Check this box if you are creating a separate WAV audio file as well (required for some types of DVD authoring). Click the Settings button and select the sample size, sampling rate, and channels. The Presets and Save buttons are used to create and reopen MPEG presets. 5 Click Compression Options. The Advanced Settings Dialog window opens. 6 Click Change Video. The MainConcept MPEG-1/2 Video Encoder Dialog opens.

157 Velocity User Guide Make the appropriate changes, and click to check the changes and return to the Advanced Settings Dialog. 8 Click Change Muxer. The MainConcept MPEG-1/2 Multiplexer Dialog opens.

158 158 Chapter 5: Media Output 9 Make the appropriate changes, and click to check the changes and return to the Advanced Settings Dialog. 10 Click OK to return to the MainConcept H264/MPEG-4 AVC Settings window. 11 In the Audio area, click Settings. The Audio Settings window opens. 12 Select the Sample Size, Sampling Rate and Channels from the lists. 13 Click OK to return to the MainConcept H264/MPEG-4 AVC Settings window.

159 Velocity User Guide Click OK to return to the Output Movie window. 15 In the Output Movie window, click Create Output to produce the movie. Producing a QuickTime Movie (MOV File) MOV files use a variety of codecs. They create cross-platform files that can be played back on PCs and Macs. Note that you must have a Quicktime Player installed in your system or this option will not appear. To output a QuickTime movie 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 Select Output > Movie Output > MOV. 4 In the Output Movie window, click Modify Setting. The QuickTime Movie Settings window opens. 5 Enter the following information.

160 160 Chapter 5: Media Output QuickTime Movie Settings Definition Frame Rate You can choose from a wide variety of frame rates including (NTSC) or 25 (PAL). Width/Height Set the image size. Lock Aspect Check here if you want to maintain an aspect ratio. The Height and Width fields below the button become enabled so you can enter the aspect ratio you want. Common aspect ratios are 4:3 and 16:9. Display Aspect On a computer screen, with square pixels, a 4:3 aspect ratio is assumed for video. For example, if you create an image at 720 x 540 and you then scale it to 720 x 486 (NTSC) and display the scaled image on a video monitor, the circles that you created initially will still look like circles on the video monitor. Field Handling Choose from Frame, Field 1, Field 2, or Interlaced Field order A or B. Choose a setting that matches whatever you will be playing the file back on. Gamma Correction Choose from 1.0, 2.2, or 2.5. Hinted If you check here, the Setup button becomes available. When hinting is enabled, you can use True Streaming when you stream your QuickTime file. 6 In the Video area, click Options. The Compression Settings window opens.

161 Velocity User Guide 161 Compression Settings Compression type Frames per second Key frame every Limit data rate to Compressor Definition Select compression type. Select frames per second rate from the list or create a custom setting. Set key frame interval. Select a data rate limit. Use the slider control to adjust the quality. 7 Click OK to return to the QuickTime Movie Settings window. 8 Click Audio Settings button. The Sound Settings window opens. 9 Select the Sound Settings you want and click OK to return to the QuickTime Movie Settings window. 10 Click OK to return to the Output Movie window and then click Create Output to produce the movie. 11 In the Output Movie window, click Create Output to produce the movie. Producing a Real Media File (RM) Real Media files are used in Internet Streaming. SureStream (for multiple bitrate handling from a single stream) is available when you use a RealServer. Real Media files are Cross platform (PC & MAC). RealVideo and RealAudio RM files are created on Velocity using the RealSystem codec.

162 162 Chapter 5: Media Output To output a Real Media movie 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 Select Output > Movie Output > RM. The Output Movie window appears. 4 In the Output Movie window, click Modify Setting. The Real Media Settings window opens. 5 Enter the following information: Compression Settings Render Frame Rate Definition You can choose from a wide variety of frame rates including (NTSC) or 25 (PAL).

163 Velocity User Guide 163 Compression Settings Height/Width Aspect Field Handling Definition Set the image size. Click here to maintain the height/width ratio of your video. The Height and Width fields below the button become enabled so you can enter the aspect ratio you want. Common aspect ratios are 4:3 and 16:9. Choose from Frame, Field 1, Field 2, or Interlaced Field order A or B. Choose a setting that matches whatever you will be playing the file back on. Opens a window for you to enter Title, Author and Copyright information to attach to your output file. The drop-down menu lists options of video and audio, video and audio or audio only. 6 Click Compression Options. The Helix Compression Options window opens.

164 164 Chapter 5: Media Output Compression Settings Templates Audiences in job Video Quality Audio Content Definition Double-click the templates that you want to include in your RealMedia output. The selected templates appear in the Audiences in job list. To remove a template from this list, double-click the template that you want to remove. Select your output. Select music or voice. Click Custom Settings to open a dialog box showing four tabs. Video Filters. Turn on and off Black level correction and adjust the noise filter to Filter Low Noise, Filter High Noise, or turn off the noise filter completely. Audio Filters. Audio watchdog filter and audio limiter pre-filter.

165 Velocity User Guide 165 Video Codec. Choose from three codecs (HelixVideo 9.0, RealVideo 8.0 or RealVideo G2 with SVT), enable or disable 2-Pass Encoding and Loss Protection, and choose an encoding type (cbr, vbrbitrate or vbrquality). You can only use Helix Universal Server 9 with VBR. When using VBR, you can only have one audience template selected. Advanced. Adjust VBR Maximum Startup Latency and the Maximum Time Between Keyframes. 7 Click OK to close the Helix Compression Options window and return to the Real Media Settings window. 8 Click Clip Info. The Clip Information window opens.

166 166 Chapter 5: Media Output 9 Fill in the information for your movie. 10 Click OK to close the Clip Information window and return to Real Media Settings window. 11 Select the Mode you want from the drop-down list. You can choose Video + Audio, Video Only, or Audio Only. 12 Click Audio Settings and fill in the values. 13 Click OK to return to the Real Media Settings window. 14 Click OK to return to the Output Movie window. 15 In the Output Movie window, click Create Output to produce the movie. Producing a Windows Media Movie (WMV) Microsoft format WMV uses a customized MPEG4 encoder. WMV files are used for Internet Streaming and can create single or multiple bitrate files. To output a Windows Media movie 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 Select Output > Movie Output > WMV. 4 In the Output Movie window, click Modify Setting. The Windows Media Movie Settings window opens.

167 Velocity User Guide In the Field Handling field, choose from Progressive, Field 1 dominance or Field 2 dominance. 6 Check the Create Index box to have a scrub bar in the Windows Media Player. The scrub bar is used to scrub to a specific position in the video. Without this option selected, a scrub bar will not appear on the Windows Media Player. 7 In the Audio area, the Enable check box is selected by default. This shows the selected audio format. Tip: To create an audio only WMA file, enable only the audio by disabling the video. 8 Click Compression Options.

168 168 Chapter 5: Media Output The Advanced Custom Settings Dialog opens. Advanced Settings Name Description Video/Audio Target bit rates Definition Create a name for your new preset. Create a descriptions for your new preset. Select the desired Mode from CBR (constant bit rate), Quality VBR, Bit Rate VBR (peak), and Bit Rate VBR. Select the desired codec. For video, this can be Windows Media Video V7, 9, or 9 Advanced Profile. For audio this can be Windows Media Audio Voice 9, 9.2 Lossless, 9.2, and 10 Professional. Click Add to add a new bit rate. The Add new BitRate dialog opens to enter the new bit rate in Kbps (Kilobits per second). 9 Select an item in the list and click Edit.

169 Velocity User Guide 169 The Custom Encoding Settings dialog opens. Change the Video Size and Frame rate. Buffer Size uses default settings as standards. The Audio Format options are dependant on the codec that was selected. If multiple bit rates have been added, they will show their values in the respective tabs at the bottom of the window. Here, the video bit rate as well as the Key Frame Interval and Video Smoothness can be altered. Click OK to close the Custom Encoding Settings window and return to the Advanced Custom Settings Dialog window. In the Filter Settings area, select either None, Deinterlace Filter, or Inverse Telecine-Filter. Select the Two-pass Encoding check box for higher quality, but longer export times. Click OK to close the Advanced Custom Settings Dialog window and return to the Windows Media Movie Settings window. 10 Click Clip Info. The Clip Information window opens. 11 Enter in the information for your movie and click OK to close the window.

170 170 Chapter 5: Media Output Producing a Flash Media Movie (SWF) Flash Media (SWF) files are used for Internet Streaming and can create single or multiple bitrate files. To output a Flash Media movie 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 Select Output > Export Movie > SWF. Click Modify Settings on the Output Movie window. The SWF Settings window display. SWF Settings Frame Rate Width/Height Display Aspect Ratio Definition Select your frame rate. Set the image size. Select the display aspect ratio. The choices are: 4:3 or 16:9.

171 Velocity User Guide 171 SWF Settings Compression Key frame interva. Audio Presets/Save Definition Choose a Codec from the drop-down menu. Some AVI codecs, such as Indeo and Microsoft Video 1, install as part of your operating system. You may have installed others also. If you do use a codec other than the default, No Compression, check that codec s documentation for Options and configuration settings. Enter the desired keyframe interval. and use the Quality slider to adjust the video quality. Select the audio type from the list. Check Enable if you want sounds to be present and rendered as part of the AVI. The Presets and Save buttons are used to create and reopen SWF settings files. 4 In the Audio area, click Settings to display the Audio Settings box. 5 Fill in the values and click OK to return to the Output Movie window. 6 In the Output Movie window, click Create Output to produce the movie. Output Audio 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 On the Main menu, select Output > Movie Output. Select either WAV or MP3. to display the Output Movie window.

172 172 Chapter 5: Media Output 4 In the Name field, type a file name for your file. In the System Path area, browse to a preferred location. Tip: If you do not see the System Path area, clear the Follow PMM Settings check box. 5 In the Save in list, navigate to the preferred location. Enter a file name and file type. Click Save. 6 If you want to modify more settings, click the Modify Setting. button on the Output Movie window.

173 Velocity User Guide 173 If you are exporting a WAV file, enter the following in the Wav Settings window. WAV Settings Output Format Definition Select either PCM, MuLaw, ALaw, BWF PCM, or BWF MPEG. Channel Select one of following choices: mono, 1 Channels; stereo, 2 Channels; 4 Channels; 6 Channels; 8 Channels;16 Channels. Sample Rate Choose from 32000, 44100, or Click OK to close the Wav Settings window and return to the Output Movie window. If you are exporting an MP3 file, enter the following in the MP3 Settings window.

174 174 Chapter 5: Media Output MP3 Settings Definition MPEG Version Select MPEG2, MPEG2, or MPEG2.5. Sample Rate Select either 32000, 44100, or Channel Model You can choose either Mono or Stereo. Bit Per Sample Only 16 is available. Bitrate You can choose between 32 to 320. Max Bitrate Only available when Use VBRR Encoding is selected. Then you can choose between 32 to 320. Psy Model Only 0 is available. Emphasis Only 0 is available. Use VBR Encoding When selected, Max Bitrate, Write XING VBR Header, Disable Bit resorvoir, VBR Method, VBR Abr bps are active. When unselected, Quality is active. VBR Method Choose between None, Default, Old, New, MTRH, or ABR.

175 Velocity User Guide 175 MP3 Settings VBR Abr bps VBR Quality Quality Definition Only active when ABR from MBR Method is selected. Then you can choose from to Not active when ABR from VBR Method is selected. Not active when Use VBR Encoding is selected. 7 Click OK to save your settings and close the MP3 Settings window. 8 Click Create Output. Tip: Click Yes if you are prompted to save the project. You are notified when the export is complete. Output Sequences When you create an image sequence, individual frames of video are created. Each image has the name you specify, plus a series of numbers, before the file name extension. Each image is numbered sequentially. To output a sequence 1 On the Main menu, navigate to Output > Movie Output and select a sequence type. The Output Movie window displays. 2 In the Name field, type a file name for your file. 3 In the System Path, browser to indicate a location for your file. Tip: If you do not see the System Path area, clear the Follow PMM Settings check box. 4 In the Output Type section of the screen, select the file type from the drop-down menu you want to output. 5 Click the Modify Setting button to adjust output parameters. The Sequence Settings dialog box displays for the sequence type you selected. This example shows BMP Sequence Settings.

176 176 Chapter 5: Media Output BMP Sequence Settings Frame Rate Width/Height Aspect Color Playback Platform Field Handling Definition You can choose from a wide variety of frame rates including (NTSC) or 25 (PAL). Set the image size. If you want to maintain an aspect ratio, click the Lock Aspect button. The Height and Width fields below the button become enabled so you can enter the aspect ratio you want. Common aspect ratios are 4:3 and 16:9. Computer screens use square pixels, whereas video does not. When outputting for display on a computer, use a 4:3 aspect ratio for video. For example, a video file at 720 x 486 (NTSC) should be scaled to 720 x 540. This way, the circles that you created initially will still look like circles on the video monitor. Some codecs will have more color options than others. 24 bits will provide the best quality, but may take longer to render and may not be available with all codecs. If you leave the compression at the default of No Compression, you have no Playback Platform options. You can change the bitrate the file plays back at by using other codecs. Choose from Frame, Field 1, Field 2, or Interlaced Field order A or B. Choose a setting that matches whatever you will be playing the AVI back on.

177 Velocity User Guide When you are done adjusting your settings, press OK or Cancel to return to the Movie Output screen. 7 Click Create Output. Output Single Frames You can make a single frame image file of the image currently displayed at your timeline playhead position. Tip: You can also make a single frame using the trim window playhead position. This is done with a keyboard shortcut that you assign. To output a Single Frame image 1 On the Main menu, select Output > Single Frame Output and select one of the formats to display the Output Single Frame window. 2 In the Output File area, enter a Name for the file. In the Output Path area, to browse to a preferred location. Tip: If you do not see the Output Path area, clear the Follow PMM Settings check box. 3 In the Settings area, select the file type from the File Type list. Tip: Click Settings to open the appropriate Image Settings window.

178 178 Chapter 5: Media Output Modify the appropriate settings. Click OK to close the Image Settings window. You can also make a single frame based on the trim window playhead position. This is done with a shortcut key (or hotkey) that you assign.

179 Velocity User Guide 179 Exporting Media to an XDCAM Device This section describes how to export your media in XDCam or XDCam EX format. This export can either be done directly to an XDCam device (connected via Firewire, USB, or FTP), or to a local storage for archiving. Ensure that your XDCam device is configured for the same video format and number of audio tracks to which you want to export your timeline. If not configured for the same format, the export process may fail because the XDCam device might reject the media if it is not a matching format. Ensure that XDCam disk is not write protected, and that the device is not playing back at the time. To export media to an XDCAM device 1 Select the timeline. 2 Adjust the movie length (see Adjusting the Movie Range). 3 Select Output > Export to XDCam.

180 180 Chapter 5: Media Output The Export To XDCAM window opens. Export to XDCAM Definition Settings MXF Settings Video. Select the XDCam or XDCam EX video format from the drop-down menu. 16x9. Select this check box if applicable. Audio. Choose between 2, 4 or 8 channels with 16 or 24 bits.

181 Velocity User Guide 181 Export to XDCAM Settings Upload to FTP Export to Firewire/USB Save to Local Disk Definition Select this option if your XDCam device is connected by FTP. Velocity can connect to that device and export the movie file directly to that XDCam disk over FTP. You will need to specify the IP address, user name, and password. You can use the ellipsis to open the Save To Intermediate Files To window and save the files temporarily to a specified location before exporting. To delete the files after exporting, select the Delete intermediate files after being exported to XDCAM check box. Select this option to export to an XDCam or XDCam EX device that is connected via a Firewire (FAM) or USB connection. Use this option to export and archive the output to your local disk. Use the ellipsis to open the Save To window and navigate to the required location. 4 Click Export.

182 182 Chapter 5: Media Output Exporting Media to a P2 Device This section describes how to export your media in P2 file format. This export can either be done directly to a P2 device (connected via Firewire or USB), or to a local storage for archiving. If exporting directly to a P2 device, ensure that P2 card is not write protected. To export media to a P2 device 1 Select the timeline. 2 Select Output > Export to P2. MXF Settings 3 Select the following information: P2 format. Select the P2 video format from the drop-down menu. 16x9. Select this check box if applicable. Audio Channels. Choose between 2, 4 or 8 channels with 16 or 24 bits. Audio will follow the Audio Routing Defaults settings within User Settings configured for ID Output. Output Settings. Use the ellipsis next to the Save Files To box to open the Save To window and navigate to the required location. If you are using a direct connection to a P2 card via mounted drive, select that drive letter (for example, F:\) for the output directory to export a P2 clip directly to the P2 card. If you are saving to the Local Disk, select a local folder to which to export and archive the output. 4 Click Export.

183 Velocity User Guide 183 Print to Tape The Print to Tape function controls an external DV Device to record your final project to a DV Tape. To use the Print to Tape function, you must have a DV Device which is capable of device control via firewire. When printing to a DV Device, only assemble edit is available. Assemble Edit will overwrite any existing video, audio, and timecode on a tape. Assemble Edit can also be used on new tapes that do not yet have timecode information. Using the Print to Tape function 1 Mark the In point (I) and Out point (O) on the Timeline. Tip: You can also use the In and Out buttons on the Timeline status bar. 2 On the Main menu, select Output > Print to Tape. Or click the Print To Tape icon on the Toolbar. The Print to Tape window opens.

184 184 Chapter 5: Media Output Print to Tape Settings Timeline Range Display VTR Slider Use offset from timeline to set tape range Time Offset Definition This area displays the In and Out points and the duration of that section of the timeline. Use to set the Tape IN and Tape OUT times. Use the scrubber to shuttle back and forth on your tape. Use the arrows to move back and forth by one frame. Use the Set Tape In Time or Set Tape Out Time buttons to use the current tape timecode as the In or Out time. You may also type in an In or Out timecode. If you want to go to a timecode location on your tape, type in the timecode and use the Go To button at the bottom of the window. This disables the Tape Range section of the screen. You can also use the timeline s time settings for print to tape. If you want to offset your print to tape, enter the amount in the Offset Time field. Use to automatically calculate the target Tape IN Time and Tape OUT Time. The timecode that you want to use as your Tape IN Time on to the target video tape may be different from the Starting Time on your Velocity timeline. The Time Offset will be added to the Start Time to give the Tape IN Time and the Time Offset will be added to the End Time to give the Tape OUT Time. Time Offset Example: If you were doing an Insert edit using a project that started on the timeline at 00:00:00:00 and you wanted to overwrite the video tape starting at a Print IN Time of 00:00:05:15, you could check the Time Offset box and enter 00:00:05:15 to automatically calculate both the Print IN Time and the Print OUT Time. When Time Offset is not checked you will need to enter these target times yourself. 3 Click Preferences. The Print to Tape Preferences dialog box opens.

185 Velocity User Guide 185 Each VTR is slightly different, so you may need to adjust the Print to Tape User Settings to get frame accurate results with your VTR. Print to Tape Settings VTR PC Command Delay Sticky Mode Jog/Shuttle Video Timecode Skew Pre-roll Time Definition When you are controlling the VTR to Print to Tape, you may notice that there is a slight delay in the VTRs response. You can use the VTR Delay slider to compensate for this delay. For example, if you set Velocity to Print to Tape at 1 hour, and the recording actually started at 1 hour 3 frames, you could set a VTR Delay of -3 frames to compensate for the delay. If you are using DV, this slider is replaced by two settings: DV Record and Stop Delay (frames). When checked, the scrub pointer will remain where it was when you release it. If this is not checked the scrub pointer will snap back to the center (to 0, or stop). Some VTRs begin printing video images before they begin printing timecode. If you find this happening on your VTR, adjust this slider until timecode and video match. Enter the number of seconds for the pre-roll. When you record to tape, the tape must be up to speed before recording begins. This is usually referred to as pre-roll. The default is 5 seconds, but you can set it to any time.

186 186 Chapter 5: Media Output 4 Click OK to close the Print to Tape Preferences dialog box. 5 In the Print to Tape window, click Print to Tape to start recording. HDV Support Velocity supports HDV for capturing media as well as printing back to tape. HDV support works similarly to DV. You must use the HDV Timeline Settings presets. When you click Print to Tape, the timeline is processed before completing the Print to Tape function.

187 187 6 Project Management This chapter contains tools and techniques for organizing and managing projects. By creating and using an organization strategy for your projects and the media they contain, you will save time and effort. Using the MediaBase The MediaBase is the database containing all media on the NEXIO server system s shared storage. Audio, video or graphical content ingested or created locally on available workstations displays in the MediaBase on all workstations. Tip: Local ingest and capture to MediaBase is not supported. The MediaBase is only visible on a Velocity system that is connected to the NEXIO SAN via a remote LLM connection. When a workstation ingests, publishes or creates new audio, video or graphics, all changes to the MediaBase are communicated through the Ethernet network to the workstation and NEXIO system MediaBase. Click MediaBase in the View menu to display MediaBase.

188 188 Chapter 6: Project Management MediaBase Filter Groups The tree on the left side of the MediaBase display allows you to select filters for your media files. The table on the right displays the results from the filter you select. Empty MediaBase sub-groups do not display in the MediaBase tree view. MediaBase Filter Group All Recorded Today Modified Today Active Media My Media Type By Resolution By Video Format By Agency By Type By User Name By Machine Name By Record Date Definition Lists all clip IDs in the MediaBase. Lists clip IDs for all media recorded on today s date. Lists clip IDs for all media that has been modified on today s date. Lists clip IDs that are currently active. For example, any ID that is actively recording will display in Active Media. This filter lists all clip IDs recorded by the current user logged in to the NEXIO Player. Lists clip IDs in groups according to resolution. Lists clip IDs in groups according to video format. Lists clip IDs in groups according to agency. Lists clip IDs in groups which are defined by type. Lists clip IDs in groups which are defined by user login accounts. Lists clip IDs in groups which are defined by the ID s source. It may be a machine or a transfer process such as FTP or CIFS. Lists clip IDs in groups which are defined by the date the ID was recorded.

189 Velocity User Guide 189 MediaBase Filter Group By Kill Date Family ID Keyword Search Definition Lists clip IDs according to the clip s kill date being expired or not expired. Shows the parent-child relationships of IDs as clips and sub-clips. Lists clip IDs that are located when you perform a text search. Clip ID Fields Use the Select Fields window to choose the columns you want to display in the MediaBase table. Follow these steps to add or remove fields from the MediaBase table. 1 Right-click any column heading to display the Select Fields dialog box. 2 Use the Add and Remove buttons to move fields between the Available Fields list and the Show these fields list. 3 Use the Move Up and Move Down buttons to set the order as the fields will appear in the window from left to right. 4 Click OK when you are finished setting the columns. Click the Reset button to restore the MediaBase table to its factory default. Clip ID Fields Agency Audio Bits Audio Channels Audio Format Description Agency is an optional text field you can use to identify a clip. The agency list is dynamic. It shows the agencies that are currently in the MediaBase. (15 character maximum) Shows the number of audio bits per channel for the clip. Shows the number of audio channels for the clip. Shows the audio format for the clip.

190 190 Chapter 6: Project Management Clip ID Fields Audio Tags DAR Data Rate Department Description Duration Family File Size GOP ID Kill Date Link Loop Machine Name Media Drive Media Type Modified Timestamp Protected Record Date Resolution Description Shows the audio tags assigned to each channel of the clip. Shows the displayed aspect ratio of the clip, either 4:3 or 16:9. Shows the bit rate of the video portion of the compressed signal. User defined metadata field. (32 character maximum) A text description of the clip. (120 character maximum) The duration of the clip or subclip, in timecode format. This column identifies the parent of a subclip or in the case of a parent or normal ID, its own name. The estimated file size of the clip or subclip in bytes. The GOP structure. The clip s ID, similar to a file name. The date on (or after) which the clip should no longer be aired. When a clip reaches its kill date, its MediaBase entry displays in red. Shows the name of the linked clip for Clip Sync playout. Shows whether or not a clip is set to loop on playback. Shows the name of the machine and channel number on which the clip was recorded. Location of the media drive on which the clip is stored. Shows the media type of the clip such as video clip, empty ID, etc. The date and time of the last modification to the clip or subclip. Indicates whether the clip or subclip is protected from deletion. A clip becomes protected when: A subclip is made from it. You select a clip and check the Delete Protected box on the General Tab of the ID Properties window. Indicates the date and time that the clip was recorded. The video resolution of the clip or sub clip.

191 Velocity User Guide 191 Clip ID Fields Start Status Title Type User Fields 1-4 User Name Video ARC Video Format Video QA Status Description The timecode of the clip s first frame of material. Indicates certain features of the clip. For instance, if the clip is protected, its status is protected. Metadata field. (32 character maximum) A five character field used to categorize clips, such as COM, PGM, PROMO, PSA, NET, etc. User defined metadata fields. (25 character minimum) The name of the user account that was logged on when the clip was created. Shows the Video ARC setting for a clip. The video format of the clip or subclip (DVCPro, HD, IMX, XDCAM, etc.) Shows the QuiCServer-Media Analysis Test Status.

192 192 Chapter 6: Project Management MediaBase Table You can customize the MediaBase table to display clip IDs and their associated metadata. The first column of the table displays icons that help you identify clip type. Sort and Arrange Columns You can sort the MediaBase by clicking any column head. Clicking the column head again reverses the sort order of the table display. The MediaBase view, including the names and column arrangement is stored for each user account. Each account can have its own custom MediaBase view, which is recalled whenever someone logs on to the system using that account. You can rearrange columns by dragging a column head to a new location. You can size your columns by placing your cursor between column headings until the double-headed arrow appears. Then click and drag the edge to the desired width. A MediaBase entry appearing in red text indicates that the clip s kill date has passed. Icons The first column in the MediaBase window displays an icon that visually identifies the type of clip. The icon column cannot be moved or hidden. Use hover-help to identify icons. Icon Type Description Clip Contains video and audio data. This clip has no subclip relationships. Icon displays red when the clip is in record mode. Parent Clip Contains video and audio data. This clip has one or more subclip relationships. Subclip Holds data and metadata pointers. When played, it reads and plays selected areas of a parent clip. Empty ID Placeholder IDs for video that will be ingested or filled at a later time. Audio Only Clip Still Contains audio data. You can play these clips in a channel window but cannot place them in a playlist. A still image or title CG clip typically used by editing applications. Can include alpha for superimposing over another clip. Non-title CG clips an be used for preview in NEXIO player and playout on NEXIO channels if configured.

193 Velocity User Guide 193 Search for Clips You can use the search field at the bottom of the MediaBase tree to perform a text search for clip ID name or another metadata field. Enter a text string into the search field, then click GO. Clips with metadata or IDs that contain the text you searched for will display in the MediaBase table. The drop-down arrow to the right of the search field expands to show a list of recent search strings which can be selected for quick recall.

194 194 Chapter 6: Project Management FTP Client Services Velocity features a dedicated docking FTP Transfers tab that shows your FTP status and connections. All FTP Transfer sites can be displayed in the window so you can easily manage your files. For Velocity ESX, the FTP client is the primary site. For Velocity XNG and PRX, FTP is enabled from the GPRX MediaBase via Remote LLM Setting in System Settings > System Setup. On startup, the FTP client connects to the NEXIO server system and displays a FTP Transfers tab. The interface displays all open, active FTP sites that have been connected to the Velocity FTP client. You can drag and drop files directly between FTP Transfer tabs and you can drag and drop a file from an FTP Transfer tab into the Velocity Gallery. Once a site has been opened by double-clicking it (including the Primary Site), files can be dragged and dropped between any opened FTP sites or the Velocity Gallery.

195 Velocity User Guide 195 FTP Transfer Pane The left side of the FTP Transfers tab shows the FTP sites and folders that are connected to the Velocity FTP client. The right side of the FTP Transfers tab shows status information for FTP file transfers that are currently in progress. FTP Site Context Menu The context menu for the FTP Transfers tab allows you to configure your FTP site properties and to monitor your FTP transfers. Right-click on an icon to configure properties for the selected site or to manage site transfers. Right-click without selecting an icon to add, delete or close sites or to search for a new site.

196 196 Chapter 6: Project Management FTP Site Properties The FTP Site Properties window allows you to view and configure settings for your FTP sites and directories. To view the Properties window, go to the FTP Transfers pane, right-click on an FTP site or directory icon, and select Properties. Note: The top portion of the Properties window may be different depending on your network configuration. FTP Site Properties Control Host Name Directory Description Definition Enter the IP address of the FTP server to which you will connect. If your network has DNS enabled, you can put in a name rather than an IP address. Directory displays when you choose the File Folder control. Click Browse to navigate to your folder or type in a path. Enter a description to identify the FTP site.

197 Velocity User Guide 197 FTP Site Properties Control IP Address Transfer Capability File Types FTP Server Type Transfer Direction P2 Folder Update Auto-anonymous log on Show all files Ship to Gallery Maximum Simultaneous Transfers Rename imports on destination Definition IP Address displays when you choose the FTP Server control. Displays the IP address of the local FTP server. Select FTP Server to set up a connection with an FTP server. Select File Folder to set up a file folder. Selects the type of file that will be transferred into and out of the NEXIO system using this FTP site. NEXIO. Connects to a NEXIO FTP server. Defaults to TCP port Generic/Harris P2 Server. Connects to a non-nexio FTP site. Defaults to TCP port 21. Sony XDCAM. Connects to a Sony FTP server. Supports the MXFXD file type. Panasonic P2. Connects to a Panasonic P2 device. Supports the MXF file type. Source and Destination. Select to copy FTP files to and from this host. Source Only. Select to copy from this host. Media cannot be transferred via FTP to this host. Destination Only. Select to allow media to be copied to this host. Media cannot be transferred via FTP from this host. Sets the default time value for Panasonic P2 OP1b media. If you have a slow device, you can increase the value from 2 to 5 seconds. Allows anonymous log on. Any username or password is accepted. Shows all files in the directory, including files than cannot be transferred via the FTP Client. Automatically adds transferred content to the Velocity Gallery. Set the maximum number of transfers that can be processed at the same time. Launches the Rename Imports pop-up.

198 198 Chapter 6: Project Management File Type The file type setting defines the file format for the selected FTP site or folder. When a folder has a File Type property specified, the FTP client converts all files copied into that folder to the specified file type. All files copied into the FTP site will assume the file format defined in the FTP site properties. For Example: If an MXF file is transferred into an LXF folder, the software puts an LXF software wrapper around the MXF data. Control LXF MXF AVI MPG GXF MXFXD MOV DV SCC/STL MCC Pinnacle MP4 MPEG50 Stills TS WAV/AES M4V Definition.lxf native NEXIO format files. Frequently used for troubleshooting. Material exchange Format. An industry standard file wrapper for media files. Audio Video Interleave format. Typically used as a file wrapper for SD clips. Imports.mpg and other MPEG-based file formats..gxf General exchange Format files..mxf SMPTE RDD-09 compliant files for use with Sony XDCAM and other compatible devices..mov QuickTime files..dv files used by DV format cameras. Closed caption files. MAC closed caption files. Files in a format supported in old Pinnacle video server systems. For.mp4 wrapped content such as files from Sony EX cameras. MPEG files from a Quantel video server system. Still images such as.bmp,.jpg, and.tga. Transport and program stream files..wav and.aes audio files. The M4V file format is a type of MPEG-4 video file.

199 Velocity User Guide 199 Rename Imports From FTP Site Properties, click the Rename Imports button to review your options for changing the name of files imported using the selected FTP site. This is most useful when importing files from devices such as Sony XDCAM decks that use generic file names for their source media. Control Do not rename imported clips. Prompt user to rename each clip... Automatically attach a prefix... Definition Imported clips keep the IDs from their place of origin. The user is prompted for an ID name each and every time a clip is imported. The prefix defined in the Prefix: field is added to the beginning of the ID of each imported clip. Using Galleries Velocity galleries are used to collect and display all multimedia files. They can hold video clips, sound clips, images and animations. You can use galleries to organize different types of source clips, such as different subject matter, different sources (e.g., different video tapes), or different copyright owners. Each project can contain up to 100 galleries and 100 timelines. Changes you make to a gallery are saved whenever your project is saved. When organizing media into galleries, keep topics together. That makes searching for them easier and faster. For example, if you group shots that go past midnight (which have lower timecodes than earlier recordings) with their related subject, they will be easier to find. Therefore, we recommended that you organize media based on multiple criteria, such as date and timecode hour. Gallery Status and Information This topic includes information and instructions on obtaining gallery status, viewing gallery information, and editing gallery properties.

200 200 Chapter 6: Project Management Gallery Status The gallery status bar provides information about all the clips in the gallery. The status bar is located at the bottom of the gallery bin. Gallery Status Bar - Gallery Information When a clip is selected, the information displayed in the gallery status bar describes the clip. Gallery Status Bar - Clip Information Total number of clips in gallery Total duration of clips in gallery, not including audio-only or still files Amount of space in system drive (where audio, title and FX titles are stored) Amount of space in media drive where video files are stored Clip name Clip length Trimmed In point Trimmed Out point Trimmed duration Gallery Information Gallery information is also listed in the Gallery Information window. This window gives the gallery name, saved date, gallery file size, title, number of entries, thumbnail size, and notes. You can edit a gallery s title and add notes or a description. You can also rename the gallery. Tip: To view gallery information, in the View menu click Gallery Info.

201 Velocity User Guide 201 Editing Gallery Information 1 Select the gallery you want to edit. 2 In the Edit menu, click Gallery Info. The Edit Gallery Information window appears. 3 Edit the title or notes as needed. 4 Click OK. Renaming a Gallery 1 Select the gallery you want to rename. 2 Select File > Gallery > Rename. Tip: You can also right-click the gallery, then click Gallery > Rename. The Rename Gallery dialog box opens.

202 202 Chapter 6: Project Management 3 Enter the new gallery name. 4 Click OK. Viewing Gallery Information Clips in a gallery are normally viewed as thumbnails. Audio clips display a waveform in the thumbnail image. This section contains information on how to read clip information and how to modify the clip display. Clip Indicators In the drawing, there is an indicator (orange triangle) in the top right corner of the thumbnail. Clip Indicators Red border Definition Indicates missing media. Missing clips become invalid when they don t have sufficient information to be self contained. Clips could lose all their information and become invalid if Velocity has shut down unexpectedly, or if you open an old gallery from which some of the clips have been deleted.

203 Velocity User Guide 203 Clip Indicators Yellow triangle Orange triangle ID name Definition Indicates the clip is used somewhere in the project. Only clips that are used in this particular project have the Used marking. If a clip is used in another project, the triangle does not appear. Indicates that the clip is used in the currently active timeline. The clip s ID name followed by a number in parentheses (for example, Snowflake 2)indicates that this is a copy of a clip that is already represented in the gallery. OR, that it has the same ID as another clip already in the MediaBase (Velocity adds or increments a digit at the end of the clip`s ID). Highlighting Clip Types You can use automatic highlight features your display clip types. A single clip in the gallery is highlighted when it is clicked once. When the clip is clicked a second time, it becomes selected. A selected clip can be modified (trimmed in the trim window, etc.) Highlighting does not alter a Gallery Views You can view your list of media in a gallery many different ways. The following section shows you how to modify your gallery view to show you the information you need. Tip: To access different gallery views, right-click a blank spot in the gallery, or by using the View menu. Each viewing option also has a shortcut.

204 204 Chapter 6: Project Management Gallery Viewing Options Thumbnail and Filename. (SHIFT+F5) Shows the clip thumbnail and the filename of the clip. Thumbnail and Title. (SHIFT+T) Shows the thumbnail and the title of the clip. If the clip doesn t have a title assigned, this option shows the file s name without the file type extension. Thumbnail and Note. (SHIFT+F6) Shows the clip thumbnail and any notes you have assigned to the clip. Thumbnail and Detail. (SHIFT+F7) Shows the thumbnail, clip name, the trim In and Out points, the trim duration, the reel name (if there is one), the title (if there is one), notes, whether is it used, the file type, compression, pixel depth, audio data, and the clip file path. Detail Text. (SHIFT+F8) Shows the same categories as the Thumbnail and Detail option, except it does not show the clip thumbnail. Using Gallery Auto-Play You can view clips in the gallery be enabling Auto Play. 1 Right-click on the gallery and select Auto Play. The Auto play option will have a check mark next to it if it is enabled. 2 You can click the thumbnail image to play a video clip, double-click the image to open the clip in the preview/trim window or click the file name to select the clip without playing it. 3 (Optional) While playing back the clip, press the I and O keys to set the In and Out points on the clip. These In and Out markers are preserved in the gallery and in the trim window or timeline. Customizing Columns You can adjust the appearance of the galleries by scaling the column width or by defining the order and content of the columns. Changes to gallery column widths are printed when you print the gallery.

205 Velocity User Guide 205 To adjust column width in a Gallery Place the mouse over the divider between two columns. Drag the mouse left or right until the column is the width you want. To select and arrange Gallery column headings 1 Right-click the Gallery tab, then click Configure Detail Text. The Column Picker window opens. 2 To add columns that display in a detail view, select an item in the Columns list. 3 To remove an item, clear the check box for that item. Tip: You can also use the Show and Hide buttons to add or remove items. 4 To change the order of columns, select the item that you want to move, then click the Move Up or Move Down button. Tip: If you want the column to be a certain size, enter the desired width in the Width of selected column (in pixels) box. 5 Click OK. Resizing a Gallery You can drag the sides, top, or bottom of a gallery bin to resize the window. When resizing a gallery, the clips shift so that all thumbnails can be seen. Use the vertical and horizontal scroll bars on the screen to see all the clips in a gallery. When scaling the window, the right margin will not contain a new column of grid spaces until an entire grid space can be contained. When you bump a clip, spaces are consumed (an empty space can be filled in by bumping clips). New clips display after the last clip in the gallery.

206 206 Chapter 6: Project Management Working with Media in the Gallery This section contains instructions on organizing your media in galleries. Navigating the Gallery Once a clip is selected in a gallery, you can use standard keyboard keystrokes to navigate. Navigation keys include the following: Up and down arrow keys are used to move the clip above and below. In Thumbnail and Title, File Name or Note mode, the left and right arrow keys move to the clips to either side of the selected clip. In Detail mode, HOME and END are used to go to the first and last clips of the gallery. Collecting Clips in a Gallery Organizing clips in a gallery can be as simple as dragging the media you need from the MediaBase tab to the gallery. You can also import media from a FireWire device or external drive. Tip: You can drag clips directly from the gallery to a position on the timeline (and then trim them there or in the trim window). Clips from the Timeline You can add a clip that is on a timeline to any gallery. To add a clip from the timeline to a Gallery 1 Select a clip on the timeline. 2 Right-click the clip, then click Add to Gallery. Tip: You can also press F on the keyboard to add the clip to the gallery. The clip displays in the currently selected gallery. If you have multiple clips selected, they are added in timecode order to the gallery. Copying and Moving Clips Between Galleries To move/copy the entire contents of a Gallery 1 Select all the items in the Gallery. 2 Right-click on a gallery and select Cut or Copy. 3 Move to another gallery, right-click and select Paste.

207 Velocity User Guide 207 To move/copy clips between Galleries 1 Select the clips by holding down the CTRL key as you click on them with the mouse. Tip: To move clips between galleries, press SHIFT while dragging to another gallery. The clip is deleted from the original location. The clip is placed in the new gallery. 2 Drag the clips from one gallery to the label tab of another. This leaves a copy of the clip in the original location, as well as placing a copy in the new location. To move clips to a new Gallery 1 Select the clips to move by holding down the CTRL key as you click on them with the mouse. 2 In the Edit menu, click Split Gallery. The Split Gallery window opens. 3 Enter a name for the new gallery. 4 Click OK. The selected clips are placed in the new gallery.

208 208 Chapter 6: Project Management Retrieving Media This section contains instructions on finding and sorting media in the galleries. Tip: To use the find gallery function, you need to have the gallery listed or to have opened a gallery within the project you are working on. Sorting Galleries Thumbnails are placed in the gallery in the order that they are collected or captured. You can reorder clips in a gallery by either Name, Title, File Type, Date Created, Duration, In timecode, Out timecode or Reel name. Gallery Sort Name Title Type Date Created In Timecode Out Timecode Duration Reel Name Definition Alphabetically sorts the files by name. Alphabetically sorts the files by title. Places the file in order by file extension. Sorts oldest to newest. Sort stills, titles and other files with no duration, followed by clips with no source timecode (00:00:00:00), followed by clips from lowest to highest start timecode. Sorts stills and titles followed by with no source timecode sorted by duration, potentially mixed in with clips with source out timecodes. Sorts stills first then other clips by length. Sorts stills and other clips that are not associated with a reel name first. Then clips by reel are sorted alphabetically by reel.

209 Velocity User Guide 209 Sorting Icons All icons are sorted starting in the upper left and filling right. The gallery wraps to the next row after all columns in the visible area are filled. This drawing shows sorted clip thumbnails. Searching for Media You can search for media clips based on the title, notes, reel name or timecode. To search for media based on title or notes 1 Right-click a blank space in the gallery and click Search > Notes. The Search Notes window opens. 2 Select the search type (you can select one option or both): Title. Searches for a match in the clip s title information. Note this is not the same as the clip s file name. Notes. Searches for a match in the clip s notes. 3 Enter the text you want to search for in the Keyword field. You can enter letters and numbers here. Tip: Searching is not case-sensitive; upper/lower case distinctions are ignored. 4 Click Find Next. When a clip is found it is highlighted in the gallery. 5 Click Find Next again to move to the next clip with the keyword.

210 210 Chapter 6: Project Management If a clip with the matching keyword cannot be found, a message displays. You can refine your search criteria and search again. If you don t assign titles or notes to clips, this feature will not work. To search for media based on reel name or timecode. 1 Right-click a blank space in the gallery then click Search > Timecode. The Search Timecode window opens. 2 Enter the Reel Name. Tip: If you do not specify a reel name, there may be more than one clip that has that timecode. To navigate through multiple results, click Find Next. 3 Enter the timecode you want to find. 4 Click Find Next. The clip is highlighted in the gallery. 5 When you re finished, press the X in the top right to close the window. Saving and Recovering Projects You can make back up copies of your current project and archive projects and media that are no longer used. Autosave Velocity automatically saves your entire project every minute to ensure that significant work is not lost in the case of a crash or other failure. Auto save can protect you from sudden closure of due to a failure. Velocity automatically backs up your current timeline every minute. You can also choose to have Velocity back up the active timeline every minute during the rendering process.

211 Velocity User Guide 211 Crash Recovery If your system experiences a failure which causes Velocity to suddenly exit, the application saves a crash recovery version of the project. All timelines will be saved after an abnormal exit. The crash recovery version has a timestamp suffix and is stored for use at a later time. On the next launch of Velocity, the most recently saved (automatic or manual save) version loads. Crash recovery versions are not overwritten during autosaves. Tip: When you open a project, you can now select from a list of recently saved and auto saved versions. Usually you open the most recent save (top of the list). There is a new Recover Project option in the File menu if you want to see this list again. If the system is idle (no activity) auto-saves will not function as there is nothing to save! This explains some of the gaps in the time stamps of autosaved versions. Pushing to a Domain Use the Push Project to Domain function to save a project to a selected NEXIO domain. To Push a Project to a Domain 1 Select File > Push Project to Domain. The Push Project to Domain window opens. 2 Enter the IP Address in the Target Domain field. 3 Select one or more projects from Available Projects in Local Domain. Tip: To select more than one project, press CTRL to select individual projects or SHIFT to select a range. 4 Press Push to push project(s) to the domain.

212 212 Chapter 6: Project Management If a high resolution project already exists on a domain, you can save versions of that project on the same domain without overwriting the original. When you push a project to a domain, if Velocity detects another version with the same name, you are given the option to have Velocity save the new project with an incremental name (i.e. xxxxxx_2). This guarantees that the original project is preserved. No/No to All (recommended). Makes a new copy of the project by incrementing the name. Yes/Yes to All. Overwrites the existing project with the same name. Skip/Skip All. Will not copy project if a project with the same name exists on the domain. Cancel. This cancels the Push Project to Domain, and the project is not copied.

213 213 7 Editing Basics The editing tools in Velocity are used to create multiple timelines and tracks on a timeline, add transitions and effects, and add graphics. Viewing Clip Information Each clip carries with it a basic set of information. Tip: To view clip information, right-click on a clip in the gallery or timeline and select Clip Info. You can also click Clip Info from the View menu. This displays the Clip Information window, which lists specific information on the selected clip.

214 214 Chapter 7: Editing Basics Clip Info Controls Title Notes Reel Name Starting Timecode Source IN Source OUT Duration Frame DUR File Name File Type Pixel Dimensions Pixel Depth Fields Quality Audio Drop Frame Edited Clip Definition Refers to the clip s title. You can edit the selected clip s title through the Title section. You can edit the selected clip s notes through the notes section. Refers to the clip s reel name. You can edit the reel name through this window. Refers to the timecode at the start of the clip. You can edit the starting timecode through this window. Refers to the clip s raw inpoint. Refers to the clip s raw outpoint. Refers to the clip s raw duration. Refers to the clip s raw duration in frames. Refers to the clip s file name and file path if local. Refers to the clip s file type. Refers to the clip s horizontal and vertical pixel dimensions. Refers to the clip s pixel depth where 32bit represents video with an embedded alpha channel. Refers to the clip s field order if interlaced or indicates progressive. Refers to the clip s quality in megabits per second and bit depth. Refers to the clip s audio sampling in kilohertz, stereo or mono, and bit depth. When checked, the selected clip shows the drop frame timecode mode in which is an accurate representation of the real time of a video program. Because video actually runs at frames per second and not 30 frames per second, two frames are dropped every minute to make up for this discrepancy. Refer s to the clip s edited information. The Trim IN, Trim OUT, Trim DUR, Frame DUR, Effects (if any) and Speed sections are listed and can not be edited through this window.

215 Velocity User Guide 215 Clip Info Controls On the Timeline Preview Trim IN/OUT Stop Preview Definition Lists the information of how the clip falls on the timeline. The Start, End, Play DUR and Frame DUR sections cannot be edited through this window. Click this button to play a preview on the clip you are currently viewing information about. The clip will play in the Preview Window Click this button to stop the clip preview. Viewing the Source and Timeline Monitors Velocity uses separate windows for viewing the Source and Timeline controls. When you scrub or play back the timeline, your video appears in the Timeline Monitor window. When you double click on a clip a gallery or timeline, it opens in the Source Monitor window. If one of the windows is not open or is hidden behind another tab, it will be opened automatically upon loading a clip. You can also close either the Source or Timeline Monitor windows by clicking on the X in the top right corner of the window. Reopen the trim window by selecting View > Preview > Trimline or Source Monitor from the Main menu.

216 216 Chapter 7: Editing Basics Like any other window in the interface, the Monitor windows can be made larger or smaller by placing the cursor over an edge pressing the left mouse button and dragging. Preview and Playback Velocity previews and plays back your video in two places: On your computer screen in the Source and Timeline Monitors or full-screen. On an external video monitor connected to your Velocity breakout box. When you double-click on a video, WAV or still or title file type in the gallery or timeline, it opens in the Source Monitor for viewing and editing. When double-clicking a cut point or transition, it opens in the Dual Trim Monitor or Transition Monitor respectively. Your clip appears and plays in the Timeline Monitor and your external video monitor. You may wish to dock the Source and Timeline Monitor in separate tabs to keep them both visible. To view video full screen on your monitor, select View > Full Screen Preview. While in this mode, playback can be controlled using the spacebar or JKL hotkeys. To return from Full Screen Preview, press the Esc key. To view video on an external monitor, connect that monitor to a program video output on your hardware output device or breakout cable.

217 Velocity User Guide 217 Timeline and Playback Preview Timeline playback and preview options provide fast visual feedback of the results of your editing. The Timeline Status bar at the bottom of the timeline bin provides useful information, as well as timeline playback controls. Loading Clips One By One into the Source Monitor Load a clip into the trim window by double clicking on it. Use the the Source Monitor to assign In and Out points on the clip before placing them on the timeline. Play All Clips (the entire timeline) When you play back the entire timeline, all rendered transitions and effects are played as they have been set up. Un-rendered sections of the timeline are displayed as black. If your project has been completed and you have rendered all sections of the playback range (or they didn t need to be rendered) this will provide you with a final output that can be recorded to tape. 1 Click on the timeline to activate the timeline playhead line. 2 Press HOME on your keyboard to move the playhead to the start of the first clip on your timeline. 3 Click on the PLAY button in the status bar of the Timeline bin or press the space bar to playback the timeline from the playhead line onwards. Tip: Another method of playing the entire timeline is to press the Play In to Out button with no In or Out marked on the timeline. Timeline Auto Scroll When you play the timeline, if the playhead moves off the right end of the screen (playing forward) or the left side of the screen (playing backward), the timeline auto scrolls. That is, the timeline refreshes its display to show you the clips that are under the playhead. If you begin making an edit during playback, auto scroll will be disabled.

218 218 Chapter 7: Editing Basics Moving the Playhead on the Timeline Moving the playhead around on the timeline is used to mark In and Out points, to view your clips as a more finished project and to hear your audio using Analog scrub. There are several ways you can maneuver the playhead on the timeline from the trim window. Timeline Controls Scrub Bar Control Playhead Position Play/Stop button Single Frame Back/ Forward Previous and Next Play Loop Definition Used to scrub the playhead across the timeline. You can also place the mouse over the main Preview window, press and hold the mouse button and drag the mouse to the left to scrub backwards and right to scrub forwards on the timeline. Displays the current timecode of the playhead on the timeline. Plays the timeline from the current playhead position. Once in playback mode, it toggles to a Stop button to halt playback of the timeline. Used to move the playhead at single frame increments. Used to go to the previous or next edit on the timeline. The keyboard shortcut for Next Edit is Page Down, and for Previous Edit is Page Up. When this button is enabled, once the playhead reaches the end of the last segment on the timeline, playback will be looped and started again where the playhead was last placed. Playback will also be looped in a highlighted range. You may enable/disable play loop during playback. Tip: Tip: Use the space bar to play clips in the left hand side of the trimmer. To abort playback at any time, press the Esc key or the spacebar, or click with the mouse anywhere on the timeline. When you scrub a clip on the timeline, the scrub will act as an exact mirror of playback. However, if you scrub over an unrendered region, you will not get a preview of the exact frame. To get a preview of an exact frame in an unrendered region, use keyboard shortcut D. Playback Shortcut You can also play back from the Playhead using the J (reverse), K (stop) and L (play) keys on the keyboard. Pressing J or L again (or holding it down) makes the playback progressively faster in that direction. These keyboard shortcuts are user-definable. See Creating Keyboard Shortcuts in Volume I, Chapter 4 for information on how to re-assign them. Tip: If you press the key for forward and stop (or backward and stop) at the same time, you can view the video at 6 frames per second.

219 Velocity User Guide 219 Playing a Range on the Timeline Making a highlight range produces a faster preview than timeline playback, since you will not have to wait for audio to render in areas that are not covered in the range. Drag a range on the timeline by pressing down the right mouse button with the mouse over the timeline tracks and dragging it right or left. If you want timeline ranges to play back automatically upon selection, in the main menu under File > User Settings > Modify Settings, check Auto playback highlighted range. If you uncheck this and want to play back a range, hold down the SHIFT key while selecting your range. Or, if Auto Playback Highlighted Range is checked, hold down the SHIFT key while dragging the range. The range will not play back. The light area in the figure below is the timeline range. Tip: To abort playback, press the spacebar. To resume playback, press spacebar again. If you create a highlighted range that stretched beyond the beginning and end of the segment you want to playback, the range will snap to the edges on the segment, removing the blank regions outside of the segment. If you want to toggle this function so it doesn t snap, hold BACKSPACE while right-click dragging. All rendered sections of the playback range are played with their effects and transitions. Unrendered sections are played without effects or transitions (a cuts only version). If you have rendered all sections of the playback range (or they are already rendered) this will provide you with a final output that can be recorded to tape. Tip: If you want to replay the highlighted range, select Output > Play Highlighted Range from the menu, or press default keyboard shortcut H. All real-time or rendered transitions and effects are shown. Unrendered sections of the timeline are displayed as black. When you highlight a range on the timeline, you can find out how long the range is by looking in the status bar at the bottom left corner of the timeline bin. Highlighted is listed, followed by the timeline range s In point, Out point and Duration in hours, minutes, seconds and frames. Play In to Out Mark an In point on the timeline. By whatever means you choose, move the playhead to your chosen In point and press shortcut I. Mark an Out point on the timeline. Move the playhead to your chosen Out point and press shortcut O. Press the Play In to Out button, or shortcut P.

220 220 Chapter 7: Editing Basics If there is no range selected with In and Out markers, the Play In to Out button starts at the beginning of the timeline and plays to the end. If just an In is selected, playback starts there and continues to the end. If just an Out is selected, playback starts at the beginning of the timeline and stops at the Out point. When you mark an In and Out point on the timeline, you can find out how long the range is by looking in the status bar at the bottom of the screen. Duration. Followed by a duration in hours, minutes, seconds and frames tells you the length of your play range. Playback, Mute and Solo Normally all timeline tracks play when you select a timeline range or drop the playhead and start playback. Normally all clips on the timeline, audio and video and stills, are blue. Clips that will NOT play back because the track they are on has been muted or another track has been soloed turn a darker shade of gray than the timeline. Clips that will not play back because they lack media become virtual display as red on the timeline. Mute or Solo works on video and audio tracks without respect to whether they have synced or linked clips. For the purposes of Mute, tracks a and b (in expanded track mode) always share the same attribute. If you mute one, they both mute. For Solo, you can Solo one or both tracks (also in expanded track mode). However, if you are in single track mode and you solo a track, it will Solo the whole track, including any clips on it. If you solo tracks a and b, transitions will still play back. You cannot Mute or solo the Transition track by itself. Mute Mute a track by clicking the Mute button on track s track header, or by right-clicking on the track header and selecting Mute Track. When a video or audio track is muted, any clips on that track will not play back during timeline playback. They will not be included in the render bar at the top of the screen. If there is nothing else to play in that segment, then the video will be black and/or the audio will be silent. A clip on a muted track can still be loaded and trimmed in the trim window, and you can still apply effects to it. Solo Solo a track by clicking on the Solo button on the track s track header, or right-clicking on the track header and selecting Solo Track. If you are soloing a video track, all other video tracks will be greyed out. But the audio tracks will all still be active and vice versa if you solo an audio track. If multiple tracks are chosen for soloing, those tracks play, their audio mixes, their effects layer, etc.

221 Velocity User Guide 221 If you apply both mute and solo to a track, solo dominates and the track plays back. Audio Clips To mute the audio of an individual clip select Edit > Audio Clip > Mute Channels. To mute the audio of an entire timeline track, right-click on the timeline track icon and enable the Mute Track check box. To mute the audio of the entire timeline during playback, uncheck Enable Audio in Output > Timeline Settings in the main menu. Virtual Clips Virtual clips can be used as placeholders on the timeline. They can be opened from the timeline to the trim window, but not from the gallery to the trim window. Virtual clips can be created in the gallery and dragged to the timeline. Virtual clips appear red on timelines and have red borders in galleries. Virtual clips are primarily useful on the timeline if you have deleted media in order to perform batch recapture and then want to reopen the timeline to do some last-minute adjustments, or if you want to have a placeholder for media that has not been created yet. Normal clips in the timeline become virtual if, for example, you are doing editing of clips via a network and the computer they came from is removed from the network (someone turns it off). When you play back a section of timeline with a virtual clip in it, that virtual clip will be clearly marked with a bitmap. Any filters, transitions, etc. will be applied to the placeholder bitmap. You can't render a segment or range of a timeline that contains virtual clips. But if you replace that clip with a real clip later, those effects will be applied to the replacement clip. 32-Bit Video With Alpha Channel Clips with alpha channel on a timeline have a 32 in parentheses. Clips with alpha channel in a gallery, have a white dot along their top borders. To view or turn off the alpha channel of clips in a gallery, right-click in that gallery and choose View > Alpha. To view or turn off the alpha channel of picons on the timeline, in the main menu choose File > User Settings > Modify Settings. Press the Timeline Clip Display button and change your settings. To view or turn off the alpha channel on the Eyecon display, right-click in the top of the eyecon column of the timeline. Choose Eyecon View Options, and make your settings in the window that opens. 32-bit video with alpha clips will automatically key over clips in the background when placed on any higher numbered track on the timeline.

222 222 Chapter 7: Editing Basics Timeline Output Settings When you exit Velocity, all Preference settings are automatically saved for future use. You do not have to reset everything each time you start Velocity. Before you begin any video editing project, you will want to set up your timeline settings so that when your project is output, it will appear the way you expect. For example, choosing the wrong field order at the beginning of a project can waste hours of rendering time if you have a lot of very complex effects. Velocity gives you a great deal of control over how your project is saved. To work more efficiently, use the default settings to save your movie. Tip: From the Main menu select Output > Timeline Settings. The Timeline Settings window opens. These settings determine how your final movie will be output if you use Print to Tape or just play back from the timeline to videotape. These settings also determine what you will see when you preview video files to a video monitor or to the VGA monitor s preview window. Some settings are available for only some compression selections for other selections the settings will be grayed out. If you are outputting, you should use the presets. Click the Presets button to load, save, and select presets. Timeline Settings: Video Tip: To alter the video settings from the standard you have chosen, press the Settings button in the Video section of the window. Frame Rate. Measured in frames per second. Greater frame rates require more processing time and greater hard drive storage space. Video Width and Video Height. These boxes show the frame width and height of the video output image measured in pixels. Field Handling. Video frames usually consist of two fields, the odd field consisting of all the odd numbered horizontal lines and the even field consisting of all the even numbered horizontal lines. To achieve smooth output results, you must set the field handling to match your playback hardware. You may set it to No Field, Interlaced, Fld Order A (for even field dominance where the even lines are read first), or Interlaced Fld Order B (for odd field dominance). Velocity hardware uses Interlaced Field Order B for NTSC and Field Order A for PAL and HD. To check the field handling, output a short transition (such as a simple wipe) and visually check for smoothness. A jerky edge for transitions indicates that the output was created with a reverse field order or without fields all together. Switch to a different field handling option and try again.

223 Velocity User Guide 223 Back in the Timeline Settings. Video screen, when you change these settings, you can save the result as a settings file. Click Presets and select Save. A window opens so you can choose a save location. Tip: If you have previously saved a settings file, click Presets, and select Load to load the settings file. Scrub Use scrub to view rendered and unrendered sections of video. You can look at individual frames of unrendered sections in the Preview-trim window on the computer monitor. The quality and speed of your output depends on your VGA card and drivers. Scrubbing is also useful for making precise edits. The scrub resolution setting lets you select scrubbing play times from 1/30th to 1 second. The larger the number, the more audio you hear during scrubbing since you are playing longer sections. Also, the sound is clearer. With smaller numbers you hear less audio and the sound is less distinct. Your choice depends on the type of audio you are editing and your personal preferences. To select the audio scrubbing rate 1 On the Main menu, select File > User Settings > Modify Settings (F5). The General Timeline Options window opens. 2 Select the Audio scrub resolution you want from the drop-down menu. 3 Click OK. Temporary Bitmap Files Velocity creates temporary bitmap (.Bmp) files whenever you preview or scrub a segment of the timeline that has a graphic file. Once an image file has a temporary bitmap counterpart, Reset Clip becomes an available right-click option on the clip. If you use Reset Clip, the reference to the temp BMP counterpart file is gone. A new temp file will be created for that image file the next time that image is part of a scrub/preview.

224 224 Chapter 7: Editing Basics Any image file which has a temp BMP counterpart file created will allow for Reset Clip. The size of the image file does not have a factor in automatically recognizing changes to an image with the same name. Graphics files (with temp BMP counterparts) have to be manually reset by right-clicking and resetting them. You should not manually delete the temp BMP files. Velocity will not recreate them if they have been deleted manually. Reset clip is also available for audio clips, so if you edit them in another program such as Sound Forge, they can be seamlessly replaced. Scrub All Clips With the mouse over the tracks in the timeline, press the left mouse button down and hold it down while dragging the mouse left and right. The playhead moves back and forth under the mouse cusor. You can hear the audio and see the video as the playhead moves. You can also use the Scrub bar on the Timeline status bar to scrub the Timeline playhead. Scrub a Single Clip s Audio Tip: To scrub a single clip s audio, solo the track(s) the clip resides on, and then scrub with the playhead. Scrubbing will be also be enabled when you are using the Razor tool, the Index tool, or when you are trimming the clip by dragging the edges.

225 Velocity User Guide 225 Analog Scrub Simulation Analog scrub allows you to hear your audio like a tape machine speeding up and slowing down, rather than a series of blips. This means that you can hear the audio more clearly when it is played slowly, quickly and even in reverse. Tip: Analog scrubbing is performed using the analog scrub bar in the status bar. Moving Clips Between Bins and the Trim Window Clips enter Velocity by being captured, collected or imported into a gallery. However, editing involves trimming clips and placing them in sequences. This is done primarily in two areas of the screen: the trim window and the timeline. Using the timeline and trim window together, you can edit clips, preview different video/audio arrangements, join different clips with transitions of your choice, add special effects, and add supplementary audio tracks. Gallery to Timeline Clips can be moved straight from the gallery to the timeline. If you prefer to trim clips on a timeline, this is probably the method for you. Clip Placement Rules If you are in expanded track mode (where a transition track separates two video tracks), place your clips on tracks V1 and V2 so transitions can be formed between them. Place overlay clips on additional video tracks below and audio only (WAV) clips on audio tracks. If any part of the clip overlaps with any one other clip on the same track, the move will not occur unless you are trying to create a transition in Swap A/B Track mode. If you are not in Swap A/B Track mode and the placed clip overlaps two other clips on the same track, the Insert Clip Options window will open. You can decide how you want to increase the size of the gap between the two clips or decrease the length of the inserted clip Tracks with higher numbers are superimposed on top of tracks with lower numbers. Foreground clips, containing the image/video to be superimposed, must be placed on a higher-numbered track than background clips. If the background video is placed on tracks V1 and V2, the foreground clip must be placed on track V3 or greater. If there are no background clips, then the background is black.

226 226 Chapter 7: Editing Basics You can have multiple layers of clips with effects. For example, you might use multiple layers to have title tracks on track V6 and V7, which overlay video with perspective effects (resize) on tracks V3, V4 and V5, and finally the background video on V2. Keep in mind you would have to render that. If you place a clip on a higher-numbered track and do not apply an effect to that clip, it will obscure the clips in lower-numbered tracks. Video clip placement on the timeline follows a few simple rules. Clips that overlap between tracks V1 and V2 use transitions to change from the image on one track to the image on the other. Tracks with higher numbers are viewed by the camera first during playback or when making a movie. Clips on V5 will be seen in front of clips on V1 through V4. Tracks V2 and greater are overlay tracks where transparency or other effects can be assigned using earlier tracks as backgrounds. The clips on all video tracks and transition tracks can have video effect filters attached to them. By default, the timeline is viewed with the top image (track) on the top of the timeline. This view can be inverted by pressing the F2 hotkey or by selecting File > User Settings> Modify Settings and un-checking the Display video tracks stacked upward control. Auto Adding Clips to Timeline In gallery thumbnail view modes, you can only drag one clip at a time to a timeline. If you want to place multiple clips simultaneously on the timeline, select the clips in the gallery and choose Append to Timeline from the right-click menu or the Edit menu, or press the shortcut F. The clips are added to the timeline in the order they were in the gallery.

227 Velocity User Guide 227 If the clip is a video clip, it is placed on V1 directly after the last clip on the video tracks. If the clip is an audio clip, it is placed on A1 directly after the last audio clip on the audio tracks. If the clip has both video and audio, it is placed after the last video clip on the timeline, with the audio placed on the first available (or in the case of stereo audio, the first two consecutive available) audio tracks. If no audio tracks are available, you cannot add the clip in this manner. To add multiple clips with transitions instead of cuts-only, use the Add with Transition shortcut, which defaults to 0 (zero). Clips are added with default length specified in Trimmer settings. Copying Clips from a Timeline to a Gallery To copy a clip or clips from a galley to a timeline, choose the gallery where you want to place the clips. This may involve creating a new gallery (Right-click in the gallery and select Gallery > New). Or it may involve just choosing a gallery. Next, select the clips you want to copy. If you want to copy the entire timeline to a gallery, from the main menu choose Edit > Select All. Right-click in the timeline and choose Add to Gallery, or press default shortcut F. The clips are added to the gallery in the order they appear on the timeline. Moving Clips into the Source Monitor Double clicking clips automatically opens them in the Source Monitor. If the Source Monitor is not open or visible, it automatically opens or is made visible. Gallery to Source Monitor Virtual clips cannot be loaded into the Source Monitor from the gallery. To trim a virtual clip, first drag it to the timeline. From there it can be moved to the Source Monitor or trimmed directly on the timeline. Tip: To open a clip in the Source Monitor, double click on it in the gallery, or click on it in the gallery and drag it to the Source Monitor. Source Monitor Gallery If your clip originally came from a gallery and you want to apply changes to the clip back to the gallery, press the ENTER key. The new In point, Out point, etc. are applied to the clip in the gallery. If you reload this clip into the gallery later, it will launch retaining these settings. To create a new copy of the loaded clip in the Source Monitor back to the gallery, press the Send to Gallery button. Timeline to Source Monitor To open a clip or transition in the Source Monitor, double click on it in the timeline. To open a simultaneous edit into the Source Monitor, hover the mouse over the edit point on the timeline. Then double-click on the edit point.

228 228 Chapter 7: Editing Basics Using the Apply Button If the clip has been imported from the timeline to the Source Monitor, there is only one button, labeled Apply. When you trim a clip from the timeline, you cannot change its location by Inserting or Overwriting it. You must return it to its original location, using the new In and Out points that have been assigned to that clip. The next clip to the right of the clip (or, if there are multiple clips that begin simultaneously on the timeline, the clip on the next lower track) can be automatically opened in the Source Monitor while performing the Apply function by turning on the Auto Advance feature in the Source Monitor settings. Using the Drag to Timeline Button If the clip was moved from the gallery to the Source Monitor, you can se the Drag to Timeline feature by dragging from within the video window. The clip moves with the mouse cursor to the timeline. When you release the left mouse button, the clip is dropped into that position on the timeline (assuming it is a legal position, not occupied already by another clip). The clip s marked In and Out points are maintained. Marking a Position on the Timeline Before you can insert or overwrite your clip to the timeline, you must assign a position for the clip. If you do not mark a position on the timeline, inserts and overwrites are placed at the playhead. The controls at the bottom of the timeline are used to move the playhead, assign In/Out points, etc., on the timeline. Use the scrub bar, mouse controls and play controls to position the playhead on the timeline. Mark an In and/or an Out with the mark In/Out keys, or use the keyboard shortcuts (defaults are I for In and O for Out). To check your In and Out marks, you can use the Q key to go to the In point and the W key to go to the Out point. You cannot place the Out before the In on the timeline. Choose Your Track Patching The Track Patching feature means that you can choose which video and audio tracks on the Velocity timeline will be either target tracks or non-target tracks. A non-target track means that you cannot drag clips from the MediaBase or gallery onto that track. Also, you won t be able to send a clip from the source window onto that track. However, you will still be able to edit clips which already exist on that track.

229 Velocity User Guide 229 By default, all tracks are targets. Target Tracks display with green labels. Non-target tracks are grayed out. In the picture below, V1 is a target, and V2 has been made into a non-target (by clicking on V2 ). Using the Target Tracks Window To access, press F5 and navigate to User Settings > Timeline > Timeline Track Targets. In the figure above, ten presets are listed with their default labels. You can edit the configuration and rename the label for each profile. 1 To edit a profile, click Edit. The Timeline Target Defaults window opens.

230 230 Chapter 7: Editing Basics 2 In the Timeline Tracks area, you can select between 1 and 16 video and audio tracks in each Account for drop-down menu. The default is set to 16 for both. If you select less that 16 video and/or audio tracks, the areas within the Enable as Target areas change to reflect the number you selected. For example, if you select 8 video tracks and 6 audio tracks, you will see 8 video check boxes and 6 audio check boxes. However, the numbers that you selected in the Account for drop-down menus do not determine the number of timeline tracks that display when you start a new timeline. To set the number of audio and video tracks that displays when you open a new project see, New Timeline defaults in Volume I, Chapter 4. 3 Remove the check marks from the video and audio tracks that you want to be non-targets. 4 (Optional) In the Target Track Profile Name, enter a descriptive name for the profile. 5 Click OK. You can also set a track as target or non-target manually. Tip: You can toggle a track back and forth between target and non-target by clicking on its track number (V1, V2, A1, A2, etc.). In addition to being able to manually make tracks targets or non-targets, you can use the Timeline Track Targets window to quickly set several tracks at once. And you can configure up to 10 different track target profiles that you can use on a timeline. Applying Patch Target Profile 1 Right-click on the Track-header and select Patch Profiles. 2 Select the Profile you want from the menu, or use the corresponding shortcut key. The track configuration changes to match the profile. To apply a Patch Target Profile to a clip 1 Right-click on a clip on the timeline and select Patch Tracks. The Patch Track window opens.

231 Velocity User Guide (Optional) Select Keep audio channels on consecutive tracks if you want to keep the audio tracks grouped as they are. If you deselect this option, the other channels become available for assignment. 3 Select the video and audio tracks from the drop-down box and click OK. If you receive the following error message, either select a lower track number or add more tracks to the timeline. You can add more by right-clicking on the timeline and selecting Add Track. The channels are reassigned. Tip: If you do not want to assign one or more channels from the clip, select the X from the options. When you click Ok, that channel is removed.

232 232 Chapter 7: Editing Basics How the Patch Profile Works The Target Track profile can account for more or less tracks than the current timeline has. For example, if the Target Track profile has V1, V2, V3, and A1-A8 targeted, and you load that profile on a timeline that has 7 video tracks and 16 audio tracks, V4-V7 and A9-A16 will be non-targeted. If you load that same profile on a timeline that has 2 video tracks and 4 audio tracks, all tracks are targeted. If you then add 2 video tracks and 6 audio tracks in the Add Tracks dialog, V1-V3 will be targeted (V4 non-targeted), and A1-A8 will be targeted (A9, A10 non-targeted). Applying the Patch Profile Once these profiles have been configured, they can be chosen on the timeline via either hotkey or track-header right-click: The ten hotkeys (ALT+1 through ALT+0) should be available no matter which main program window (timeline, trimmer, gallery, VU) is active. In addition to the ten profiles, there are two additional functions which will always be available as well: Target All Tracks and Invert Targeted Tracks. Target All. Use this feature to make all tracks (video and audio) targeted (green). You can also use ALT+A for all. Invert Targeted Tracks. Use this feature to make any tracks currently targeted non-targeted, and vice versa. These should also have hotkeys assigned. You can also use ALT+I for Invert. How Patch Target affects Clips Clips which are already on a timeline do not obey any of the target tracks. Target tracks only affect clips being added to the timeline from an external dialog (gallery, mediabase, trimmer, capture). Note that the Copy/Paste case does NOT obey target tracks. Example 1: The timeline has V1 targeted, and A1, A2, A3, and A4 targeted. You have a V/A sync clip with 8 channels of audio. If you send that clip to the timeline (either from the gallery or trimmer), it will send the Video to V1, the following will occur: Ch1 to A1 Ch2 to A2 Ch3 to A3 Ch4 to A4 Ch5-Ch8 will be ignored Example 2: None of the video tracks is targeted, but A1, A2, A5, and A6 are targeted. If you apply that same V/A sync clip with 8 channels of audio and send that clip to the timeline (again, either from the gallery or trimmer), no video will be sent (because no video tracks are targeted). But the following will be sent: Ch1 to A1 Ch2 to A2

233 Velocity User Guide 233 Ch5 to A5 Ch6 to A6 Ch3, Ch4, Ch7, and Ch8 are ignored. This is essentially a 1-1 relationship, by default. Example 3: You have only V1, A3, and A4 targeted and have a stereo A/V clip in the gallery. If you try to drag (or insert) that clip to the timeline, no audio will be included unless you re-patch the audio in the trimmer before sending it. This occurs because A1 and A2 are not targeted. Drag and Drop vs. 3 and 4 point edits If you have multiple video tracks targeted, the rules differ slightly between the drag cases (from Gallery, MediaBase, or Trimmer) and the 3 and 4 point edit operations from the trimmer (insert/ overwrite/etc.). If V1 and V2 are targeted, you can drag the clip to either of those tracks. If you try to use an insert/overwrite/etc., the clip will always use the lowest track (in this case, V1) as the target video track. If you want to overwrite the 1-1 relationship, you can re-route the audio routing from either the source monitor (pre-edit) or from the timeline (post-edit). To use the Patch Audio button 1 Click on the Patch Audio button in the Source window. The Add/Remove Source Audio window opens. Tip: Similarly, you can right-click on an existing clip on the timeline, and select Patch Tracks. You will see all timeline audio tracks on the right. On the left side, you will see all available audio channels in that source clip. The default assignments are a 1-1 relationship. 2 Select any timeline track to send each channel too. However, if you choose a track which is not enabled, you will get an error message when you press OK. You will be given the option to change it. Tip: If the default 1-1 relationship is not possible (i.e., clip has 2 source channels, but timeline target tracks are 3 and 4), then match the lowest source channel with the lowest timeline target track as a default.

234 234 Chapter 7: Editing Basics There is also an option to keep the audio on the same timeline track, but change the source audio. So, if you have channel 1 on track 1, and channel 2 on track 2, you can swap those by choosing Patch Channels in the Timeline clip right-click menu. You can also use this option to bring back channels of the source audio which were originally left out. Choose Your Insert/Overwrite Option If you don t assign In and Out marks on the timeline the current playhead position is used for both Insert and Overwrite. Insert from In Point Insert from Out Point Overwrite from In Point Overwrite from Out Point Transition When you use these buttons to place a clip on the timeline, the next clip is loaded from the gallery. The trim In and Out marks are saved in the gallery, as well. Tip: To make best use of the Auto Load feature from the gallery, put your clips in order in the gallery before beginning the trim and insertion process. When your audio and video have the same In and Out points, the video and audio both align to the marked point on the timeline. It is more complicated when the audio and video have different in and/or out points. Basically, the Insert, Overwrite, Fit To Fill, and Transition options from the trim window all use the video In and/or Out points on the timeline, and the audio is inserted as well as it can be to maintain sync. If an insert will destroy the sync setup of clips already on the timeline, this action will not occur and a message displays. Select a different track to patch the audio onto, so as not to destroy the other clips sync relationships. Three Point Edit Assign three points In and/or Out on the timeline and In and/or Out point on a clip in the Trim Window. Use them to place the clip on the timeline, automatically trimming the fourth point. If there isn t the right amount of material to make the insertion or Overwrite fit perfectly, there are various methods of filling in the extra space. The track in which the clips are inserted is determined by the track selected in the Target Track pull down box. If only an In or Out point is marked on the timeline, the In and Out point marked on the clip will both be used. If neither an In or Out point is marked on the timeline, then the clip will be inserted at the position of the timeline playhead.

235 Velocity User Guide 235 Insert from In Point. If an In and Out point are marked on the timeline, the clip in the Trimmer will only use the clip s marked Video In point. If you have a clip where the audio starts before and ends before the video and you Insert from In with an In marked on the timeline, the clip s Video In matches with the marked timeline In. Audio is intact with the exact relationship that was determined in the trim window. If you Insert from In with both an In and Out marked on the timeline, the clip s Video In point matches the timeline In point (and the audio relationship is maintained at the In), but the section after the timeline Out point is cut away as if a slice down the timeline has occurred. Insert from Out Point. If an In and Out point are marked on the timeline, the clip in the Trimmer will only use the clip s marked Video Out point. If a clip is trimmed so the audio starts before and ends before the video and you Insert from Out with only an Out point marked on the timeline, the clip s video Out point matches the marked timeline Out. The audio remains intact, with the exact relationship to the video as in the trim window. If you Insert from Out with both an In and Out marked on the timeline, the clip s Video Out point matches the timeline Out point (and the audio relationship is maintained at the Out), but the section before the timeline In point is cut away as if a slice down the timeline has occurred. When using Insert, if Ripple All is on, clips or portions of clips to the right of the cursor on all tracks are moved farther to the right, to make room for the clip (making the overall program longer). If Ripple All is unchecked, only the track you are inserting into will ripple. Overwrite from In. If both an In and an Out are marked on the timeline, the clip in the Trimmer will only use the clip s marked Video In point. Overwrite from Out. If both an In and an Out are marked on the timeline, the clip in the Trimmer will only use the clip s marked Video Out point.

236 236 Chapter 7: Editing Basics When using Overwrite, if only an In or Out point is marked on the timeline, the In and Out points marked on the clip will both be used. If neither an In or Out point is marked on the timeline, then the clip will be overwritten at the position of the timeline playhead. The track in which the clip is overwritten is determined by the track selected in the Target Track pull down box. If you have audio and video trimmed to different in and out points and do an Overwrite, it works the same as if you had done an insert. The only difference between Insert and Overwrite has to do with clips that already exist on the timeline. Transition This feature adds the clip to the timeline with a default dissolve transition. When you choose to add a clip to the timeline with a Transition, the setting you place in the Track Patching box is irrelevant. The clip will always be placed at the end of the timeline, and it is always placed on Track V1 or Track V2, the track opposite the previous clip, with a transition of the default length (set in the trim window s settings). When the video and audio are trimmed differently from each other and you add the clip to the timeline for a transition, the video In is used to created a transition with the existing video clip on the timeline. The clip s audio is applied to the audio tracks so that its relationship is maintained with the video. Using the Source Monitor The Source Monitor is used to play and trim clips, transitions, and edits. Use the Source Monitor to look closely at a single clip in the gallery or timeline, or the way two clips join together on the timeline, adjusting the In and Out points and moving a clip to the timeline in a variety of ways. Load a Clip to the Source Monitor To open a clip in the Source Monitor, double click on it in the gallery, or click on it in the gallery and drag it to the trim window. To open a timeline object in the trim window, double click on it. The clip is automatically opened in the Source Monitor. If the Source Monitor is not open or visible, it is automatically opened and made visible. Objects that can be opened and trimmed in the Source Monitor include video files, audio files, titles, transitions and still images.

237 Velocity User Guide 237 Virtual clips cannot be loaded from a gallery to the Source Monitor. To trim a virtual clip in the Source Monitor first place it on the timeline. Play a Clip in the Source Monitor There are three ways you can view the entire clip in the left-hand side of the Source Monitor. Scrub the clip by dragging the aqua-colored playhead marker on the trim bar, or by using the scrub keyboard shortcuts 1 (reverse) and 3 (forward). Precise scrubbing can also be performed by positioning the mouse in the video window, holding down the SHIFT key and clicking and dragging left or right. Use one of the buttons below the Source Monitor. Play/Stop plays the clip from start to finish, ignoring marked In and Out points. Play Loop repeatedly plays the clip, from beginning to end (ignoring any marked In or Out points). Play In to Out plays the clip from the marked In point to the marked Out point. Below the video window, the In time, trimmed duration and Out time are indicated. If your clips were captured with timecode (because they were batch captured, for example) the numbers will be indicated in the original timecode format. If the clips were captured without timecode (possibly because they were quick captured or began their lives as animations) their timecode begins at 00:00:00:00. Trim a Clip Below the timecode/duration indicators in the left side of the trim window, bars indicate the portions of the clip that can be trimmed. If the clip has video and audio, there are two sliders on each end of the clip. The top slider trims the video. The second slider is for trimming the audio. If the audio and video remain locked, the two sliders move in tandem. Using Two VGA Windows You may want to use two VGA windows while you edit your clips in the Source Monitor. By default, the Source Monitor displays only one VGA window. However, you may change this setting by right-clicking in the Source Monitor to open window settings and in the Source Window section choose 2 VGA windows. If you are using two VGA windows, you will find that the left window represents video from the In point, while the window on the right represents video from the Out point. If you hover your mouse over those windows, you will see a little hand with a red arrow as a cursor, meaning that if you drag left or right you will be trimming in or out directly from those windows. Any trimming that you do will be shown by the In or Out markers moving as you trim.

238 238 Chapter 7: Editing Basics Adjust the In Point of a Clip Click the mouse in the In trim screen (left-most window) and drag left and right. You can then scrub the video clip. The arrows on the cursor turn green to tell you you re working on the In point of the clip. Drag the green in-point marker on the trim bar. This also scrubs the clip as you go. As you drag the In point marker, an indicator of how many frames have been added or subtracted appears next to it. Type a numeric in-point in the left-most Timecode box. This is activated by shortcut SHIFT I, or you can click in the box with your mouse. If you want to lock the In point at a specific location, click on the word In right next to the field where the timecode of the In position is located. The word In will turn red and the field will then be greyed out, preventing any changes to be made.

239 Velocity User Guide 239 Adjust the Out Point of a Clip Click the mouse in the Out trim screen (middle window) and drag left and right. The arrows on the cursor turn red to tell you you re working on the Out point of the clip. Drag the red Out-point marker on the trim bar. As you drag the Out point, an indicator of how many frames have been added or subtracted appears next to it. Type a numeric in-point in the right Timecode box. This is activated by shortcut SHIFT O, or you can click in the box with your mouse. If you want to lock the Out point at a specific location, click on the word Out right next to the field where the timecode of the Out position is located. The word Out will turn red and the field will then be greyed out, preventing any changes to be made. Adjust the Duration of a Clip Type a numeric in-point in the duration Timecode box. This is activated by shortcut SHIFT+U, or you can click in the box with your mouse. The current duration between the In and Out marks is shown in the Timecode box between the In and Out Timecode boxes. If you have a specific length you would like you clip to be, you can type it into this field. Place the cursor in the middle of the trim bar (with the clip trimmed at least on one end) and while holding SHIFT drag the clip left and right to adjust its In and Out times simultaneously without changing the clip s duration. To lock the duration of the clip (locking both the In and Out points), click on the abbreviated word Dur right next to the field where the clip duration is located. The word Dur will turn red and the field will then be greyed out, preventing any changes to be made. To reset the clip s In and Out points to their original untrimmed positions, press keyboard shortcut CTRL+T (user definable).

240 240 Chapter 7: Editing Basics Timeline Feedback If your clip originally came from the timeline into the Source Monitor, feedback on the timeline is used to see the amount of space the clip fills. When you drag the In or Out point of a clip on the Source Monitor, there is a marquee around the entire clip as it was on the timeline. The trimmed in or out point is represented by filling in or extending past that marquee with the clip s light blue color, leaving the unused portion of the clip, if there is any, as the background grey color. When the In point of the clip is being edited to make the clip shorter, the blue region fills less of the boundary region of the clip. When the In point of the clip is being edited to make the clip longer, the blue region extends beyond the boundary region of the clip. L and J Shaped Edits L and J shaped edits refer to editing the audio so it is shorter or longer than the video for a clip. To adjust the sliders for the video and audio separately, first click on the Lock button at the left edge of the video trimmer. You can create edits where the audio leaves after the video or starts before the video without disrupting the sync relationship between the video and audio of the clip. If you unlock the video and audio and trim them separately, then lock them back together, you can trim them, maintaining the new relationship between the differing In and Out points of the audio and video of the clip. Trimming an Artificial Sync Group When you create an artificial sync group, the audio and video do not have to be the same length. So, when the clip is loaded into the Source Monitor, the available media for the longer portion of the sync group fills the entire trim width. The shorter portion has a representatively smaller trim bar on the trim window.

241 Velocity User Guide 241 Natural and Artificial Sync Groups Zoom In on the Audio The Source Monitor s zoom buttons affect the fine adjustment for the audio only, so you can use the audio waveform to trim your clips. If you trim the In or Out, the markers move towards a point on the Source Monitor where you can see a portion of the waveform before the In and Out markers. As you trim, the background moves so you can always view the relevant portion of waveform. If you zoom all the way back out (minus button), the entire duration of the audio clip is drawn again, so the gray separator is removed. If the clip you open is video or image only (no audio) nothing displays in the audio portion of the trim window. A stereo clip takes up two audio tracks on the timeline. In the trim window, you can see both tracks. A mono audio clip takes up half the space in the trim window and only occupies one audio track on the timeline. Match Frame (Reuse a Clip that is Already on the Timeline) Match Frame is used to scrub the timeline and load a video or audio clip into the Source Monitor with the frame that is under the timeline Playhead as the chosen frame in the Source Monitor. Scrub the timeline. Either press the Match Frame button, or right-click on the timeline and choose Match Frame. If the playhead is not over a video clip, the 'Match Frame' button on the toolbar is disabled. If the playhead is over a single clip, that clip is loaded into the Source Monitor and the thin blue playhead placed on the same frame as the timeline playhead. If one clip is selected and you press the Match Frame button, that clip loads into the trim window, with the playhead at the appropriate frame. If more than one of clip is selected, the 'master' selection (the clip with the red marquee) is loaded in the trimmer with the playhead moved to the appropriate frame. If the clip is not in one of the project galleries, it is collected into the currently active gallery. The thumbnail has a picture of the matched frame. If the clip was already in the gallery, the thumbnail is updated to the matched frame.

242 242 Chapter 7: Editing Basics If the clip has been trimmed on the timeline, the new In and Out points appear in their appropriate positions on the entire duration of the clip. The clip loads as if it is from a gallery, not a timeline, meaning there is no Apply button, but instead the Insert and Overwrite options. When you leave the clip by placing it on the timeline or going to the next clip, changes to that clip are loaded to that clip in the gallery, not the timeline. Simultaneous Edit You can do simultaneous edits between video, stills, or a mixture of the two. A simultaneous edit is loaded into the trim window when you Apply an edit to the In point of a clip that is butted against another clip following it. You can also load a simultaneous edit by double clicking on the edit between two clips. Hovering over a cut point while holding down the Backspace key displays the Out/In flag and allows for simultaneous editing directly on the timeline. When two clips are loaded into the Dual Trim Monitor for simultaneous editing, both clips are highlighted on the timeline. When the Dual Trim Monitor is in simultaneous edit mode, the scrub bar shows a red trimmed Out point for the first clip, then a darker area split by a grey marker indicating the end of the available media for that clip and the beginning of the new media for the following clip, then a green marker indicating the trimmed in point for the second clip. If neither clip has been trimmed, the Out marker of the first clip and the In marker for clip B are centered on the trim bar. If they have been trimmed (so there is extra media available to be added to the join between the clips), the Out and In markers appear offset from the center, which is marked by a vertical white line.

243 Velocity User Guide 243 Trim the Join Between the Clips Hover the cursor over the scrub bar on the Dual Trim Monitor or place the cursor in the space between the left and right trim screens. While holding down the SHIFT key, the cursor becomes a hand tool. Drag left and right to adjust the position of the edit between the two clips. Click the Apply button. This works best when the two clips are not overly long. There is no change in the amount of space taken up by the two clips when you edit their join in this manner. If you drag the Out point of the first clip or the In point of the second, the net duration of the clips is altered. The first clip of the pair retains its timeline In point, but all other points with relation to the timeline can be altered. You can also enter numbers in the Timecode boxes to adjust the In, Out or Duration, with the same effect. If a clip has an L or J cut applied to it and you apply a simultaneous edit to it, the audio is adjusted so that its In and Out match that of the video. Slip Trim Slip trimming a clip means adjusting the In and Out points of the clip without affecting its position on the timeline or its duration. Double click a clip that has been trimmed and placed on the timeline to load it into the trim window. When you place the cursor over the trim bar while holding down the SHIFT key, it becomes a hand tool. Drag the mouse left and right to adjust the In and Out of the clip. The clip retains its position and duration on the timeline (as above, where the clip is butted up against a clip on each side). The In and Out points of the clip relative to all the media in the clip are the only thing that change. If you use the Timecode boxes in the Source Monitor while in this mode, you may alter the clip s duration.

244 244 Chapter 7: Editing Basics Trim a Transition Double-click on a transition to open it in the Transition Monitor. A frame from each end of the transition appears in the trim window. The images appearing are the In point of the in-coming clip and the Out point of the out-going clip. The green marker to the left end of the scrub bar marks the In point. The red marker to the right end of the scrub bar marks the Out point. Clip B Clip A Clip A Space between the red marker and the right edge of the Trim bar, or space between the green marker and the left edge of the Trim bar, indicates that there is available media should you want to make the transition longer. Drag these markers to adjust the In and Out points of the transition. Or put your cursor in the left view screen and drag it to adjust the In point, and put your cursor in the right view screen and drag it to alter the Out point. Or, press the I or O key to select either the In or Out point of the transition. Press the left or right arrow key to adjust the selected marker.

245 Velocity User Guide 245 When you place the cursor over the overlapped clip bars while holding down the SHIFT key, it becomes a hand tool. Drag the mouse left and right to adjust the position of the transition while maintaining the duration. Type a duration for your transition in the duration Timecode box (the one in the middle) if you want to assign an exact duration. You may lock the duration of the transition. Click the Apply button to place your changes as marked onto the timeline. If you have marked an In point for the incoming clip that falls later than the Out point for the out-going clip, the transition will be lost. Index Markers You can use indexes to mark points where events should take place, and to align clips and effects once a clip has been placed on a timeline. Indexes can be placed on clips in the Capture window, the trim window or the timeline. You can place index markers on any clip that can be imported into Velocity (still, title, video or audio). If a clip has indexes on it and that clip is saved in a gallery, index marks are saved with it. If you allow indexes to number themselves automatically, all clips indexes will be numbered starting from 1. If you copy and paste a clip with index markers on it, those index markers are copied and pasted with the clip. Add or Remove Index Markers You can place or remove markers on a clip loaded in the Sorce Monitor. Simply scrub or play to the desired location for the marker and press the Add/Remove Index button. When you subsequently return the clip to the gallery or apply it to the timeline, the index markers will remain with the clip. Index Marker Keyboard Shortcuts for the Source Monitor Period (.). Add/remove index. CTRL+Period (.). Remove all indices from clip. /. Subclip from indices.

246 246 Chapter 7: Editing Basics Subclip You can use In, Out and index marks in the Source Monitor to create subclips in the gallery. Subclips are portions of a clip that has been divided at its marks. When you create subclips, use Velocity to copy the subclip s material to a new clip in the MediaBase. You can then remove longer clips from the drive and just keep the media you intend to use. The Subclip button splits your clips at the index marks and the In/Out marks. If your clip was originally in the gallery and you press Subclip, the clip is separated into all the individual segments and returned to the gallery in several sections. This creates as many new copies of the clip as there were segments, while also retaining the original clip with its index markings as a separate clip in the gallery. This clip s first frame is used as its thumbnail in the gallery. These clips in the gallery share a name with the original clip, but the name is preceded by a number in parentheses. If there are effects and filters applied to the original clip on the timeline, these effects will be applied to each of the subclips. Because keyframes are based on a percentage of the clip, timing of the effects may be altered. If there are keyframes on the effects on a subclipped clip, you should check their timings. A subclip is created when you want to identify an item within a larger parent clip. For example, you can create a subclip when you need to isolate an edited story or a single shot from an ingested feed. Subclips are pointers that reference parent clip media; they are not copies of the parent media. A parent clip is protected from deletion when there are subclips created from that parent. To create a subclip 1 Double-click on the parent clip you want to subclip. The parent clip loads into the Source Monitor. 2 Mark the In and Out points.

247 Velocity User Guide Click Subclip, then click OK. Trim Window Settings You can also right-click in the Source Monitor and select Preferences.

248 248 Chapter 7: Editing Basics Auto Apply changes before load next Gallery clip. If you load a clip from the timeline and shorten its out point, the other clips ripple towards the start of the timeline on all tracks if you have this checked. If this is not checked, only the track listed in Current Track Number will ripple towards the start of the timeline. Auto Advance. Check this box if you want the next clip to be loaded into the trim window when the current clip is moved to the timeline. Preserve video clip start location on Timeline edit. When this is checked and you load a clip from the timeline to the trim window, then trim that clip and return it to the timeline, the clip will keep its original start time on the timeline, regardless of whether the In point was trimmed. Otherwise, the clip may be offset from its original start point on the timeline. Show clip s Timeline use segments. When this is checked, the segments of clips that are in current use in the timeline show as yellow in the trim window. Always use Timeline Playhead as edit point. If this option is checked and you then load a clip from the gallery into the trim window and then load the clip to the timeline, the clip s Out point will fall wherever the timeline playhead is located. Always use Source Playhead as IN Point. When this is checked and you then load a clip from the gallery into the trim window and then load the clip to the timeline, the clip s In point will fall wherever the timeline playhead is located. Tool Tips. These are the little flags that appear when you hold your mouse over a button for a couple of seconds. They tell you what the tool is for and what its default shortcut is (if it has one). If you are well-versed in using your system, you may find them annoying. Unchecking this button turns them off. Show Safe Area. When this option is checked, the trim window will show a red border just within the edges of the video playback from the source window(s) and preview monitor. The safe area will represent 10% removed from the image. Show Safe Title Area. When this option is checked, the trim window will show a red border just within the edges of the video playback from the source window(s) and preview monitor. The safe title area will represent 20% removed from the image. Show center cut safe area. In HD when this option is checked, the trim window shows a red border displaying what HD will look like in SD. Auto Load Clip. When this option is selected and you double click a clip in the gallery to add it to the trim window and you insert or overwrite it, the next clip in the gallery is automatically loaded into the trim window. When this option is not selected, the next clip is not loaded. Show Audio Waveform. When this option is checked, the audio channel waveform will be displayed in the trim window. Stretch VGA. When you select this option, the VGA preview is stretched to accommodate all of the space in the preview window, regardless of the Preview Quality setting. Unify Media when subclipping. When this option is checked, a new piece of media is created to represent the subclip, instead of merely a pointer. Ignore Index Marks when subclipping. When this option is checked, only the In and Out markers are used to define subclip boundaries. Audio Channel Preview Settings. To the right of the waveform drawing in the source monitor, there is a drop-down box. Here, the user can choose which audio channel to monitor while setting up the clip's trim points. The user may choose 'All' (which previews All channels mixed together), or choose a specific channel by choosing the number of the channel he'd like to hear. Additionally, the user can select 'More' from the drop-down. When this option is selected, a dialog will appear allowing the user to select which channels will be heard, and which will be muted. Panning options are also provided.

249 Velocity User Guide 249 Source Window. You have the choice of having one or two VGA windows to work with in the Source Monitor.

250 250 Chapter 7: Editing Basics

251 251 8 Using Timelines This chapter contains comprehensive information on using the Velocity timeline feature. Virtual Clips A virtual clip is a clip that is missing some vital portion, or a clip that has been created as a place-holder for media that has not been created yet. All image files, video files and audio files can exist as virtual clips in the gallery or timeline. You can drag a virtual clip from the gallery to the timeline. If you delete all media from your video drives before recapture, you can still open the project and it will be filled with virtual clips. You can view virtual clips in your project at a glance, because in galleries they have a red border, and on timelines they are red bars. Virtual clips can be dragged to the timeline and then edited either there or in the trim window, but cannot be loaded into the trim window directly from the gallery. Replace Virtual Clips You can replace the virtual clips in a gallery or timeline. In the main menu, select File > Replace Virtual Clips. A browser window opens for each virtual clip found in the currently active timeline or gallery. Browse to the location of each clip, and each clip is replaced on the timeline. If you have no virtual clips in the currently selected gallery or timeline, selecting Replace Virtual Clips does nothing. It there is a file with the same name, extension and file location but different header information (i.e., a 44khz audio clip replacing a 48khz audio clip), the next time the project is loaded, that clip will become virtual and will have a _0_ added to the name so the user knows that despite the clip having the same information, it is NOT the same clip.

252 252 Chapter 8: Using Timelines Append to Timeline You can also select a clip in the gallery and press F on your keyboard to append the clip to V1 or A1. If you are in Detail Text view mode, you can multi-select clips and then press F to append them all to the timeline at the same time in cuts or you may press keyboard shortcut 0 (zero) to add the clip with a transition. In this way you can create a very rough cut of your movie. If you have used drag and drop features of your gallery to set up an order for your clips, then moved them to the Timeline in order, now you can playback your project. Searching the Timeline Search the MediaBase using CTRL+F on the keyboard. Enter the exact (case sensitive) ID s with the right symbols and spacing to find the required ID. Press CTRL+F and enter a keyword to be taken to the first match in the Description field. If this is not the item you are looking for, click Enter on the Find window to take you to the next match. To search the MediaBase 1 Press CTRL+F. The Find Clip window opens. 2 Select Reverse Sort to search the MediaBase from the end of the list (most recently added media). 3 Click OK. Tip: You can click Print to Text File to obtain a text-only list of the media.

253 Velocity User Guide 253 Printing a Timeline to a List You can export all the timeline information into a text file. This information includes the names and locations of the clips used in the timeline, the timecode representing these clips, any effects used, audio information, etc. To print a Timeline to a list 1 Select the Timeline. 2 On the Main menu, select File > Print Timeline to txt file (CTRL+P). Timelines A timeline is marked by a tab in a timeline bin. Timelines can be divided into various areas, some of which are static, and some of which can be scrolled. A timeline provides huge amounts of information about the project you are working on, so it is important to become familiar with the information it provides. Track Headers Lock. This button locks the track so no changes can be made to the clips on that track. When the track is locked, the lock button will be orange. Click the button again to unlock the track. Highlight. This button is used to work with a single track (as if it was the only track on the timeline, for instance). Once this button is clicked, all other tracks will be muted and locked. When a track is highlighted, the highlight button will be yellow. Show Clip Text. This button lets you choose whether you would like the clip text on each clip in the track to be shown. The text will already be shown by default, but if you would like your clips to contain no text on them, then click the button. The button will be blue when you ve selected no clip text. Solo. This button is used to single out a track (or multiple tracks) during playback. Once this button is clicked, all other video tracks will be muted and only the soloed track will be shown during playback. This button will be red when a track is soloed. Mute. This button is used to mute a track during playback. Once this button is clicked, the track will not be shown during playback. This button will be red when a track is muted. Track Fx. This button opens the Apply Effects window that you can use to add video effects to all clips on the track. Disable Fx. This button disables the effects on the selected track. You may reapply the effects by clicking on the button again. This button will be red when the effects are disabled on a track. Track Volume (Audio Only). Use this slider to adjust the volume on the track. Stereo Panning (Audio Only). Audio tracks are either mono or stereo. When using stereo, you can set and display the stereo panning for that track.

254 254 Chapter 8: Using Timelines If Stereo Panning is not selected in User Settings/Audio Routing Defaults, stereo panning does not display in the track header. Video Track Header Video tracks are labeled with a V followed by a number that tells that the track is a video track. The tracks are numbered starting from 1. Video tracks are layered with track 1 as the background. Lock Mute Solo Each video track header has five buttons you can use to perform several functions to the track. Audio Track Header Audio tracks are labeled with an A followed by a number. Audio track headers have the same seven buttons as the video track headers do (see the previous section for specific button functions). An audio track is highlighted in red when audio routing to for track has be disabled. Lock Solo Stereo Panning.When Stereo Panning is enabled in registry, this label appears. When Show Panning is enabled, this label turns blue. Mute Tip: You can also assign hotkeys for Show All Panning and Show All Volume. These hotkeys only work when Stereo Panning is enabled in the AudioRoutingMono registry settings in enabled. Audio panning is either mono or stereo. You can set up which tracks use stereo panning. You can also select Pan-Center and Pan Channel options. If you select Stereo Panning in the Audio Routing Defaults, those tracks display in blue.

255 Velocity User Guide 255 Green. Active Target Track Blue. Show Panning is enabled White. Show Volume White. Disabled Target Red. Audio Track not selected for Audio panning is either mono or stereo. If you select Stereo Panning in the Audio Routing Defaults, those tracks display the Stereo Panning label (You can also select Pan-Center and Pan Channel options). If Show Panning is selected, it displays in blue. If Stereo Panning is not selected in Audio Routing Defaults, this label does not display. Track Height The Track height is the vertical scale of the timeline. To adjust the height of a track, place the mouse over a dividing line between track label markers at the left edge of the timeline. The cursor turns to an up and down arrow. Hold the mouse button down and drag the line. When you drag it up, the track above the line is compressed. When you drag it down, the track is expanded. Change all video and audio track heights at once by holding the CTRL key while dragging. If you hold CTRL while changing a transition track height, it will change all transition track heights on the timeline. The changes won t actually take place on all the tracks until you release the mouse button, but you can view the changes on the track you are actually dragging immediately.

256 256 Chapter 8: Using Timelines Once a track height is shortened past the point where one line of text can be properly drawn on the clips on that track, the text is no longer displayed. To compress all the Audio or Video tracks at once, right-click in the timeline and select Track Height, or select View > Track Height from the main menu. There are four options: Contract Audio. Compresses the audio track display so they no longer take up much space on the timeline. Or hold down the SHIFT key and press 1 on the main keyboard. Note: When an audio track s height is small, volume and panning adjustments cannot be made, making it easier to grab clips. Contract Video. Compresses the video track display so they no longer take up much space on the timeline. Or hold down the SHIFT key and press the 2 button on the main keyboard. Expand All. Resets all tracks that have been shrunk in height so they are the default height while not affecting tracks that are larger than the default height. Reset All. (or hold down SHIFT + 3 on the main keyboard) Resets all tracks so that they are a uniform height. Tracks that have been expanded so they are taller than the default height are made smaller, and tracks that are shorter than the default height are made taller. To reset the tracks to their default heights, press SHIFT + 4 on your keyboard. Labeling a Track As a quick reference, or as a way to organize the timelines, you have the option to assign a short label to each track. To add a label to a track 1 Double-click between the track indicator (V1, A1, etc.) and the Lock button in the track header. A typing space opens for a short label. Tip: For a larger text area, expand the track header to the right by clicking and dragging the bar separating the track header from the eyecon view. Timeline Clips Timeline clips can be displayed with a title or the clip s file name. These settings are found in the main menu under File > User Settings> Modify Settings, and click on the Timeline Clip Display button. Video Clips Video clips appear on the top portion of the timeline. They can be stacked up or down. All valid clips are displayed as dark blue bars. Invalid clips (such as clips that are missing media) are red on the timeline. Video Track Display Settings If you right-click on the header of a video track, there are various audio display options:

257 Velocity User Guide 257 Swap A/B Track. When selected on an expanded transition track, the two video tracks on that transition track will swap positions. This is best used for projects where you create a lot of transitions on the same track. If you want to add or remove a clip from the transition pattern, this option will prevent you from replacing every transition on the track. This option only works on expanded transition tracks (see below). Mute Track. This option mutes the track. Solo Track. This option singles out the track while all other tracks are muted. Lock Track. This option locks the track so no changes can be made. Define Track Header Display. When selected, the Define Track Header Display window opens. You can choose which buttons you want displayed. To hide a button, uncheck the box next to it. If you want that button hidden for just that one track, uncheck the Apply To All Video Tracks box, otherwise the button(s) will be hidden on all video tracks. Audio Clips Audio clips always appear on tracks lower than the video tracks. They are a slightly lighter shade of blue. Audio Track Display Settings If you right-click on the header of an audio track, there are various audio display options: Show Volume. The volume is displayed as a line initially set at 100%. This means that your input signal is being played without any changes. You can adjust the volume line from -inf to +6 db. Show Panning. The balance between the right and left audio channels is displayed. You can adjust the balance line from 100% right to 100% left. For stereo audio clips, initially the panning is set to 100% left output (top) for the left audio track and 100% right output (bottom) for the right audio track. For mono audio clips, initially panning is set to 50% left and 50% right (center) to give you an equal balance between the right and left output channels. Show Waveform. This shows you the audio output as a waveform so that you can easily identify loud or quiet areas of the sound track. You may adjust the volume of the audio track from -inf to +6 db using the volume line displayed in the middle of the waveform. When you display the waveform keep in mind that drawing the waveform takes time, which may slow down your timeline refresh rate if you are scrolling back and forth quickly. Tip: You can also view an individual clip s waveform on the timeline by right-clicking on that clip and selecting Audio Clip > Show Waveform. That clip s waveform is drawn on that track, but the rest of the clips on that track continue to display using the setting chosen for that entire track. If you change the track s setting, this clip will continue to display a waveform. To remove the show waveform setting from the clip, right-click on it. Select Audio Clip and select Show Waveform (which should have a check mark) to remove the check mark. Show All Tracks Waveforms. This displays the waveforms for all audio clips. Displaying the waveform of a single clip rather than a whole track helps to conserve system resources, since the waveform has to be rebuilt and refreshed as the timeline scrolls.

258 258 Chapter 8: Using Timelines Panning. When selected, you will have the option of using Clip Based Panning or Track Based Panning. Clip Based Panning (already selected by default) is used to adjust the panning for a for individual clips on a track. When Track Based Panning is selected, a panning slider will appear in the track header. Use this to adjust the panning for the entire track. Adjust the height of the audio track if you can t see the Track Based Panning slider. Define Track Header Display. When selected, the Define Track Header Display window will appear. You can choose which buttons/controls you want displayed by checking or unchecking the appropriate check box. Items to be displayed must be checked. If you want that button hidden for just that one track, uncheck the Apply To All Audio Tracks box, otherwise the button(s) will be hidden on all video tracks. When an audio track s height is small, volume and panning adjustments cannot be altered. This makes it easier to grab clips. Status Bar At the bottom of the timeline, below the navigation bar, resides the Timeline Status bar. Clip s timeline position Playhead In/Out markers Lift/Extract Clip In/Out/ Duration Playhead Playhead Scrub Marked In/Out based on clip s source timecode Edit mode Tip: You can turn the Timeline status bar on or off by going to the main menu and choosing View > Timeline Status Bar. At the left side of the status bar, information changes as you edit. The information that can be displayed here includes: Highlighted range duration. Updates dynamically as you drag a range on the timeline Once you release the mouse from the highlighted range and move it around the timeline, the status bar displays information for the clips you hover over. To see the length of a highlighted region again, place the mouse at the top of the highlighted range on the timeline timecode bar. In-out duration, in point and out point timecodes. (Or frame numbers, if that is the mode you are viewing the timeline in) This is editable. Clip feedback information. If you hover the mouse over a clip, you can see the In, Out and duration of the clip, plus its position on the timeline. This information appears regardless of the type of clip be it video, audio, graphic, title, or transition. If a track is empty and you hover the mouse over it, you will see the duration of the entire timeline. If you hover the mouse over a gap between clips, you can see the duration of the gap.

259 Velocity User Guide 259 Use the Playhead controls and the Playhead Scrub bar to assist in moving around the timeline. Use the In/Out markers to mark timeline ranges for output, or enter timecodes in the two (white) fields next to them. When an In and an Out are marked, the region to the right of them updates to reflect the amount of time between them. Lift and Extract functions. For details on Lift and Extract functions see Lift and Extract. Timeline Edit Mode. For details on the different Timeline Edit Modes, see Velocity, Ripple and Overwrite Mode Functionality. Timeline Settings The basic settings you can make to a timeline include its duration and its start time. These are useful tools to be able to adjust when you are importing other projects or outputting via EDL or print to tape. Timeline Duration Timelines are created in ten minute durations. To change that duration, select Edit > Timeline Info from the main menu, or press the timeline information button in the bottom left corner of the timeline. The Edit Timeline Information window will open. You can set any duration up to 24 hours. When there are clips on the timeline, if you attempt to set a duration shorter than the amount of time between the start of the timeline and the end of the last clip, the duration will automatically be set longer so as not to remove any clips from the timeline or alter their spacing. Timeline Start Time 1 Choose Edit > Timeline Info from the main menu or right-click on the tracks area of the timeline and select Timeline Info. The same Edit Timeline Information window will open. 2 Enter a timecode in the Timeline Start Time field. (You can add a title and notes to your timeline on this screen as well.) You can also enter durations to arrive at more complicated start times. For example, if your original start time was 00:00:00:00 and you enter -30, the timeline will start at 25:59:58:29. 3 Click OK. This window closes and your timeline is updated. Changing the Time Scale Press the + and - buttons in the Scale area in the upper left corner of the timeline. The current scale is indicated just below these buttons. Press the + and - buttons on your keyboard s number pad. The + button zooms in, while the - button zooms out.

260 260 Chapter 8: Using Timelines Drag the green triangular slider above the + and - buttons in the upper left corner of the timeline. This is also useful when you have expanded your tracks and you want your eyecons to increase in size. Click the Zoom icon on the Main menu. Left-click on the timeline to expand the time scale. Right-click on it to decrease the time scale. Use the Time Scale. See the next section Time Scale Options. Timeline Editing The timeline provides an overview of how the clips fit horizontally (i.e. in time) and vertically (in transitions and the layering of titles and effects). There are three track types. Video tracks (V). All video clips and transitions on the timeline can have video effects filters applied to them. Transition tracks (X). When you create a new project in Velocity, the video tracks are in expanded track mode, which means that dual video tracks (i.e. V1a, V1b) will be separated by a transition track (X). When clips placed on the dual video tracks overlap, they automatically have a transition placed between them on the transition track (X). The V1, V2 and X tracks can either appear expanded or compressed into a single transition track, depending on your preferences. Audio tracks (A). Audio tracks A1 and greater carry audio files. Clips that consist of video and audio are placed in the timeline with sync so they will always play together. When you place an audio and video clip on the timeline, the layering of video is important, so normally you drag the video portion of the clip to the position you want. Audio mixes rather than layers, so its placement is not as critical (with respect to the track it is applied to). The audio clip is placed on whatever track is the lowest numbered available track (or two consecutive tracks, in the case of stereo audio). If no track is available, adding the clip will fail. You can move other clips to make room, trim your clip, or add more audio tracks to your timeline. Positioning Editing Tools on the Timeline Many editing functions rely on the position of the playhead, In or Out marker on the timeline to determine where actions are to take place. Playhead Position If you left mouse click anywhere between the timeline ruler (across the top of the timeline) and the Timeline Status Bar, a vertical dotted line appears on the timeline. This is the playhead. If you drag the mouse on the timeline with the left mouse button held down, you can scrub the timeline.

261 Velocity User Guide 261 You can also scrub the timeline using the Scrub Control bar, in the timeline Status bar. Timeline play controls Mark in & out (keyboard shortcuts I & Playhead Scrub control bar The playhead also moves when you use the timeline play controls, also found in the Status bar. Any time you play the timeline using keyboard shortcuts, the playhead moves. If you hold down the ALT key on the keyboard and press the right mouse button, the playhead jumps to the nearest edit point to where you clicked. And, press ALT G to open a Go To window. This window automatically displays the playhead s current timeline location. Enter the location you want to move the playhead to and press OK. The window closes and the timeline and playhead scroll to that location. If you type + (plus) or - (minus) and a number in the Go To window, and then Enter to close the window, the playhead jumps forward or backward that number of frames. In and Out Markers In and Out points on a timeline can be useful for closing gaps, creating output files, copying ranges, etc. When you press the Mark In and Mark Out keys, or use the keyboard shortcuts (defaults are I for In and O for Out), the marker is placed at the playhead s position. In Mark Playhead Out Mark Set the In and Out on the timeline by entering numbers in the two fields to the right of the In and Out markers on the Status bar at the bottom of the timeline bin. Once these fields have numbers in them, you can enter a number with a + or - (from the number pad) to move the In or Out marker. Tip: To check your In and Out marks, you can use the [ key to go to the In point and the ] key to go to the Out point. Once you have an In or Out marker set, you can drag it by clicking on the marker at the top of the timeline (in the ruler section). The In and Out markers obey Move rules for snapping to the playhead, clip edges and indices. You cannot place the Out before the In on the timeline.

262 262 Chapter 8: Using Timelines Mark In/Out on Timeline There is a shortcut you can use to place an In and Out simultaneously on the timeline. In the User-Defined Hotkey interface, this feature is called Mark In/Mark Out. There is no default shortcut set for this feature. If the cursor is over a gap in the timeline and you invoke Mark In/Mark Out that gap is bounded on the start and end by In and Out marks. If the cursor is over the movie bar, the In and Out markers are placed at the start and end of the movie bar. If the cursor is over a clip, the I/O markers are placed around that clip. If there are selected clips on the timeline, the I/O markers are placed at the start of the first clip and the end of the last one. Indexes and Subclips An index is a small yellow triangle that appears either on a clip or a timeline. Once an index is placed on a clip on a timeline or directly on a timeline, other clips or indexes can snap to that index for alignment. (Snap preferences for indexes are found in the main menu by choosing File > User Settings > Modify Settings, and pressing the Snap Tools button.) Indexes can be placed on clips in the Capture window, the trim window or the timeline. You can place index markers on any clip that can be imported into Velocity (still, title, video or audio). If a clip has indexes on it and that clip is saved in a gallery, index marks are saved with it. Index mark on clip Index mark on timeline If you copy and paste a clip with index markers on it, those index markers are copied and pasted with the clip. When in the timeline, you can create indexes on the timeline itself, or you can create indexes on individual clips. Timeline indexes are used to divide the timeline into segments for playback purposes. Create an Index Using the Index Button Select the video or audio clip that you want to mark with an index. If no clip is selected, the index will be placed onto the timeline itself. Tip: Either click the Index button on the tool bar, or go to the menu and select Edit > Create Index. Move the timeline playhead to the desired position with your mouse. Once you are in the general area, use your left/right arrow keys to make frame accurate adjustments. Press the left mouse button to place the index.

263 Velocity User Guide 263 If multiple clips are selected, the index is added to the master of the group, the clip with the red marquee. Once the index tool is selected, if you decide you do not want to create an index, drag the mouse cursor out of the timeline window to return the cursor to its normal pointer. Create an Index Marker Using Keyboard Shortcuts With the timeline (but not a clip) selected, press the shortcut, (comma). Whether the timeline is in Playback mode or paused, the index is placed at the current playhead position. If you don t like the position of the index, click on it and drag it. Index Marker Keyboard Shortcuts for the Timeline Comma (,): Add/remove timeline index CTRL + Comma (,): Removes all indices from timeline SHIFT + Period (.): Go to next index SHIFT + Comma (,): Go to previous index Period (.): Adds/removes indices to/from ALL clips at playhead location CTRL + Period (.): Removes all indices from the clips on the entire timeline M: Play to next index/stop Tip: When you use the Index button to create your index marker, the Timeline Index box displays in the locator tab. Figure 8-1 Timeline Index Window From this box you can also click the DELETE button to permanently remove the index, or Delete All to delete every index on the timeline. This will delete all the indexes on the timeline, but will leave individual indexes on clips in place. You can also enter notes to save with the index. If you hover over an index using the mouse, the notes you have entered will be displayed. The only way to retrieve index markers after deleting them is to use Undo (Edit > Undo from the main menu, or shortcut CTRL+Z). Select Clips For Editing Before you edit a clip, you must select it. To select a clip on the timeline, click on the clip using the left mouse button. A red and white marquee line appears around the clip. To deselect the clip, click an empty space on the timeline or on another clip. You may also hold down the Shift key on the keyboard, and hold down the left mouse button while dragging the mouse cursor around the clip.

264 264 Chapter 8: Using Timelines Moving to the Next Clip Use the TAB key to move to the next clip on the timeline or the SHIFT+TAB key to move to the previous clip. To move to the next edit, use the Page Up and Page Down keys, or use the Next Edit and Previous Edit buttons on the timeline Status bar. As you move clips, use the information bar at the bottom of the Velocity window to help position them. The timecode locations of the clip s starting time, ending time, and the time of any transitions made by the clip are indicated in HOURS : MINUTES : SECONDS : FRAMES. Some editing procedures, such as trimming, use video and audio scrubbing to help give feedback. You can see feedback on rendered sections of your timeline on the output video monitor connected to your breakout box. You can see feedback on the un-rendered sections in the Preview window on your computer screen. Lock/Unlock a Track Locking a track makes it unchangeable. Once a track is locked it may not be edited, modified, or re-arranged in any way. The only exception is that if a locked track is empty it can still be deleted. Locking a track is useful if you want to protect a track from any accidental changes, or if you want to use an operation (e.g., the Group move tool) that will affect all tracks, but you want to protect some of the tracks from this operation. Tip: To lock or unlock a track, click on the button labeled with a padlock in the track header. A lock icon turns orange. If a clip in a sync or link group is on a locked track, or if you select another clip from the group that is on a non-locked track, you cannot move that clip. Select a Range to Cut/Copy/Paste You may cut or copy sections of your timeline and paste them to other areas of the same timeline. Or you can move clips and sequences of clips between versions of a project and between projects. When you are cutting, copying or deleting sections of the timeline, only entire clips are copied, not sections of clips, so your range must include entire clips. You do not have to be exact when you are selecting the range to be cut, copied or pasted, as partially selected clips are ignored, as are clips on locked tracks. Select the area of the timeline that you want to alter by moving the cursor to the beginning of the range and clicking and dragging the cursor. The range becomes highlighted. The range plays back automatically unless you hold down the Shift key when you are selecting the range. If you selected the range shown below only the clip on track V3 would be copied: If you selected the range shown below the first clip on V1 and the clip on V3 would be copied, but not the transition or the clip on V2.

265 Velocity User Guide 265 If you selected the range shown below the first clip on V1, the clip on V3, the first transition, and the clip on V2 would be copied. Cutting a range of clips removes it from the timeline and places it on an internal clipboard. The cut area will be left blank. To cut the range you have selected, click the cut button on the tool bar or use the menu to select Edit > Cut. Copying a range places a copy of it onto the clipboard, but also leaves the original range of clips in their position on the timeline. To copy the range you have selected, either click the Copy button on the Toolbar or select Edit > Copy from the menu. Tip: To paste the range you have copied to the clipboard, either click the paste button on the toolbar or select Edit > Paste from the menu. When you use the Paste function with a group of clips, a gap is created on the timeline at the playhead position, and the existing clips are shifted to the right to make room for the new clips. When copying and pasting a group of clips from one timeline to another, you may need to add additional tracks. If this is the case, a window will ask you if you want to add enough tracks to complete the copy. If you select No, the clips will not be copied to the timeline. If you say yes, enough clips are added to the timeline so all clips can be displayed. Select All To select all clips on the timeline, press the shortcut CTRL+A or go to the main menu and select Edit > Select all. Now you can copy and paste all the clips in the timeline. If you have clips on a locked track, those clips will not be selected. Clip Multi-Select If you need to move around, cut, copy or apply attributes to a several clips at the same time, make a multiple selection. To select a group of clips on the Timeline 1 Click on a single clip to highlight it. 2 Do one of the following:

266 266 Chapter 8: Using Timelines a b c Add another clip to this selection by holding down the CTRL key and left clicking on clips one at a time. Add all clips in a desired area by clicking on the first clip in the range and hold down the SHIFT key. Now, select the last clip in the range. All the clips in between (on all tracks) become selected. Hold down the Shift key on the keyboard, and hold down the left mouse button while dragging the mouse cursor around the clips you want to select (Lasso select). Once you have selected a series of clips, you can move them on the timeline horizontally and vertically. Limitations: A series of clips cannot be placed on top of another clip. When you cut or copy and paste a clip or group of clips, the pasted clips do not retain the links the originals had. A group of clips that involves clips on both tracks V1 and V2 with transitions between them can only be moved horizontally. Once you have selected a group of clips, you can cut, copy, paste and delete them as a group either by using Edit menu options, right-click options on the clips, or by using keyboard shortcuts. You can also copy and paste FX attributes to a group of selected clips. Right-click on the group of clips and choose Copy (video or audio) Attributes or Paste (video or audio) Attributes. Remove all audio and video attributes by selecting all the clips in a group and selecting No Effects. When copying and pasting a group of clips from one timeline to another, you may need to add additional tracks. If this is the case, a window will ask you if you want to add enough tracks to complete the copy. If you select No, the clips will not be copied to the timeline. If you say yes, enough clips are added to the timeline so all clips can be displayed. Save a Timeline Range as a Clip Sequence You can copy-and-paste a portion of one timeline to another by multi-selecting the clips, copying them, opening another timeline, and then pasting them. You may also want to create short timelines that you can routinely import into other timelines. These short timelines can have various uses in Velocity. You may want to make a color_bars_and_slate timeline, then use it for all projects. Or you may want to create a project in several sections and save each section as a separate timeline, then import them all into the same timeline for manageability purposes, or to collate the work of several editors into a single timeline. Drag a range on the part of the timeline you want to export. You may need to hold down the Shift key while you are dragging the range. Select the Copy button from the toolbar, or from the main menu choose Edit > Copy.

267 Velocity User Guide 267 Select another timeline. Select the Paste button from the toolbar, or select Edit > Paste from the main menu. The clips are inserted into the timeline at the playhead line. The inserted clips push all the existing clips to the right of the insertion point to make room. Unselecting Clips When a series of clips is just selected, the link is not permanent. When you click in a blank area of the timeline or choose another clip, the group nature of the clips is dissolved. To reposition the timeline played but maintain the current clip selection, click in the timecode strip at the top of the timeline. Clip Linking A more permanent way to join clips is by selecting them all as a group, then assigning a link to them. Whenever a linked clip is moved, any other clips linked to that clip also move. You can have up to 9999 linked groups, and an unlimited number of clips in a linked group. All clips that are linked together in a timeline display L followed by the group number they are a member of. A clip can be a member of any number of groups. Linking and Unlinking Clips in a Group Select a clip or a group of clips. Right-click on one of the selected clips. Select Attach/ Detach Group Links. This opens a drop-down menu where you can choose which group you would like to assign the selected clip(s) to. You can assign clips to an established group, or you can create a new group. Now, to select that group of clips, right-click on a clip that is part of the group. To remove clips from the group, click on one clip or hold down the CTRL key and click on several clips that are part of the same group. Right-click on a selected clip. From the menu, select Attach/Detach Group Links. Select the group you want to remove the clip from (it will have a check mark next to it, and match the indicator in the top left corner of the clip, for example, L1). When you select the group, the clip is automatically removed. To add a Clip to a group, right-click on that clip. Select Attach/Detach Group Links. Choose the group you want to add the clip to. A clip can be a member of many groups. If a clip is a member of many groups and it is moved normally (i.e., without the Shift U key held) all the groups that clip is part of are moved. If you delete that clip, all groups that clip is part of are deleted. If you replace a clip that is part of a linked group, that timeline segment will no longer be part of the linked group. To Disband a group of linked clips, first highlight all the clips in that group (click on the first clip, hold down the shift key and clicking on the last clip). Now, click on the Unlink button. Or, from the main menu, choose Edit > Clip > Unlink. To remove a single clip or group of clips from a group, first select those clips, then right-click Attach/Detach Group links. Only the selected members of the group are removed.

268 268 Chapter 8: Using Timelines Moving Clips Around on the Timeline When you move a clip on the timeline, it obeys the Snap settings. Snap causes a moved clip that is near another clip, index marker or the Playhead position to align itself to that point. Use snap to avoid gaps in the timeline, etc. To set Snap Options 1 On the Main menu, select File > User Settings > Modify Settings. 2 Under Timeline, select Snap Tools. 3 Select one or more of snap options in the Moving and Editing areas. 4 (Optional) Select the snap strength for each option selected. The range is from 1 (the weakest) to 10 (the strongest). Tip: To turn off Snap on an individual clip basis, hold down the Backspace key while moving the clip. Drag a Single Clip You can drag a clip to any legal space on the timeline. That is, you can place a video clip, title, or still image on a video track (labeled V#) and you can drag an audio clip to any audio track (labeled A#). As you move a clip, above the cursor a pop-up lets you know how many frames left (+) or right (-) you have moved the clip. A ghost of the previous position of the clip also provides reference information. When you move a video clip with synced audio, the video goes to the track you assign. The audio automatically goes to the first available track, in the case of mono audio, or the first two adjacent available tracks in the case of a stereo clip. If there is not room for any portion of the group of clips, the move does not occur. If you select two or more clips at the same time (by holding the shift key down on the keyboard as you select them), when you move those clips, they maintain their relationship to each other as it changes with respect to the timeline. This means if you have a transition between two selected clips, those clips can only be placed on the same tracks they are already one. If any part of a video clip overlaps with any other clip, the move does not occur. If the clip overlaps two other clips on the same track (one on each side of the gap), the Insert Clip Options window opens. You can decide how you want to increase the size of the gap between the two clips or decrease the length of the inserted clip. Two hair lines at the left and right edges of the clip are displayed for alignment during movement. Use the left and right arrow keys on your keyboard to position the clip with frame accuracy.

269 Velocity User Guide 269 Tip: Select File > User Settings > Modify Settings. There is a check-box to enable or disable horizontal clip movement. Disabling it means you can move the clip from one track to another without altering its In and Out points with respect to the timeline. On a clip by clip basis, hold down the ALT key while dragging the clip up or down tracks to overwrite your setting. Copying a Timeline Clip to another Timeline location If you have a clip on the timeline and want to copy it to another location, you can use shortcut keys to move the clip easily. You must have open tracks that can accommodate the size of the clip. Once you copy and paste the clip to the new location, the clip is pasted by default to the lowest track. To copy a clip from one location to another on the timeline 1 On the Timeline, select the clip you want to copy. 2 Press CTRL+C to copy it. 3 Place the playhead in an open area on the timeline. 4 Press CTRL+V. Ghost defaults to the current playhead location. 5 Press Enter to paste the clip. Move a Clip using the Keyboard Press CTRL+M on the keyboard to open a Move Clip To window. The number in the window is the timeline start time of the selected clip. You then have a choice to move the selected clip s In Point or Out Point to the chosen clip start time. You can enter a new timeline start time and press OK to move the clip. If that position on the timeline is already occupied, the move does not occur. You can also enter + (plus) or - (minus) and a number and press ENTER to move the clip back or forward by the specified number of frames. To move a clip frame by frame on the timeline, with that clip (or group of clips) selected, press the left and right arrow keys on your keyboard. Vertical Movement Keyboard Shortcuts You can also assign a shortcut to move the selected clip to the next open track (up or down). These keyboard shortcuts do not have default assignments. They are listed under Move Clip Up and Move Clip Down.

270 270 Chapter 8: Using Timelines Inserting a Clip Between Two Clips on the Same Track A clip can be inserted on the same track between two other clips if there is sufficient empty space for the entire clip you want to insert. Simply drag the clip to the gap on the timeline. If the gap between the two adjacent clips is smaller than the length of the clip you want to insert (or even if there is no gap between the two adjacent clips) you may still insert the clip between them. Overlap the clip you want to insert over part of the leading and trailing clips to open the Insert Clip Options window. You may choose to increase the gap between the clips, to trim the earlier clip or the following clip, or to decrease the length of the clip you want to insert. A description of each option is given in the box in the lower right hand corner of the window. Any option not available for a particular insert clip operation is grayed out. You may also move or trim one of the clips to make room for the inserted clip or use the group move tool to shift all the clips. Or you can insert clips using the insert functions of the trim window. Replaceing a Clip 1 Select the clip to be replaced. 2 Right-click on the clip and select Replace. 3 Browse to select the clip you want to use to replace the currently selected clip and press Replace. The new clip retains the duration of the original clip as well as any other attributes, such as applied FX, any audio node changes (including fill left/right, panning, etc.). Another method of replacing a clip on the timeline is to Drag, Drop, Replace. This feature lets you drag a clip from the gallery or timeline and drop it onto an existing clip on the timeline in order to replace it. When the cursor dragging the clip is over the play button on the existing clip, it turns to an arrow. Release the cursor and the new clip replaces the old one. The replaced clip s attributes such as applied FX and audio changes will be replaced with the attributes of the new source clip. Depending on the relative lengths of the two clips involved, many different replace options may be available: If you do this with a clip that is part of a linked group, that timeline segment will no longer be a part of the linked group. If both clips have the same length, then the new clip replaces the old clip on the timeline. If the new clip is shorter than the old clip, which ends in a transition, the transition may be lost. If the new clip is shorter than the old clip, and one or both of the clips have been trimmed, you must choose whether to use the duration of the source (new) clip or the target (old) clip. If the new clip is longer than the old clip, you can always use the duration of the clip that already resides in that position on the timeline. If there is enough room to place the new (longer) clip on the timeline without impacting other following clips on the timeline, then the option will appear to use the new (source) clip s duration.

271 Velocity User Guide 271 If one or both of the clips has attributes attached to it (filters, speed change, etc.), you may choose to keep the attributes on the clip that is currently in that location (the Target clip), or the attributes of the clip that is moving into that spot (the Source clip) or add both sets of attributes together, or ignore the attributes of both clips. If you choose to replace a clip with a speed change applied to it, the speed change properties will be applied to the new clip. Opening/Closing a Gap On The Timeline The Group Move tool moves all clips on or after (to the right of) the blue move line at the same time. You can create or remove gaps on all tracks of the timeline at one time without disturbing their relative positions. This preserves all existing transitions. Tip: To use the Group Move tool, click the Group Move button found in the toolbar. Bring the cursor down to the timeline. A blue line appears. To increase a gap 1 Place the blue line where you would like the new gap to begin. 2 Hold down the left mouse button. 3 Drag the blue line to the right on the timeline. To decrease a gap 1 Place the blue line at the end of the gap. 2 Hold down the left mouse button. 3 Drag the blue line to the left on the timeline. The Group Move tool is used to insert clips at any point on the timeline by moving desired clips out of the way. Use the Group Move tool in conjunction with the Lock track tool to reposition some clips without moving others. Tip: When you use the gap tool, there are a couple of preference settings to keep in mind (found in the main menu under File > User Settings > Modify Settings). Move index with group move tool. When this is checked, relevant index markers are moved with the clips under them. When it s not checked, the indexes hold their positions with relation to the timeline. Move In/Out markers with group move tool. If this is checked and you use the Group Move tool, the In, the Out or both (depending on their position with respect to the tool) are moved. If it s not checked, they retain their positions with respect to the timeline. The group move tool uses the Snap settings (to snap to an index or clip edge). It tool ignores clips that are selected on the timeline. Move to Playhead If you have selected a clip or a group of clips, you can move them to the playhead, if you have set the shortcut for them to do so.

272 272 Chapter 8: Using Timelines Keyboard shortcuts for Move In to Playhead and Move Out to Playhead can be set in the User Definable Hotkey interface. See Hotkeys in Volume 1, Chapter 4 for information on how to assign keyboard shortcuts. Once you have assigned the keyboard shortcuts, you can use the tools. Move In or Out to Playhead physically moves the clip, keeping the duration of the clip constant. As long as there is no other clip in the way, the move can take place. Notice that the transition has been lost, and there is now a gap on the timeline. Figure 8-2 Clip to be Moved Playhead Clip to be moved Move in to Playhead In this case, the transition is considerably shorter than it had been before. Move out to Playhead In this example, the playhead has been moved from the original position, since a clip s In point cannot fall after its Out point. Trim in to playhead If there is a conflict on any track, the move does not occur. Moving a Linked Group of Clips You don t need to select an entire group of clips to move that group. Click with the left mouse button on one of the clips in the linked group. Drag that clip to a new position. The rest of the linked group maintains their position relative to that clip, moving with it. Holding down the ALT key prevents horizontal movement. Since vertical movement does not occur on a group that contains transitions, any groups containing transitions will not move at all with the ALT key held down. If one clip in a Linked group is on a locked track, you won t be able to move the entire group.

273 Velocity User Guide 273 Moving a Portion of a Linked Group of Clips You can also independently move a single clip or subset of the linked group. To select more than one clip from the group, click on clips with the mouse while holding down the CTRL key. Then, whether you are moving a single clip (clicked on with the mouse) or a partial group, hold down the apostrophe ( ) key and drag the clip. Tip: Only the selected clips move. Move Align (In or Out) Move align is used to align the In or Out points of a series of selected clips to a specific point on the timeline. It moves the clip, without altering any trimming that has been applied to it. Selected clips have to be vertical one clip only per track. You cannot select a clip on a locked track. If a clip is part of a linked group, it maintains its spatial relationship with the other clips it is linked to. If you choose multiple clips from the same link group, only the master clip (the one with the red marquee border) is aligned. Synced portions of a clip are all selected at once. The video is aligned, and the audio is positioned to maintain sync. To quickly ensure the beginning of a scene or series of related effects, you can Move Align all selected clips to share a common In or Out time on the timeline. To perform a Move Align 1 Select the clip or clips on the timeline that you would like to align. 2 Use the [ or ] buttons to mark an In or Out point on the timeline. If there is both an In and an Out marked, both options are available. Otherwise, you will be able to do one or the other.

274 274 Chapter 8: Using Timelines 3 Press the Move Align shortcut, by default Q, right-click a blank space on the timeline and select Align > Move to In marker or Move to Out marker from the menu, or make sure the timeline is selected and select Edit > Align > Move to In marker or Move to Out marker. Entire clips move to align their current In or Out times with the timeline IN or Out time, what ever has been specified. Move Align is not available if you have two clips selected from the same track. If clips are selected and an In or Out point is marked such that at least one clip will overlap another clip on the timeline, a message will appear. The Align cannot be completed due to the conflict of clips potentially overlapping on the timeline. Go to the timeline, make any adjustments needed and follow with the alignment. You can move the timeline marker, move the offending clip and reselect your others and proceed, or unselect the clip that would overlap another clip. You cannot select multiple clips in a linked group, as that would alter the relationship between them. However, if you align a clip that has other clips linked to it that are not currently selected, those clips are dragged along with the selected clip. This assumes there is no conflict created on the timeline when the clips are moved. If any of the clips in a linked group would overlap another clip on the same track, the alignment does not occur. Align to Timecode There are also two alignment options that you can use to align clips timecodes. The first clip that is selected is the master clip. Other selected clips are aligned to this clip. Align Timecode using Slip. Clips are not moved, they retain their position on the timeline, although the In and Out points are adjusted so that the timecode aligns vertically for all clips. If all clips do not have a common timecode, this option is not available. Align Timecode using Move. Clips are moved, retaining any trimmed In or Out points, so that the common timecodes are aligned to the master clip. Align to Timecode ignores In, Out and playhead markers on the timeline. Speed Change You have the option to change the clip speed of both video and audio clips. To change clip speed 1 You can select Effects > Clip Speed from the menu, right-click on the clip and choose Clip Speed, or press default keyboard shortcut S. If you perform any of

275 Velocity User Guide 275 these actions, the Speed dialog box will appear. If you have multiple clips selected, when you change the clip speed on one of them, that applies the change to all the clips. 2 Make sure that the clip(s) is selected, and then click the Speed Change button in the toolbar. Using the mouse, hover over the clip s In or Out point and scrub in the appropriate direction. As you are scrubbing, the speed percentage will be displayed. What to Expect with Timeline Playback of Various Clip Types The video tracks on the timeline create layers. The highest numbered layer is on top. Normally, an alpha channel, chroma key, luma key, etc. is used to see the layers underneath. If you place a video clip on track V3 with no effects, that clip will play and you will not see the clips underneath it on V1 and V2. V3 and above (V4, V5, etc.) are Overlay tracks, which are normally for effects. Various types of clips can be expected to behave in various ways on the timeline. If you place a 24-bit video clip on a higher track than another clip (V3 and higher) and place no effects on that clip, the resources used are equal to just the one clip. Other clips on the Timeline in that spot are ignored.

276 276 Chapter 8: Using Timelines Trim a Clip on the Timeline Clips that are already on the timeline do not need to be placed in the trim window in order to trim them. Trim a Single Clip Position the cursor at the edge of the clip. The cursor changes to an In flag at the left edge of the clip or an Out flag at the right edge of the clip. Hold down the left mouse button to drag the edge of the clip to a new position. You cannot add frames that aren t there, so if you want to extend the In point of a clip but all the media in that clip already appears on the timeline, you cannot extend the edges of that clip any farther. If you must extend a clip beyond its In or Out points without changing its position, use the Speed Change tool. Alternately you can select the clip you want to trim and use press Shift+[ or Shift+] on the keyboard. The cursor changes to an In flag or an Out flag. Use the arrow keys on the keyboard to change the In time or Out time. When trimming, clip edges obey the snap rules (set in the main menu under File > User Settings > Modify Settings, and click on the Snap Tools button). When a clip is within the set distance of an index, the playhead, or another clip edge, it automatically jumps to that position during trimming. You can disable this feature on an individual clip basis by holding down the Backspace key. Clip information (timecodes in and out on the timeline) and transition duration information appears in the status bar at the bottom left of the screen when moving or trimming an associated clip with either the mouse or the arrow keys. Trim Synced Video and Audio The three bars on the timeline the video and the two audio bars (assuming the audio is stereo), are synchronized, and when you open them in the trim window they will always maintain that synchronization. You can tell sync clips because they are marked with an S followed by a sync group number in their top left corners. All members of a sync group have the same number. To trim just the audio or video of a clip, hold down the W key while dragging the mouse. The portion of the clip (either the audio or the video) that the mouse is over is the only portion that will be trimmed. This does not disrupt the sync of the audio. In the main menu, select File > User Settings > Modify Settings. You can activate Ignore Sync Group While Trimming. Use this to trim the audio and video on the timeline so one portion is longer than the other without disrupting sync. You can toggle this feature by holding down the W key (default shortcut).

277 Velocity User Guide 277 When you trim sync clips, normally both portions of the clip the audio and the video are trimmed at the same time. When working on the timeline, you can trim the audio or the video only by holding down the W key on the keyboard while dragging the In or Out point of either the audio or the video. All audio tracks are trimmed simultaneously. While trimming a clip a small pop up window by the cursor shows the timecode of the current frame that is being trimmed and how many frames have been added or subtracted. Trim a Clip Numerically With a clip selected, go to the main menu and select Edit > Clip > Set In/Out. Enter the trim numbers that you want to apply to the audio and video of the clip. As you alter two portions of the clip, the third portion is automatically calculated (e.g., if you change the In and Out, Velocity determines the duration). If you check Maintain Video/Audio Relationship, a change you make for the Play In of one portion of the clip is also applied to the other portions of the clip. If you do not check here, you can trim the video and audio separately. If a clip is lacking a component (for example, it has mono rather than stereo audio), that row of the window is left blank. Working with Audio and Video in Sync To keep track of the relationship between video and audio clips on the timeline, clips have sync indicators. Sync can be easily applied or removed at any time. Video can be synced with up to eight mono tracks of audio. The audio clips must all share a common in time and out time, but the audio and video must only share an area of overlap between them. This overlap is used for a sync to be retained as you trim audio and video In and Out points separately.

278 278 Chapter 8: Using Timelines Apply Sync Multi select a video clip without audio along with one or more unassociated audio clips. Shift W is the shortcut to apply sync to a pair of clips, or press the Sync VA button in the toolbar. Once the sync has been applied, clips will move and trim in unison. Editing and Effect tools such as razor, delete, cut, copy, paste, lock, and speed change will also effect all clips that are part of the sync group. Remove Sync Press the Unsync button, shortcut Shift S or right-click on the clip and choose Unsync Clips. When you unsync a video clip with stereo audio, the video and audio are unsynced, but the audio clips remain synced. If you want to unsync the stereo audio, select the pair of clips and click unsync again. There is an optional shortcut you can assign to Unsync and Delete Audio or Unsync and Delete video. To assign these keyboard shortcuts (which do not have defaults assigned), in the main menu choose File > User Settings > Modify Settings. Press the User-Definable Hotkeys button. If you remove sync, you can see how many frames from sync the clip has been moved. This appears in a pop-up next to the amount of frames the clip portion has been moved. You can turn this feature off by opening File > User Settings > Modify Settings. Remove the checkmark next to Show Sync Values during Move. Other audio music, sound effects or foley, wild sound (hum), voice overs, etc., may be mono or stereo. Stereo clips are always synchronized on two mono audio tracks. Audio and video that are synced together, or a stereo audio clip such as a WAV captured from a CD, display the same Sync marking in the top left corner of the clip. The first A/V sync clip that is placed on the timeline is marked S1, the second one is marked S2, etc. Extend Left and Extend Right The Extend Left and Extend Right buttons on the timeline tool bar return the In and Out points of the clip, respectively, to their original, untrimmed durations. The clip retains the position it held on the timeline before the function was used. If you use Extend Left on a clip that has 30 frames of extra footage before its trimmed In point, that clip will now start 30 frames earlier relative to the entire timeline. If this clip is close to another clip on the same track, then the beginning of the clip will be extended until it butts against the previous clip. Extend Right adds to the Out point in the same way. Extending a clip left or right can cause it to overlap with clips on other tracks. If the clip is on track V1 or V2, this can create a new transition. If you have two or more clips selected, this function applies to all selected clips. If all the selected clips have extra data, then the clips will all be extended. If one of the clips does not have extra data, no clips will be extended.

279 Velocity User Guide 279 Before Extending the Clip After Extending the Clip to the Left Move Edit If you hold down the SHIFT key while trimming the Out time on a clip, all the clips following will also move. They will keep their position with respect to the new Out time of the clip, but adjust their position so they are proportionately the same distance from the trimmed clip s Out time. Tip: You can use Move Edit with either the mouse or the arrow keys. Simultaneous Edit (trim two adjoining clips) If you have two video or still clips butted against each other on the same video track, you can adjust the position of the cut between them using Simultaneous Edit. Hold down the BACKSPACE key while trimming the In or Out time of a clip with either the mouse or the keyboard s arrow keys. This lets you simultaneously trim the Out time of the first clip and the In time of the second by an equal amount. If you have a 2nd video monitor hooked up to Preview/Key output of your breakout box, you will see the trim point of the first clip on your main output and of the 2nd clip on the second monitor. Razor Using this tool, you can cut a timeline clip into multiple segments. Select a clip. The Razor tool doesn t work without a clip selected. Select the razor tool from the tool bar. The cursor changes to a razor icon which you can use to cut the clip.

280 280 Chapter 8: Using Timelines For a more accurate cut, drag the razor to the desired position with your mouse. Once you are in the general area, press the ENTER button on your keyboard and use the left and right arrow keys on your keyboard to make frame accurate adjustments. A pop up window shows the timecode at your cursor location and the video monitor displays the image to help you to identify where you are cutting. The frame shown using the main video output will be the first frame of the clip to the right of the cut. If you have hooked up a second video monitor to Video Output 2 on your breakout box you will see the last frame to the left of the cut on this monitor. Once a clip is cut, the original clip s Out Time will end at the point where it was cut. The second clip s In Time will butt up next to where the previous clip stops, and continue on to the original Out Time. So, for playback purposes this isn t noticeable, until you alter the two clips further. The razor tool only works on one clip at a time. If multiple clips are selected, the first one you selected is the one that is razored. Slice This keyboard shortcut cuts through all the clips, or all the selected clips, under the playhead. Performing a Slice Before Slice Performing a Slice After Slice 1 Place the playhead on the timeline at the position you would like to slice. Multi-select (hold down the shift key and select clips vertically) clips that you would like to cut. Or, if you want to slice all clips under the playhead, make sure no clips at all are selected on the timeline. You can do this by clicking a blank space on the timeline. 2 Press X on the keyboard. This can have surprising effects if you have a transition under the playhead for example, giving you a transition from clip A to Clip B and then back to clip A again.

281 Velocity User Guide 281 Selected clips that are not under the playhead are not sliced. Slice works when the timeline is paused (in scrub mode), and when you are playing the timeline back using either the spacebar or JKL keys. If you are playing back the timeline and use the Slice tool, playback stops. Slip Edit This tool is used to adjust the In and Out points of a clip without affecting its position on the timeline or its duration. Click the Slip Edit button and drag the appropriate clip left and right with the left mouse button held down. You can view the Out point of the clip on the Preview window and on your video monitor. The clip is not loaded into the trim window, so you will not see the In and Out points in the Source screen. However, as you slip the clip on the timeline, In and Out timecode markers appear above the clip. The clip retains its position and duration on the timeline (as above, where the clip is butted up against a clip on each side). The In and Out points of the clip relative to all the media in the clip are the only thing that change. If you have two video monitors hooked up to your breakout box, you can view the In on the Program video out and the Out on the Key Output. Slide Edit This tool is used to adjust a clips position in a series of clips without affecting the Timeline In/ Out points of the series of clips. Select a clip on the timeline and click the Slide Edit button. As you drag the mouse left and right with the left mouse button held down, you can view the Out point of the clip on the Preview window and on your video monitor. The clip is not loaded into the trim window, so you will not see the In and Out points in the Source screen. However, as you slide the clip on the timeline, In and Out timecode markers appear above the clip.

282 282 Chapter 8: Using Timelines Clip 3 Clip 1 Before Slide Edit Clip 2 Clip 3 Clip 1 After Slide Edit Clip 2 The clip changes its position but the clip s Trim In/Out points will stay the same. Lift Lifting removes frames from the In to the Out on the timeline and leaves a gap of the same duration as the frames you remove. To perform a Lift 1 Mark an In point on the timeline using the button beneath the Preview Screen of the preview/trim window. The playhead position when the In button is pushed will be the marked In point. 2 Move the playhead (normally done by scrubbing the timeline) and mark an Out point using the Out button beneath the Preview screen. The marked Out must be to the right of the marked In point. 3 Press the Lift button in the timeline status bar. If no clips are selected, then all clips within the range are affected. If clips are selected, only the selected clips are affected. Tip: When you lift a timeline segment, it is placed in the Clipboard as if you had cut the segment, so that you can paste it somewhere else if you want. Extract Extracting removes frames from the marked In to the marked Out on the timeline and closes the resulting gap by ripple deletion.

283 Velocity User Guide 283 To perform an Extract 1 Mark an In point on the timeline using the In button beneath the Preview Screen of the preview/trim window. The playhead position when the button is pushed will be the marked In point. 2 Move the playhead (normally done by scrubbing the timeline) and mark an Out point on the timeline using the Out button beneath the Preview screen. The marked Out must be to the right of the marked In point. 3 Press the Extract button, which appears in the timeline status bar. When you extract a timeline segment, it is placed in the Clipboard as if you had cut the segment, so that you can paste it somewhere else if you want. If no clips are selected, then all clips within the range are extracted. If clips are selected, only the selected clips are extracted. Trim to Playhead If you have selected a clip or a group of clips, you can trim them to the playhead, if you have set the shortcut for them to do so. Keyboard shortcuts for Trim In to Playhead and Trim Out to Playhead can be set in the User Definable Hotkey interface. See Chapter 26 for information on how to assign keyboard shortcuts. Once you have assigned the keyboard shortcuts, you can use the tools. Trim In to Playhead moves the In point of the clip, so it extends or shortens the clip but does not change its position. Before Trim to Playhead After Trim to Playhead Trim Out to Playhead extends the end of the selected clip to the playhead. This option affects the duration of the clip. Clip to be Trimmed

284 284 Chapter 8: Using Timelines Clip After Trim Out to Playhead If the playhead was before the clip, the trim would not have occurred. If the playhead had been in the middle of the clip, the end of the clip would have been trimmed to that point. If there is a conflict on any track, the trim will not occur. Trim to In / Out When you have several clips selected, you can trim them so they all start or end at the same time. Clips retain their vertical relationship sync, timing etc. Trim alignment doesn t alter the position of events on the timeline, it alters the duration of the clips selected. There are three trim align options. Trim to In extends or shortens all the chosen clips so they have a common start time. Trim to Out extends or shortens all the chosen clips so they have a common end time. Trim to In and Out extends or shortens all the chosen clips so they have both a common In and Out time. Using Trim to In or Out 1 Select at least one clip. 2 Specify the point on the timeline to align the clips to. Do this by marking In and/or Out points on the timeline. 3 Right-click in a blank spot on the timeline and select Align > Trim to In marker, Trim to Out marker, or Trim to In AND Out markers from the menu that opens. Clip before trimming Clip after using Trim to In

285 Velocity User Guide 285 After you use Trim to in, the out points on all the clips remain the same while the in points are aligned to the timeline marker. Sync is maintained. In and/or Out times of the clips are trimmed to match that of the marked position(s) on the timeline. If you leave one end of the clips unmarked, those ends remain unaffected by the operation. If a clip does not have enough trimmed frames between the actual start or end of the clip and its current trimmed time is set to match the aligned point, a message box opens. Choose to either Cancel the Align, Proceed with alignment skipping invalid clips or proceed with the alignment as far as the clips available media will allow. You cannot use this tool to trim linked clips, as that would alter the relationship between them. Locked clips and locked tracks cannot be aligned. Clips that are linked or synced take all associated clips with them. If there is an clip in a position such that to trim them in this manner would cause an overlap, the option is not available. If you still want to do the trim, move one of the offending clips, or remove one of the clips from the selected group of clips, and continue. Swapping Clips on Timeline There may be instances where you may want to swap the positions of two tracks that are back to back on the timeline. Making sure the two clips are back to back (touching each other on the same track) and selected, right-click on the timeline and select Swap Clips. The two clips will immediately swap positions on the timeline. Velocity, Ripple and Overwrite Mode Functionality Velocity contains two different editing modes you can use to edit the timeline. This is helpful especially if you perform the same sort of edits most of the time. For example, if you know that you will be performing mostly overwrite edits in your project, you will probably want to put Velocity in Overwrite mode so you won t have to worry about selecting the correct keyboard shortcut every single time you perform the edit. You can choose which mode you want to edit in by clicking on the mode button on the bottom right corner of the timeline. Velocity Mode Ripple Mode Overwrite Mode

286 286 Chapter 8: Using Timelines Velocity Mode When the software is running in Velocity mode and you are editing, ripple or overwrite edits will not occur unless you use the appropriate keyboard shortcuts in order to enable those kinds of edits. There may still be cases where you are in Velocity mode and you want to perform a ripple or overwrite edit without changing modes. To apply a Ripple effect in Velocity Mode 1 Click on the clip you want to insert and then hold down the mouse button. 2 While still holding down the mouse button, press the SHIFT key and drag the clip to the appropriate location on the timeline. You will see a cursor with two arrows, meaning that you are in Film mode. 3 Release the mouse button. You should see that all clips on the track should shift to the right as far as the duration of the clip you are inserting. 4 To apply Film mode to ALL tracks on the timeline, follow the same procedure as above, but press ALT+SHIFT on your keyboard. You should see the same cursor over the clip you are inserting, but the result will show that all tracks on the timeline will have shifted to the right as far as the duration on the clip you are inserting. To apply an Overwrite effect in Velocity Mode 1 Click on the clip you want to insert and then hold down the mouse button to grab the clip. 2 While still holding down the mouse button, press the CTRL key and drag the clip to the appropriate location where you want to overwrite another clip on the timeline. You will see a cursor that shows two arrows pointing down, meaning that you are in Overwrite mode. 3 Release the mouse button. The result should show that the clip has replaced any other clip at that location on the timeline without shifting any other clips on that track. 4 To apply Overwrite mode to ALL tracks on the timeline, follow the same procedure as above, but press CTRL+ALT on your keyboard. You should see the same cursor over the clip you are using to overwrite, but the result will show that all tracks on the timeline have that same location overwritten. To perform an insert edit, hold SHIFT (after you have grabbed the clip) while dragging. Ripple Mode Ripple mode is used to insert a clip into any track on the timeline and shift all of the clips as far as the duration of the clip you are inserting. When the software is in Ripple mode, this will happen by default every time you insert a new clip in the timeline. You will see the ripple cursor as you are inserting a new clip in the timeline in this mode. The following two methods will cause a ripple while in Ripple mode. Adding clips from the gallery to the timeline Deleting clips from the timeline and trimming clips on the timeline.

287 Velocity User Guide 287 If you trim the In point of a clip (you can only trim the In point to the right in Ripple mode), all clips whose In points start to the right of the trimmed clip s In point will shift to the left, while the location of the trimmed clip s In point will stay the same. If you trim the Out point if a clip, all clips starting to the left of the clip s original Out point will shift left or right, depending which way you trim. Moving clips around on the timeline will not cause a ripple in this mode. Overwrite Mode Overwrite mode is used to overwrite, or replace, clips with other clips on the timeline. When the software is in Overwrite mode, clips will be overwritten if they are dragged over by default. Every time you drag a clip while in Overwrite mode, you will see the overwrite cursor unless you are creating a transition or if you are holding down SHIFT while dragging to temporarily disable this mode. To overwrite clips on all tracks on the timline: Drag a clip to the location while holding ALT and release the clip. That same location on all tracks will then be overwritten. If you want to create transitions in Overwrite mode, you may still grab the clip being used in the transition, press CTRL+SHIFT and create the transition. This applies to both collapsed and expanded track modes. Transitions When you view a timeline, transitions appear as a track on V1 and a track on V2 which overlap their out and in times. In the overlap area there is a transition marker in the X track. You can t place clips in the X track; creating a transition is the only way an object can get there. Outgoing clip Transition Incoming clip Transition on a Timeline If your transition is a dissolve (default), single track mode does not display a transition icon. However, if you switch to a different transition type, the icon displays over the transition area. Transition Icon over a Timeline When you trim the In/Out point of a clip that is involved in a transition, the feedback you see in the preview window will always be related to the clip you are currently trimming, not the relative point on the opposite clip.

288 288 Chapter 8: Using Timelines Choose a Transition Effect Right-click on the transition and choose RT Transitions or Rendered Transitions (and a group from the submenu) to choose a transition and apply effects to it. Or hold down the Shift key on the keyboard and double-click on the transition to open the RT Transition window. Trim a Transition Drag the out point of the first clip and the in point of the second clip to change the length of the transition on the timeline. If you have two monitors hooked up to your breakout box, you can see both the incoming and outgoing clips update as you trim. If you are in the V1/V2 collapsed mode, you can drag the out point of the first clip or the In point of the second clip to shorten or lengthen the transition. Assuming there is sufficient unused media in the clips, you can also drag the in or out point of the transition in order to change its in and out points on the clips without altering the duration of the transition. You cannot use this trim method if V1 and V2 are not collapsed. Swap A/B Track If you have a string of A/B rolls and remove a clip, this leaves a nasty space on the timeline where two clips are on the same track rather than being on opposite tracks for the A/B roll. To re-create the alternating track nature of the V1 and V2 tracks, place the playhead in the gap created by the removed clip (between the two clips that are on the same track). Right-click and select Swap A/B Track from the menu.

289 289 9 Audio Velocity 3.0 includes several audio node enhancements for easier default operation. These enhancements are listed here. Default behavior changes level in range between nodes Ctrl-click adds nodes Ctrl-drag restricts to vertical move Shift-drag restricts to horizontal move First and last range included in level adjustments A new Hotkey E adds nodes at the playhead position Navigation between audio nodes is improved using Ctl-W and Ctrl-E Externally Monitoring Audio Levels When you monitor your output levels, you are monitoring the master volume. This corresponds to the two master sliders on the VU meter. There is a lot of confusion regarding what constitutes the right level for audio when you are monitoring it externally or outputting it to tape or file. A lot of the confusion arises from the proliferation of different devices and scales for monitoring audio levels. Velocity uses db. 0 db is NOT a reference level. Decibels (dbs) logarithmically measure relative power. +3dB equals double power, and zero db means no change in power, or equal power. In the early days of audio communications, a standard level of 1mW into a 600 ohm line was adopted. This was referred to as zero dbm (0dB = 1mW/600ohm), so signals could be measured relative to this power level and the results could be expressed in dbm. In voltage terms, 0dBm = 0.775V. This is still a common analog measurement reference today. Many audio circuits don't always drive 600 ohm lines (e.g. higher impedances require less power at the same voltage), so the more common reference standard is dbu, where 0dBu = 0.775V into any impedance. One of the most common electro-mechanical meters is the Bell Lab's VU, which measures Volume Units. Here, the zero level (0VU) is equal to + 4 dbm. The difference between volume unit values is equivalent to dbs (e.g. 0VU is 4dB higher than - 4VU). 0dBu is equal to - 4VU (or - 4dBVU, or - 4dBvu).

290 290 Chapter 9: Audio In the UK one of the most common meter types is the BBC-style PPM. This has no db values indicated, and instead has equally spaced markers labeled from one to seven, with four at dead center. Four on a PPM is equivalent to 0dBu (or 0dBm), and the rest of the scale is as follows:- from 1-2, and 6-7 the difference is 6dB, and from 2-3, 3-4, 4-5 & 5-6 the difference is 4dB. So, for example, PPM 6 = +8dBu, and PPM 1 = -14dBu. Program material is usually limited to peak at PPM 6 (+8dBu). For digital systems there is no audio distortion right up to the point of saturation, after which hard peak clipping occurs. All digital systems behave in exactly the same way in this respect, and so it is common for meters on digital systems to use the clipping point itself as a reference, which is known as dbfs (meaning db referred to Full Scale). Clearly a reference level which represents the onset of digital clipping can't be equivalent to analogue line or tape-based flux levels which are all set below the onset of distortion. The EBU in Europe and NAB in America came up with slightly different recommendations for handling digital audio levels. The EBU recommends 0dBu = -18dBfs (= PPM 4), and the NAB has 0dBu = -20dBfs (or 0VU = -16dBfs). Peak levels are therefore expected to be about 8dB higher at around -10dBfs. The extra 10dB headroom is for fast transients that meters, operators and even compressor/limiters don't always catch. Setting Audio Levels Decibels (dbs) are simply a logarithmic measure of relative power. Zero db means no change in power, or equal in power, and +3dB equals double power. When setting audio levels you will not want to exceed the audio power levels that can be handled by your deck. A useful measurement of audio power is the dbu, where 0 dbu is defined as 0.775V. Headroom and Reference Points All analog mixers, and analog Sony Betacam decks set their 0 db point at + 4 dbu. All analog Betacam tape systems have a peak program level of + 8dB (+ 4 db), or 8 db of headroom. When you use an analog tape system to record audio, it does not just stop at + 8 db. What actually occurs is that you have a companding effect, which means you can record much higher transient peak levels without hearing audio distortion. In contrast, digital audio systems are non-forgiving. Once clipping occurs (when the audio level exceeds the headroom), the data may be corrupted to the point of being totally unrecognizable. Therefore, additional headroom is needed in the digital world to handle the audio level spikes which may cause clipping. This is why digital systems set their 0 db point at 20 dbfs in NTSC and 18 dbfs in PAL.

291 Velocity User Guide 291 Editing and Adjusting Audio The Velocity software supports 8 mono channels when using the required system specifications. By default, the Velocity timeline has eight mono audio tracks. A stereo audio clip uses two of these tracks. Stereo (A1/2) and Mono (A3) audio. Note the S1 on the stereo clip, defining its sync group. When you place a video/audio clip on the timeline, the audio is automatically placed on the first available audio track (A1 if there is no other audio clip). If the audio was recorded in stereo, then there are essentially two synchronized audio clips, and they are placed on the first two available audio tracks (A1 and A2 if there are no other audio clips in that vicinity). If there are other audio clips that would occur at the same timeline timecode as the audio clips you are adding to the timeline, for example in a transition between two video clips, the audio associated with the second clip is placed on A3 and A4. If you then overlay another video/audio clip on top of these, its audio is placed on A5 and A6. As you drag the video portion of a sync clip around on the timeline, the audio portion may change tracks if you have the Audio autobump enable box checked in the General Timeline Options (press F5 to view). In addition to basic trimming and adjusting the sync relationships or audio clips, you can adjust the volume and panning. Use Velocity to apply VST audio filters to your clips.

292 292 Chapter 9: Audio Using the VU Meter The VU meter is used to view the audio level for each track and to create audio nodes for each track. To open the VU Meter The VU Meter is open by default when you start the program. If you close it, you can reopen it by selecting View > VU. Use Auto Tile to return it to its default position in the bottom left corner of the screen. To adjust the VU Meter window size You can make the VU Meter window larger or smaller by placing the cursor over an edge pressing the left mouse button and dragging. By default, the VU Meter displays two sliders that represent the Master output sliders. These sliders control the audio s final mixed output. The Preview sliders control only the level of preview audio played from the trim window or gallery. Tip: The Preview sliders can be hidden by disabling the Show Preview VUs check box in the VU Meter settings (F5). Velocity can have up to eight mono audio tracks. You can add up to eight sliders in the VU Meter, one for each of these tracks. Displaying VU Channels in the VU Settings To open the VU Meter settings window Do one of the following: Right-click on the VU Meter window. Click on the Settings button in the lower left corner of the VU Meter window. Select File > User Settings > VU Meter Settings. The Channels column lists all the audio tracks on the timeline. Check marks in the Display column indicate audio tracks that have their own sliders in the VU meter. You may change which tracks you want shown on the VU Meter in this window by enabling or disabling a check box under the Display column. The ALL and NONE buttons are used to quickly reset your selections.

293 Velocity User Guide 293 Using the VU Meters During Playback Channels Tab The VU Meter monitors audio during playback from the gallery, timeline or the preview/trim window. The colored scale lights indicate the audio output levels; a warning is displayed if audio saturation is detected. The Master VU shows the highest L and highest R level on output. (The Master VU shows M at the top of the scale.) A1 through A8 track markers show the VU Meter settings. Track header markers turn red when the audio is over-saturated. (Track header markers normally appear as numbers in a small window below the track labels) Click the green button at the bottom of the meter to access VU Meter settings. Audio Levels You cannot adjust the audio levels of a clip when you play it in the trim window or gallery, but you can adjust the level at which the audio is previewed by using the Preview sliders in the VU Meter. Tip: Double-click the VU sliders to reset the volume level to 0db.

294 294 Chapter 9: Audio Mono Clips When a mono clip is collected into the gallery, equal output is heard from both the Left and Right channels the audio panning is initially set to 50% left and 50% right. If this is not the required panning for your mono clip, you may set the panning by right-clicking on the clip on the timeline and using the audio options. Stereo Clips When a Stereo clip is collected into the gallery and placed on the timeline, the left and right are panned 100% to the left and right channels, respectively. Amplification When you play a clip with audio from the timeline, you can adjust the amplification of the individual clip that is active using the sliders. At the top of each channel is a marker telling the timeline track number that channel is associated with. Each audio channel, including the Master audio channel, has a scale to indicate its audio level and a slider so you can adjust the audio amplification for that channel. You can modify these settings if you select File > User Settings from the main menu and choose the VU Meter tab. To modify VU Meter Settings 1 On the Main menu, select File > User Settings (F5). 2 Under Project Settings, select VU Meter Settings.

295 Velocity User Guide Select the appropriate options.

296 296 Chapter 9: Audio Output Tab In the Output tab, each meter is labeled CH 1/2, CH 3/4 etc. When you adjust the slider, the adjustment is applied to the audio output affecting both audio monitoring as well as any resultant Edit/Media ID. Any change with the slider is reflected in the levels displayed by the VU Meter. The Master VU in the Output tab works the same way as the Master VU in the Channels tab of the VU Meter window. Master VU The Master VU shows the highest level from any one of the output channels rather than the total additive level. This provides a proper indication that the levels are correct. When you playback the entire timeline you can adjust the Master volume on the VU Meters to adjust the audio amplification of the entire timeline. For example, if Ch1 output has the highest left level, that level displays in the Left of Master VU. If Ch4 output has the highest right level, that level displays in the Right of Master VU.

297 Velocity User Guide 297 Audio Volume Audio volume can be controlled on a timeline basis, and it can also be controlled on an individual clip basis. Adjusting the Volume of a Single Clip Velocity provides a few methods for adjusting the volume of the audio portion of your clips. When you sync audio clips, as in a stereo pair, any volume node or gain adjustments you make to any clip in an audio sync group are applied to all audio clips in the sync group simultaneously. Volume Line Adjusting the Volume on the Timeline To adjust the audio within a single clip 1 Select the audio clip and position the cursor on the node line in the Audio control section. The cursor changes to a finger pointer. 6 db 0 db -inf db 2 Click the left mouse button and drag up or down to change the clip s volume level. Node 3 To create individual audio nodes for preforming audio rubberbanding, hold down CTRL while clicking the node line. Multiple nodes can be created in this same way. Double-clicking a mode will delete it. 4 Drag the nodes up or down to define the clip s volume level. The active audio node will change its color to light blue or red so that it can easily be identified. The line between the nodes indicates whether the audio clip s volume level has been increased or lowered: an ascending line shows audio levels being raised; a descending line shows audio levels being lowered. Node Management When dragging a node with the mouse, it will move in one db increments by default. To fine tune node placement, left mouse click and hold a node, then hold the CTRL key to move it one tenth of a db increment. Left mouse click and hold the ALT key to move a node vertically only. SHIFT is used for horizontal movement of a node.

298 298 Chapter 9: Audio Hold down the CTRL key and drag the audio line between two nodes to shift this area uniformly. Hold down the SHIFT key and drag the audio line to raise or lower the entire audio curve. You may also position the cursor over a node, click on the node to activate it, and then use the up or down arrows on your keyboard to increase or decrease the node position. By default, the arrow keys will mode the node in one db increments. Holding down the CTRL key in conjunction with the arrow keys will move it one- tenth of a db. As you change the node position you will be shown the current db in a yellow box over the node. When you drag a node you will also be scrubbing the audio, to help you to position the node. When an audio track s height is small, volume adjustments cannot occur. This makes it easier to grab clips. Locked Synced Volume By default, making a volume level change to one channel of audio will also change the other channels. This is because the multiple channels are part of a clip Sync group and their synced volume is locked. Locked synced volume is indicated with the audio clip name underlined. To unlock the synced volume, right click any of the audio clips in the sync group and select Audio Clip > Lock Synced Volume. The audio clip name no longer is underlined. Locked synced volume can also be changed for the entire Timeline. This can be done either by right clicking an audio clip and selecting Audio Clip > Lock All Synced Volume or by going to the Edit menu and selecting Audio Clip > Lock All Synced Volume. The default behavior of the Timeline can be set in the User Settings > General Timeline Settings by enabling or disabling Lock Synced Volume. To Adjust the Volume using the VU Meters You may also use the VU Meters to adjust the audio level of an individual clip, an individual track, or the entire timeline using the drop-down box at the bottom of the VU meter window. There are three choices in the drop-down menu: Volume Clip Nodes. When this option is selected and you move the slider for a particular audio track up and down, you create nodes on the clip on that track under the playhead on the timeline. Volume Clip Gain. When this option is selected and you move the slider for that track up and down, you adjust the volume for any clips under the playhead on that track. Volume Track Gain. When this option is selected and you move the slider for that track up and down, you adjust the overall volume for that entire track. Note that this can also be done using the volume slider on each audio tracks track header. Tip: Overall program volume can be controlled using the Master VU sliders.

299 Velocity User Guide 299 Delete an individual node by double clicking on it. Delete all volume nodes and reset the volume to 0dB by right-clicking on the clip and selecting Audio Clip > Volume Reset. Set the entire volume line to a specific volume by right-clicking on the clip and selecting Audio Clip > Volume-Channels. This deletes any nodes you may have set and opens the Set Volume Control window: The top of this window is used to choose how a stereo audio track is treated. Move Sliders Independently. Use this to adjust the volume of the left and right portions of a stereo clip separately. Lock all Sliders Together. This is the default. Both Left and right channels are adjusted simultaneously by the same amount. Reset All Sliders. Leaves the sliders in the mode you set, but puts them back to 0 db. Audio Clip Navigation Using the User-defined Hotkey interface you can assign a shortcut to navigate from one node to the next within a clip. A clip must be selected in order to use the assigned shortcut. Once you get to a node, select it with the mouse and then you can use the up or down arrow to adjust that node. Auto Fades Auto fades at the beginning and end of clips can be automated. Note that auto fades and cross fades do not create audio nodes. So, if you want to edit the fade manually, you should apply it manually. SuperNodes for Audio Fades Velocity features SuperNodes which are used to customize audio fades. To create an audio fade with a SuperNode, first locate the SuperNode at either edge of the audio clip on the timeline. You will know you have located the SuperNode once you see the finger pointer icon.

300 300 Chapter 9: Audio Once you have located the SuperNode, start dragging it outward to create an audio fade. The creation of audio fades with SuperNodes are non-destructive, which means that if there are any nodes that may be in the way of creating an audio fade (like pictured on the previous page), you may drag the SuperNode over those nodes to overwrite them. However, if you decide that you want those overwritten nodes back, you can drag the SuperNode back in the opposite direction and you will find that the nodes return to their original locations. Once you have created your desired audio fade, you now have the option to decide the shape of the fade. Right-click on the SuperNode and you will see a menu appear where you will be able to choose whether you want your fade to be Linear, Fast, Slow, Sharp or Smooth. The default fade type can be determined in the File > User Settings > Audio Settings, or can be changed on a per-instance basis by right-clicking on the fade itself. To adjust the SuperNodes vertically, hold down CTRL while dragging up or down. The fade nodes levels will also be changed if adjusting the line adjacent to them. Adjust Audio Panning Panning is audio left-right balance of a clip or a stereo pair of audio clips. Panning is only available when in Stereo mode. This is defined in the System Settings > General Audio Routing Mode When you record a stereo audio clip you record the left audio input to one clip and the right audio input to another. When you play back stereo audio, the default is to playback the left audio track to the left audio output and the right audio track to the right audio output. When you record a mono audio clip you record the left audio input to the left channel only. When you playback a mono audio clip the default is for the left audio channel to playback 50% to the left output and 50% to the right output, so that you hear the same audio from both outputs. If you want to change how much of the left (or right) audio channel goes to the left and right audio output, use panning controls. The timeline default setting is to show the volume on all audio tracks. You can change this on a track-by-track basis. To view panning, right-click on the track s track header and choose Show Panning. When an audio track s height is small, panning adjustments cannot occur. This makes it easier to grab clips.

301 Velocity User Guide 301 Adjust Panning on a Track When Stereo Panning is enabled via the Audio Routing Mono system setting, audio clips on the timeline may be panned left or right using the following options. Tip: To adjust panning on a track, right-click the track header and select Show Panning. Center and Channel Panning These options are only available when Stereo Panning is enabled. You can turn on this feature in the User Settings/Audio Routing Defaults. To view Pan-Center On the Timeline, right-click on an audio clip and select Audio Clip> Pan-Center. To view Pan-Channels 1 On the Timeline, right-click on an audio clip and select Audio Clip > Pan-Channels. The Audio Panning window opens. Copy/Paste Audio Attributes You can cut, copy and paste the attributes (volume, mute, and panning) to other audio clips. This is useful if you have multiple clips from the same location, microphone, etc. Right-click on an audio clip on the timeline and select Copy Audio Attributes. Right-click on another audio clip and select Paste Audio attributes. To apply the same audio settings to multiple clips, first select the clips you want to paste the settings to, then choose Paste Audio Attributes. You may choose to apply the effects on a frame basis, or on a percentage basis, which will scale the effect over time to fit the target clip. Voice Over The voice over feature is used to play a portion of a timeline while recording a new track of audio. Any real-time transitions and video effects will play back, as well as four tracks of audio of your choice. To create a Voice Over file 1 Mark an In point and an Out point on the timeline. In Point. Use the playhead to move to the point you would like playback to begin and press the shortcut I. Out Point. Move the playhead to the point you would like to stop and press the shortcut O.

302 302 Chapter 9: Audio If you do not mark an In and an Out point, playback begins at the start of the project and runs until you stop it. If you only mark an In point, playback begins from the In marker and continues to the end of the timeline. If you only mark an Out point, playback begins at the start of the project but ends at the Out marker. 2 From the Main menu, select Edit > Voice Over. The Voice Over window opens. 3 Adjust the controls as shown in the Voice Over window. Note that the default device is a plug-in microphone. 4 Press Record to begin playing the timeline from the In point and begin recording incoming audio. 5 Click Stop when you have finished recording your voice over track. The Voice over window closes. The new stereo audio tracks are placed on the timeline, lined up to the marked In point. They are placed on the uppermost available adjoining audio tracks. If no tracks are available, you are alerted to the problem. It is up to you to add a pair of audio tracks to your timeline and add the audio file from the gallery to the timeline.

303 Multicamera Editing This chapter contains information on using the Multicam interface for editing and using keyframe controls. Multicamera Editing Multicamera editing is a useful feature if you want to edit clips that show different angles of the same event. You can perform multicamera editing of up to four streams of simultaneous video, as in a multi-camera shoot. To start working in multi-camera mode, you must first lay out your captured video on the timeline. Normally, you will have the different camera angles synced up on various tracks on the timeline. Multi-select the clips from the different tracks. In and out points may vary, and the clips do not even have to overlap on the Timeline at all. If the audio for a selected track is muted, you will not be able to hear that audio in the multicam interface. Tip: From the Main menu, select Edit > MultiCam Edit, or right-click a blank space on the timeline and choose Multicam Edit. The tracks across the bottom of the window represent the clips you selected on the timeline. The clips are labeled with the numbers of the tracks they previously occupied on in the timeline. The currently selected track is blue, and the currently selected view has a red outline.

304 304 Chapter 10: Multicamera Editing Apply with Cuts Apply with Transitions If a particular point on one of the tracks has no clip, that camera shows black. Alignment Mode In the bottom left corner of the Multicam Edit screen is an Alignment button. If you click this button, the clips are aligned by timecode. So, for example, if you captured your clips without timecode, all your clips start at 0 (unless you have edited the clips timecodes). Click the Align button again to return the clips to the positions they held on the timeline. Clips that were captured with timecode can be aligned this way, also. If your clips have no overlapping timecode, the align option is not available. In the Multicam Settings window, there are two options for alignment mode: Slip and Move. You can also align clips by timecode before entering the Multicam Editing interface. Switching Between Tracks Switching between tracks is similar to live switching. Press the Play button to play the video from all tracks simultaneously in the left group of video windows. If the playhead is in a position where one of the clips hasn't started yet or is already over, the video window shows black. By default, you hear all tracks of audio selected unless they are muted. Right-click on the video images to live switch between video tracks. Or, press the number keys in the keyboard to switch between the appropriate number of cameras. You can also use the number keys to switch between these tracks. The video monitor connected to the Velocity s SDI output displays the selected camera during switching.

305 Velocity User Guide 305 The timeline at the bottom of the window updates dynamically to show what changes have been made. Discarded segments are grayed out, while sections that are to be retained remain 'clip blue'. When this stage of the editing is done, the Multi Camera Editing window has a series of non-overlapping blue boxes on the tracks. Use the playback controls to navigate between edit points, playback, frame ahead/back, or loop the playback of the edit. During this playback, the video still plays in the views, but the chosen view has a red border so the edits are visible. Drag the light blue playhead left and right to scrub the output. To preview the clips as they will be applied to the timeline, right-click in a gray area in the Multicam Editor window and select Play Output Only, Play Source Only or Play Both. If Play Output Only is selected, only the Timeline Monitor will display the Multicam edit for previewing. If Play Source Only is selected, only the camera monitors in the Multicam Editor window will display the clips during preview. If Play Both is selected, both scenarios just explained will occur simultaneously. To adjust the timing of your edits, scrub or play the video in the track windows. Click on the camera buttons to switch, or use the 1, 2, 3, 4, etc. keyboard shortcuts to alter your track edits. Press the Apply with Cuts button or Apply With Transitions button. If you use the Apply With Cuts button, the clips are sent to the timeline with straight cuts in between them. They are sent to the lowest-numbered of the original tracks. You can now adjust the cuts between clips on this one track using simultaneous edits and continue to maintain synchronization between them. If the Apply With Transitions button is used, the clips sent to the timeline with transitions in between them with the duration set in the Multicam settings. If there is insufficient media to create the default transition - for example, because you cut to a clip very shortly after it began originally on the timeline, or because two edits happen very close to each other, no transition is created. Load & Save Multicam files If you are performing edits in the Multicam interface and you realize that the edit may not be ready to apply to the timeline, you have the option to save a Multicam file to the RAID set which includes all of the Multicam edit information and come back to it later. To save a Multicam Layout 1 Right-click in a gray area in the Multicam interface and select Save. 2 Enter a name in the dialog that opens and press OK. The layout file is stored on the RAID set. To access a Saved Multicam Layout 1 Right-click in a gray area in the Multicam interface and select Load. A window displays listing all of the stored Multicam layout files on the RAID set. 2 Select the appropriate file and click OK. The appropriate layout displays in the Multicam interface.

306 306 Chapter 10: Multicamera Editing Multicam Settings To open the Multicam settings window, right-click on a gray area in the Multicam interface to open the Multicam settings window. User Defined Hotkeys. Press this button to open another window. In this window, you can change the keyboard shortcuts for various keyboard functions. For more information, see Hotkey in Chapter 4, Volume I. Place Edit Points Prior to Playhead During Playback & Smoothscrub. This is used to wait until the primary shot goes bad before switching cameras. Velocity adjusts the In points for you. When you check this option, the Timecode box beside it becomes available. The number in this box is the amount all edit points will be shifted to the left (earlier on the timeline). Transitions Duration. If you choose the Apply With Transitions option in the Multicam interface, the clips will be sent to the timeline with transitions that have the duration set in this field. If there is insufficient media to create the default transition for example, because you cut to a clip very shortly after it began originally on the timeline, or because two edits happen very close together, no transition is created. When this option is not checked, your multicam edit is applied to the timeline as cuts-only. Edit Synced Audio. If you chose to edit synced audio, the synced audio tracks are cut in the same places as the video tracks, and are still sync groups. If you chose not to edit synced audio, then the audio is unsynced and unedited. Tool tips. (Defaults to on) When checked, if you hover the mouse over buttons on the Multicam interface, markers appear to tell you the purpose of those tools. Once you are familiar with the interface, you may find this information not useful and irritating. In that case, turn it off (uncheck it). Condense edits to a single track. (Defaults to on) when checked, after you apply your multicam edit to the timeline, the clips all move to whichever location you chose in the video track drop-down menu. When this is unchecked, the trimmed clips remain on the tracks they were on before. Keep Original Clips. (Condensed clips go to the next available video track). If this option is enabled, the original clips remain in the same state and in the same location on the timeline after applying the Multicam edit. The condensed clips go to the next available video track on the timeline. This option is only available if the Condense edits to a single track option is enabled. Align Using Timecode These two options determine how Align using Timecode works (when you click the button in the bottom left corner of the Multicam Editor window). Move. This is the default setting for the Align tool. Clips are dragged, keeping their trimmed In and Out points, so that their timecodes are aligned. The In and Out with respect to the timeline change. Slip. Clips retain their timeline positions, but the trimmed In and Out of the clips is altered so the timecode of the clips matches at all points.

307 Using the Inscriber CG Inscriber TitleMotion GS is a full-reatured character generator that creates still, roll, crawl, and animation layouts for display to video. You can create layouts by adding objects to the CG workspace, customizing the object attributes, and setting their position and layering. Layouts can be created from scratch or can be based on pre-made templates. Inscriber with Velocity The Inscriber CG is included by default with Velocity ESX and XNG and can also be used with PRX. It is opened by right-clicking within the Gallery and selecting Inscriber. This opens Inscriber TitleMotion GS in a new window. Created CG files are saved into MediaBase in Velocity ESX, or saved to local.scribe files in XNG and PRX. Modification of CGs can be made by right clicking on them in the Gallery or Timeline and selecting Inscriber. This will re-open the Inscriber CG interface and allow saving to update or saving as to create a new file. Multiple CG files can be created in one session. New CGs can be started in the the blank frames of the Playlist Items list. Additionally, the current CG can be copied by dragging and dropping it in the Playlist Items list to the next blank frame. Existing CG clips in Velocity can be placed on any video track on the Timeline and will automatically key over lower layers or tracks. CGs created as stills will often playback without rendering. Animations, rolls, and crawls may need to be rendered to properly playback. Inscriber can be configured to stay open in the background, so that it need not be relaunched each time it is to be used from Velocity. To use Velocity PRX with Inscriber, the user must have permissions as a User or Admin. Inscriber must be installed on the IOL Servers that will be used to conform the Edit IDs sent from PRX. Tip: Inscriber uses a background still image of the Velocity Timeline for reference. Prior to entering Inscriber, place the playhead on the timeline in the position which represents the background over which you wish to create your CG. If you are modifying a CG, be sure not to include the old CG clip on the timeline when positioning the playhead. Otherwise, the background still will be built with the stale CG.

308 308 Chapter 11: Using the Inscriber CG Interface Overview The CG workspace contains the tools for creating your CG layouts, as well as the tools for outputting your layouts and for transferring resources between layouts and between other modules. To open the Inscriber, right-click on the Timeline and select Inscriber.

309 Velocity User Guide 309 Workspace Area CG Toolbar CG Workspace Tools Palette CG Editor Toolbar Attributes palette Library Palette Description The CG toolbar allows you to configure your layouts and your display. It also helps you navigate between the objects in the CG workspace. Create your layout by adding and positioning text, graphic, and logo objects in the CG workspace. You can also add a background to the layout. The workspace shows what your layout looks like as you work. Use the text, graphic, and logo tools from the Tools palette to draw objects in the CG workspace. The Tools palette also contains the Pointer and Selection tools, which allow you to select and transform your objects. The CG Editor toolbar contains tools to help you position, transform, and layer the objects in the CG workspace. The tabs in the Attributes palette help you change the attributes and appearance of your objects. To display the contents of a tab, click the tab name. Manage your styles and media with the Library palette. The Style Library helps you maintain a consistent look for your layout objects, and the Media Library stores commonly-used images, and clips. The CG Workspace Create your layout within the CG workspace. The CG workspace displays the layout as it will appear on your output, with a grey checkerboard pattern representing the video transparent areas. Layouts are made up of layout objects which you customize and position within the CG workspace. Right-Click Menus Right-click the CG workspace to view contextual right-click menus. These menus contain useful options for configuring the workspace.

310 310 Chapter 11: Using the Inscriber CG If you right-click a layout object, the menu displays options for working with that particular object. Cut/Copy/Paste Layout objects can be cut, copied, and pasted within the CG workspace. Use the following methods to cut, copy, and paste objects that are selected in the layout: Click the Cut, Copy, and Paste in the Main Toolbar. Select Edit > Cut, Edit > Copy, or Edit > Paste. Use the standard shortcut keys CTRL+X, CTRL+C, and CTRL+V. Objects are pasted at the center of the CG workspace. Undo/Redo CG contains unlimited Undo/Redo steps to help you correct mistakes. Use the following methods to undo and redo your actions: Click the Undo and Redo buttons in the Main Toolbar Select Edit > Undo or Edit > Redo. Right-click the CG workspace and select Undo or Redo. Use the standard shortcut keys CTRL+Z and CTRL+Y. The Tools Palette The Tools palette contains tools for adding text and graphic objects to your layout. Tools Palette

311 Velocity User Guide 311 Some of the buttons in the palette contain multiple tools. If the tool you are looking for is not visible in the Tools palette, hold the left mouse button on the visible tool. When the flyout menu appears, click the tool you want to use. Text and Graphic Tools Icon Name Icon Name Pointer Round Rectangle Selection Logo Text Field Vertical Text Field Text Constrained Field Paragraph Field Fixed-Width Paragraph Field Text Path Vertical Text Constrained Field Vertical Paragraph Field Vertical Fixed-Width Paragraph Field Round Corner Rectangle Wedge Spline Arc Polygon Oval Horizontal Guide Rectangle Vertical Guide In most cases, add objects to your layout by selecting a tool and either clicking in the CG workspace or drawing boundaries for the object. Work with Layouts A layout consists of all the components of an output screen. In CG you combine various objects to create layouts. These layouts are then output to video. Create new layouts by pressing the Add Default Event button at the bottom of the Playlist. Your CG workspace shows the new layout.

312 312 Chapter 11: Using the Inscriber CG When you launch CG a default layout is already created for you. Layout Objects Layouts contain objects that display customized text and graphics. CG offers six basic object types for you to use in your layouts: text objects, graphic objects, logo objects, and a layout background. Component Text Objects Description Text objects contain the text in your layout. You can constrain a text object to keep its size constant, or allow it to grow as more text is added. Paragraph text objects can contain multiple lines of text. You can also create text paths and vertical text. You can attach data tags to text objects. Data tags allow you to quickly update objects and to attach objects to external data sources. See Text Objects to learn more about text objects. Graphic Objects Graphic objects are shapes such as rectangles and circles. Use the graphic object tools to create simple shapes, polygons, lines, and splines for your layout. See Graphic Objects to learn more about graphic objects. Logo Objects Clip Objects The Layout Background Logos are a special class of objects. They display imported images that can be tinted and can contain alpha transparency. See Logo Objects for details on understanding and using logos in your layouts. Use clip objects to add full resolution, uncropped video clips to layouts. See Clip Objects for more information. The layout background is an object that cannot be edited with the Pointer or Selection tool. Backgrounds can consist of colored backgrounds, images, or video clips. See Layout Backgrounds for more information. Create Objects Add text and graphic objects to layouts by selecting the appropriate tool, placing the object in the layout, and defining its contents and appearance. Logo and clip objects can also be added to your layout using the Media Library. See The Media Library.

313 Velocity User Guide 313 Move Objects Use the Selection and Pointer tools to select and move your objects. You can also group your objects, which maintains their spacing when they are moved. To learn how to change the position, spacing, and orientation of your objects, see Manage Objects. Object Appearance Most objects consist of four different elements: a face, one or more edges, a depth, and a shadow. In most cases each element can also include a sheen. Change the attributes of the elements to customize the appearance and shape of the object. Create complex text and graphic styles by applying treatments to elements. You can store styles in the Style Library, and apply them to other objects in other layouts. To learn about object elements, see Object Elements. To learn about element treatments, see Element Treatments. To learn about the Style Library, see The Style Library. Display Options Use CG markers and guidelines to help place your text and graphic objects. The Display Options menu shows or hides guides and markers in the CG workspace. Guides and markers do not appear when layouts are output. 1 Click the Display Options button on the CG toolbar. The Display Options menu appears. 2 Select a menu option to show a marker or guideline. 3 Clear a menu option to hide a marker or guideline. You can also show, hide, and modify layout markers by right-clicking on the CG workspace and selecting an option from the right-click menu. Guides Horizontal and vertical guides help you position your layout objects. Select the Display Options > Show All Guides option to display the guides in the CG workspace.

314 314 Chapter 11: Using the Inscriber CG To add a horizontal guide to your layout, select the Horizontal Guide tool in the Tools palette and click the CG workspace. A horizontal guide is created. To add a vertical guide select the Vertical Guide tool and click the CG workspace. If the Snap to Guides option is checked in the Display Options menu, objects in your layout snap to the horizontal and vertical guides when the objects are moved. You can move a guide by selecting it with the Pointer or Selection tool and dragging it to another location. To delete a guide, select it and press the DELETE key. Screen Grid The screen grid allows you to snap objects to the grid for easier alignment. Select the Display Options > Screen Grid option to display the grid in the CG workspace. The grid does not appear on your layout output. To change the color, size, and transparency of the screen grid, select Display Options > Edit Screen Grid. The Screen Grid Editor sets the size and appearance of the grid. Click the Reset button to use the default settings. Screen Grid Editor If the Snap to Grid option is checked in the Display Options menu, objects in your layout snap to the grid when they are moved. Video Safe Title Area The video safe title area consists of 80% of the output screen, measured from the center of the screen outward in all directions. The video safe marker provides a guideline for placing text and graphic objects. To display the video safe title area, select the Display Options > Show 4:3 Title Safe Area. If you are working on a 16:9 layout you can choose to display either a 4:3 or a 16:9 video safe title area. If the Snap to Title Safe Area option is checked in the Display Options menu, objects in your layout will to the video safe title area when they are moved. Select Display Options > Edit Video Safe Area to change the size and color of the video safe title area.

315 Velocity User Guide 315 Adjust Workspace Zoom Zoom your layout display in or out to help you edit and position objects in your CG workspace. Select a zoom level from the Zoom drop-down list in the CG toolbar. Select a value from 25% to 400% to zoom your layout display in or out. To zoom in so that your selected object fills the visible CG workspace area, select the On Selected option. To zoom so that your layout fills the entire visible CG workspace area, select the Full Screen option. Select 100% to return your layout to the normal zoom level. Drag the scroll bars on the edges of the CG workspace to view layout areas that are off the edge of the workspace. Move Workspace Elements To move a toolbar or palette to a new position, click the edge of the workspace element and drag it to a new position in the workspace. Drag elements back to their original locations to snap them back into place. Text Objects CG offers a variety of text objects suited to specific needs in your layouts. Text objects can be constrained to keep their lengths constant and they can contain multiple lines of text. You can also create text paths and vertical text. Create Text Objects Use the appropriate text tool from the Tools palette to add a text object to a layout. Icon Tool Description Text Field Text Constrained Field For single lines of text. The field expands as text is entered. Pressing ENTER creates a new Text Field. For single lines of text. The field's width is constrained and the text gets smaller to fit the field. Pressing ENTER creates a new Text Constrained Field.

316 316 Chapter 11: Using the Inscriber CG Icon Tool Description Paragraph Field Fixed-Width Paragraph Field Text Path Vertical Text For multiple lines of text. The field expands as text is entered. Pressing ENTER creates a new line within the field. For multiple lines of text. The field's width is constrained and the text gets smaller to fit the field. Pressing ENTER creates a new line within the field. For single lines of text on a complex path. See Text Path Objects on page 318 for more information. For vertical text fields containing characters that are stacked on top of each other. See Vertical Text Objects on page 319 for more information about vertical text. To create a new text object in a layout 1 Select the appropriate text tool from the Tools palette. 2 Use the tool to add a text object to the CG workspace. When using an unconstrained text tool (like the Text Field or Paragraph Field tool) click the CG workspace to create the text object. When using a constrained text tool (like the Text Constrained Field or Fixed-Width Paragraph Field) click and drag in the CG workspace to place the text object and define its length. The new text object is added to the layout. The object contains a blinking text cursor. A New Text Constrained Field Edit Text Objects To use the Selection Tool to edit the text inside text objects 1 Select the Selection tool in the Tools palette. 2 Click a text object to place a text cursor inside.

317 Velocity User Guide 317 If the object already contains text you can select a range of text by holding down the CTRL key and dragging over the text. 3 Enter your text. The way the object handles text depends on whether it is constrained or unconstrained. If the text object is unconstrained, it expands to the right to fit your text. If the text object is constrained, the text gets smaller to fit within the object. 4 Pressing ENTER while editing a paragraph text object (like a Paragraph Field or a Fixed-Width Paragraph Field object) adds a new line to the text object. Figure 11-1 Add Lines to a Fixed-Width Paragraph Field Pressing ENTER while editing a single-line text object (like a Text Field or a Text Constrained Field object) creates a new text object below the one being edited. Figure 11-2 Add a New Single-Line Text Object Change the Selection/Edit Mode There are two modes you can use when working with text objects: Selection Mode and Edit Mode. Press the SPACEBAR and ESC keys to switch between the two modes. When you select a text object with the Pointer tool you are automatically placed in Selection Mode. In Selection Mode the entire object is selected. This is useful if you want to move, rotate, or change the attributes of the entire object. Press the SPACEBAR to switch to Edit Mode. When you select a text object with the Selection tool you are automatically placed in Edit Mode. In Edit Mode a text cursor is placed within the text object, allowing you to select and edit the text inside the object. Press the ESC key to switch to Selection Mode.

318 318 Chapter 11: Using the Inscriber CG Text Path Objects To use the Text Path Tool to place text along a Complex Spline Path 1 Select the Text Path tool in the Tools palette. 2 Click the CG workspace to place the first point of the text path. 3 Click the CG workspace to place the rest of your points. The spline is drawn in your workspace and a text cursor appears at the end of the spline. Tip: Hold the SHIFT key while clicking to make your point part of a curve instead of a straight line. 4 Edit the spline path s points as necessary. To move one of your points, position the Text Path tool or the Selection tool over the point until it becomes an arrow, then drag the point to a new position. To delete a point, position the Text Path tool or the Selection tool over the point until it becomes an arrow, then double-click the point. To change the curvature of a point, position the Text Path tool or the Selection tool over the point until it becomes an arrow, then hold the ALT key and drag the point s control handles. This creates convex and concave curves on either side of the point. You can continue to select and move the control points as long as you hold the ALT key. 5 Enter your text on the spline path.

319 Velocity User Guide 319 Vertical Text Objects Vertical text objects are used mainly for double byte languages such as Chinese, Japanese, and Korean, but they can be used with any language and any font. They allow you to enter characters from top to bottom and left to right on a layout. To add a vertical text object to your layout use the appropriate vertical text tool from the Tools palette. Icon Tool Description Vertical Text Field Vertical Text Constrained Field Vertical Paragraph Field Vertical Fixed-Width Paragraph Field For single lines of text. The field expands as text is entered, with the text itself remaining a fixed size. Pressing ENTER creates a new Vertical Text Field. For single lines of text. The field s height is constrained and the text gets smaller to fit the field. Pressing ENTER creates a new Vertical Text Constrained Field. For multiple lines of text. The field expands as text is entered. Pressing ENTER creates a new line within the field. For multiple lines of text. The field s height is constrained and the text gets smaller to fit the field. Pressing ENTER creates a new line within the field. To toggle your text objects between Horizontal and Vertical text 1 Select a horizontal text object. 2 Switch to the Attributes tab in the Attributes palette. 3 In the Paragraph section of the Attributes tab, click the Vertical Orientation button. The horizontal text object changes to a vertical text object. 4 To switch vertical text to horizontal text, click the Horizontal Orientation button in the Paragraph section of the Attributes tab.

320 320 Chapter 11: Using the Inscriber CG You can also toggle the orientation of text objects by right-clicking them and choosing Vertical Text Orientation or Horizontal Text Orientation from the right-click menu. View the Text Baseline You can choose to show or hide the text baseline for selected text objects. The letters in most fonts sit directly on the baseline, and the descenders extend below the baseline. To show or hide the text baseline, click the Display Options button and select or clear the Text Baseline option. Text Object Attributes Use the controls in the Attributes tab to change text options such as font style, rotation, text size, alignment, and spacing. You can also customize the way your object behaves when text is added to it and what happens when ENTER and TAB are pressed. The Attributes tab contains a Paragraph tab and a Text Object Properties tab. Click either tab to display its options. Text Font A font is a complete set of type in a particular face. The face is the design of the font. Some fonts contain standard alphanumeric characters, while other fonts contain only special symbols. The fonts on your system are available for all Windows applications and they are specific to each computer. If you work on multiple computers you need to be sure that the same fonts are installed on each one. To change the font for your text objects 1 Select a text object. Tip: To select only some of the text in your object, select the Selection tool in the Tools palette, hold the CTRL key, and drag your cursor over the text you want to select. 2 Switch to the Attributes tab of the Attributes palette.

321 Velocity User Guide In the Formatting section of the tab, open the Font drop-down list. The fonts that are installed on your system are displayed in the list. 4 Select the font you want to use. Your selected text changes to the new font. 5 Click the Style buttons in the Paragraph section of the Attributes tab to apply different font styles to your text. Font Styles Button Description Click the Bold button to switch to the bold variation of your selected font. If the font does not have a bold variation, CG automatically thickens the text for you. Click the Italic button to switch to the italicized variation of your selected font. If the font does not have an italicized variation, CG automatically slants the text for you. Click the Underline button to underline your text. Click the Small Caps button to apply small caps to your text. All lower case letters in your selection change to upper-case letters displayed at a percentage of the normal upper case size. Upper case letters, numbers, and punctuation symbols are not affected Font Size You can change the size of the text inside your text object, and you can also change its aspect ratio to make it wider or narrower. To adjust the font 1 Select a text object. To select only some of the text in your object, select the Selection tool in the Tools palette, hold the CTRL key, and drag your cursor over the text you want to select. 2 Switch to the Attributes tab of the Attributes palette. 3 In the Formatting section of the tab, use the Size and Aspect Ratio controls to change the height and width of your text. To change both the height and width of your selected text enter a new value in the Size field. To change only the width of your selected text enter a new value in the Aspect Ratio field. Higher values make your text wider and smaller values make your text narrower.

322 322 Chapter 11: Using the Inscriber CG When text expands beyond the current height or width of a text object, the object formats its text depending on the constraints in its text object properties. Default Text Object Behavior when Resizing Text Text Object Type Text Field Text Constrained Field Paragraph Field Fixed-Width Paragraph Field Behavior The size of Text Field objects is not constrained. Objects become larger or smaller to fit the size of the text inside. The width and height of Text Constrained Field objects are constrained. If the text becomes too tall to fit inside the object, the text grows wider as its size increases. If the text becomes too wide to fit inside the object, the text grows taller. You are unable to increase the size or aspect ratio of text that completely fills a Text Constrained Field. The size of Paragraph Field objects is not constrained. Objects become larger or smaller to fit the text inside. The width of Fixed-Width Paragraph Field objects is constrained, but the height is not. If the text becomes too wide to fit within the paragraph the text wraps to the next line, creating a new line if necessary. To customize the behavior of text objects, see Text Object Properties. Relative Embellishments By default the size of an object s embellishments (edge, depth, and shadow) remain constant as its size changes. Select the Relative Embellishments checkbox in the Paragraph section of the Attributes tab to scale an object s embellishments as its size changes. Text Alignment To use the Attributes tab to change the alignment of your text The text within Text Field objects cannot be aligned because the text always fills the object. 1 Select a text object. 2 Switch to the Attributes tab of the Attributes palette. 3 In the Paragraph section of the tab, click the Alignment buttons to change the way your text lines are aligned.

323 Velocity User Guide 323 Button Description Click the Align Left button to align your text to the left edge of the object. Click the Align Center button to center your text inside the object. Click the Align Right button to align your text to the right edge of the object. Text Leading Leading refers to the amount of space between lines of text. In CG, leading is the number of scan lines between the lowest possible descender in one line and the highest possible ascender in the next line. The value in the Leading field in the Paragraph section of the Attributes tab represents the number of scan lines used between lines. Text Kerning The kerning value determines how much space is used between pairs of characters. Kerning is measured as the number of pixels added to or subtracted from the normal character spacing for the current font. Kerning lets you adjust the spacing between one or more letters, which is useful for displaying characters with very wide ascenders or descenders. Kerning can also be used to achieve special typographic effects. To change the kerning after a single character, select the character and change the value in the Kerning field. To change the kerning between all of the characters in a text object, change the value in the Kerning field with no characters selected. Text Object Properties To use the Text Object Properties options to customize your text object behavior 1 Select a text object. 2 Switch to the Attributes tab in the CG Attributes toolbar and click the Text Objects Properties section. 3 Change the settings in the Text Object Properties section to customize the behavior of your selected text object.

324 324 Chapter 11: Using the Inscriber CG Lock the Object Height Select the Lock Object Height checkbox to prevent the text field s height from changing as more text is entered. When checked, new lines of text are added to the text field by shrinking the height of the existing text. You can also lock an object s height by right-clicking it and choosing Constrain > Lock Object Height. Lock the Object Width Select the Lock Object Width checkbox to prevent the text field s width from changing as more text is entered. When checked, additional controls set how the object behaves when text fills the text object: When the Constrain Text to Width control is checked the text in the field gets narrower to fit new text. Otherwise, any new text is placed outside the field and is not displayed unless the object is enlarged. The Enable Word Wrapping radio button appears when the text object s height is unlocked. When word wrapping is enabled your text is wrapped to a new line when you type beyond the edge of the field. You can also lock an object s width by right-clicking it and choosing Constrain > Lock Object s Width. Create New Text Object with Enter When the Create New Text Object with Enter checkbox is checked, pressing the ENTER key creates a new text object below the current text object. Otherwise, pressing ENTER creates a new line within the existing text object. Cursor Use the Cursor drop-down list to set the way the text cursor behaves when you select the text object. When the Insert Cursor is chosen, the text cursor appears within the text object when it is selected. This is useful for fields that need to be frequently edited without being completely re-written. The Insert cursor is the default cursor. When the Auto-Erase cursor is chosen, all of the text within the text object is selected when you click the object. This is useful for fields that are frequently re-written, such as sports scores. When the Lock Content cursor is chosen you will be unable to edit the text within the text object. You can unlock the object again by selecting it and choosing a different cursor.

325 Velocity User Guide 325 Text Object Size Every CG object is surrounded by an outline rectangle with grab handles at each corner and at the midpoints. Drag these grab handles to change the size of the object. For more precise sizing use the controls in the Text Object Properties section of the Attributes tab. To change the size of an object with its Grab Handles 1 Select one or more text objects in the CG workspace. 2 Select the Pointer tool or the Selection tool from the Tools palette. 3 Click and drag one of the grab handles to resize the object. Use the midpoint grab handles to resize only the vertical or horizontal dimension of the object, and use the corner grab handles to change both the height and width. When you release the mouse button CG redraws the object to the new size. The handle opposite to the one you dragged remains anchored. Pointer Tool Selectio Tip: Tip: To maintain the object s aspect ratio, hold the SHIFT key while dragging the grab handle. To keep the object centered while changing its size, hold the ALT key while dragging the grab handle. To change the size of an object with the Attributes tab 1 Select one or more objects in the CG workspace. 2 Switch to the Attributes tab in the Attributes palette. 3 Click the Text Object Properties section of the tab. 4 Change the values in the Height and Width fields. The object formats your text depending on the constraints of its text object properties. Text Object Type Behavior Text Field The size of Text Field objects is not constrained. The size and aspect ratio of the text changes to fit the size of the object.

326 326 Chapter 11: Using the Inscriber CG Text Object Type Behavior Text Constrained Field Paragraph Field Fixed-Width Paragraph Field Increasing the height or width of a Text Constrained Field does not change the size of the text inside the object. If the height or width of the object is decreased so that the text can no longer fit inside, the text s size and aspect ratio change to fit inside the object. The size of Paragraph Field objects is not constrained. The size and aspect ratio of the text changes to fit the size of the object. The height of a Fixed-Width Paragraph field cannot be changed by dragging its handles. When the width of the object is changed, the text inside will wrap to best fit the inside of the object, adding or removing paragraph lines as necessary. The size of the text itself does not change. To customize the properties of your text objects, see Text Object Properties. Spell Check Text To spell check the text in a layout, right-click the CG workspace and select Spell Check from the right-click menu. You can also spell check a specific object by right-clicking it and choosing Spell Check from the menu. Graphic Objects Graphic objects are used to add colorful broadcast elements behind text, such as lower thirds and panels. Use the graphic tools in the Tools palette to create simple shapes such as ovals, rectangles, wedges, and arcs. The polygon and spline tools allow you to create more complex objects that consist of multiple bezier curves.

327 Velocity User Guide 327 Figure 11-3 Graphic Objects To add a graphic object to your layout, use the appropriate tool from the Tools palette. In most cases you add graphic objects to a layout by selecting a tool and drawing the object in the CG workspace. Simple Shapes CG provides a variety of simple shapes that can be quickly added to your layout. You can create rectangles, wedges, arcs, ovals, round rectangles, and round corner rectangles. Tool Name Tool Name Rectangle Wedge Arc Oval Round Rectangle Round Corner Rectangle To create a new simple graphic object in a layout 1 Select the appropriate graphic tool from the Tools palette. 2 Click and drag in the CG workspace to place, size, and orient the graphic object. To center the graphic where you clicked in the CG workspace, hold the ALT key while dragging. Otherwise, the point you clicked becomes one of the graphic s corners. Hold the SHIFT key while dragging to constrain the graphic s aspect ratio to 1:1. This ensures that circles and squares are perfectly constrained. To change the horizontal or vertical orientation of the graphic, drag the selected handle through the opposite boundary of the graphic. The graphic flips in the direction you drag.

328 328 Chapter 11: Using the Inscriber CG Change Graphic Object Size Every CG object is surrounded by an outline rectangle with grab handles at each corner and midpoint. Use these grab handles to change the size of the object. 1 Select a graphic object in the CG workspace. 2 Select the Pointer tool or the Selection tool from the Tools palette. 3 Click and drag one of the handles to resize the object. Use midpoint grab handles to resize only the vertical or horizontal dimension of the rectangle, or use corner handles to resize both the horizontal and vertical dimensions. When you release the mouse button, CG redraws the object to the new size. The corner or midpoint opposite to the one you grabbed remains anchored. Tip: Tip: To maintain your object s aspect ratio, hold the SHIFT key while dragging the grab handle. To keep your object centered while changing its size, hold the ALT key while dragging the grab handle. To use precise sizing use the controls in the Attributes tab 1 Select a graphic object in the CG workspace. 2 Switch to the Attributes tab of the Attributes palette. 3 In the Formatting section of the tab, use the Width and Height controls to change the height and width of your graphic. Relative Embellishments By default the size of your object s embellishments (edge, depth, and shadow) remain constant as the object s size changes. Select the Relative Embellishments checkbox on the Attributes tab to scale your object s embellishments as its size changes. Logo Objects Logos are commonly used for station identification images, corporate logos, or product logos. They let you add complex images with detailed alpha information in your layouts. If the CG graphic tools are not sufficient to allow you to create a graphic layout, you can use Paint or a third-party program to create a graphic and add it to your layout.

329 Velocity User Guide 329 Logos are special graphic objects that can mix the face color with a bitmap image. You can scale and position logos anywhere in the layout. Any alpha transparency in the logo is maintained, allowing you to add edge, depth, and shadow elements which follow the logo s contour. Logos can also be inserted inside text objects using the Selection tool and the Media Library. Add a Logo Object You can add logo objects to your layout by either drawing the logo object with the Logo tool or by dragging images from the Media Library. To add a logo with the Logo Tool 1 Select the Logo tool from the Tools palette. 2 Click and drag in the CG workspace to place, size, and orient your logo object. To center your logo where you clicked in the CG workspace, hold the ALT key while dragging. Otherwise, the point you clicked becomes one of the logo s corners. Hold the SHIFT key while dragging to constrain your logo s aspect ratio to 1:1. 3 Switch to the Attributes tab of the Attributes palette. 4 In the Logo Details section of the tab, click the Add button and select the image file you want to use for your logo. The image is applied to your logo object. To add a Logo Object from the Media Library 1 Switch to the Media tab of the CG Libraries palette. If the logo you want to use is not already stored in one of the library boxes, see The Media Library on page 341 to learn how to add media to the Media Library.

330 330 Chapter 11: Using the Inscriber CG 2 Grab the media box containing your logo and drag it to the CG workspace. 3 Drop the logo in the CG workspace. The logo object is added to your layout. Double-clicking a library box in the Media Library adds a full-sized logo object to your layout. Add Logo Embellishments Logo objects allow you to add edge, depth, and shadow embellishments which follow a logo s alpha information. Many software packages let you create an alpha channel for your images. If your logo contains an alpha channel, CG reads this information and applies it to the logo object allowing you to add edges, depths, and shadows which recognize the logo s transparent areas. Logo Mix Tint the original color of the image by mixing it with a treatment. The tint options for logo objects are on the Face tab. 1 Select a logo object. 2 Switch to the Face tab of the Attributes palette. 3 Select a treatment in the Treatment drop-down list. For more information about treatments see Element Treatments on page Set the color and sheen for the object s face. 5 Change the mix between the logo image and the face color by dragging the Mix slider. You can also enter a value in the mix field. 0% shows only the logo image and 100% shows only the face color.

331 Velocity User Guide 331 Change Logo Image You can change a logo s image by adding a new image file on the Attributes tab, or by right-clicking the logo and choosing the Change Image option. Constrain a Logo An object s Constraint method sets the way a logo image is placed within the object s boundaries, and how it behaves when the object is resized. Use the Attributes tab to change the Constraint method. 1 Select the Logo tool in the Tools palette. 2 Click and drag in the CG workspace to place, size, and orient the empty logo object. 3 Switch to the Attributes tab of the Attributes palette. 4 In the Logo Constraints section of the tab select a Constraint method. These methods determine how the logo object behaves when you apply an image file to it. Button Description The logo image is sized to fill the object. The object becomes the size of the logo s image file. Maintaining the object s current width, the lower boundary of the object moves to fit the image file. Maintaining the object s current width, the upper boundary of the object moves to fit the image file. Maintaining the object s current height, the right boundary of the object moves to fit the image file. Maintaining the object s current height, the left boundary of the object moves to fit the image file. 5 In the Logo Details section of the tab, click the Add button and select the image file you want to use for the logo. The image is applied to the logo object according to the Constraint method. 6 If you change the size of the logo object, selecting a Constraint method changes the object boundaries or the image size accordingly.

332 332 Chapter 11: Using the Inscriber CG Clip Objects Use clip objects to add full resolution, uncropped video clips to layouts. Video clips can also be applied as Active Textures to existing objects in your layouts. You must have the Clip Option enabled on your system before you can use clips and Active Textures. Supported Video Clips An appropriate codec must be installed on your system before you can play video clips. There are many different ways of encoding video clips, and video clip codecs allow your system to decode particular clip types. Computer operating systems come with some pre-installed codecs, but some specialized codecs must be purchased from third-party companies and installed on each system in order to play back those codec types. CG supports any codec that is installed on your computer. For instance, if your computer has access to the codec for playing back a particular type of.avi file, CG will also be able to play that type of.avi. CG also supports matte.avi files which include transparency information. By setting a clip s playback options you can keep or ignore the transparency. Add a Clip Object You can add clip objects by either applying a clip to the face of an existing object or by inserting clips with the Media Library. To add a new full resolution clip to your layout 1 Switch to the Media tab of the CG Libraries palette. If the video clip you want to use is not already stored in one of the library boxes, see The Media Library on page 341 to learn how to add media to the Media Library.

333 Velocity User Guide Double-click the media box containing the video clip. A new clip object is added to your layout with the video clip applied to its face. To add a clip object to the face of an existing object 1 Select an object in your layout. 2 Switch to the Face tab in the Attributes palette. 3 When you apply a clip to the face element of an object, all the other elements will adopt the clip as well. 4 Select the Active Texture treatment from the Treatment drop-down list. 5 In the Color section of the tab, click the Add button and select the video clip you want to use. The clip is applied to all of the elements in your object. Clip Playback Options Use the Face tab s Texture section to set how your clip is played. Enter a Start Delay for the clip to prevent the clip from playing until the delay has elapsed. Select the Ignore AVI Transparency checkbox to ignore an alpha channel in matte.avi media files. Select the Invert Field Order checkbox to invert the field order of your clip. You may need to do this if your clip appears jerky when you play the layout. When the display time of the layout is longer than the clip length, the clip automatically loops. To stop a clip from looping once it has finished playing clear the Loop the Playback checkbox. Clip Alignment and Transparency Since clips are usually full resolution objects it is not usually necessary to change the clip object s alignment or transparency. By default clips are aligned to the object s face and 100% opaque. When video clips are being used as Active Textures the alignment and transparency of video clips become more important.

334 334 Chapter 11: Using the Inscriber CG Change Video Clip Use one of the following methods to change the video clip assigned to a clip object: Select the clip object and add a different video clip using the Face tab in the Attributes palette. Select the clip object and click the new video clip in the Media Library. Right-click the clip object and select the Change Media option. Object Elements Every object in your layout consists of four different elements: a face, one or more edges, a depth, and a shadow. In most cases the elements can also include a sheen. Customize the appearance of these elements by adjusting their settings and applying treatments to them. When you change the size of an object, the size of the object s depth, edges, and shadow remain constant. Select the Relative Embellishments checkbox on the Attributes tab to scale an object s embellishments as its size changes. Since Relative Embellishment sizes are set according to the object s size, they are generally much smaller than they are when Relative Embellishments is cleared. The Face Element The face is the actual shape of the object. It is the top element of the object unless it is overlapped by one or more inside edges. Use the Face tab to change the appearance of selected objects. Select a treatment from the Treatment list. The treatment you select determines the color, image, and active texture choices available for the face. See Element Treatments to learn how to use treatments. Create a sheen for the object s face using the Sheen section of the tab. See Sheen Elements to learn how to create sheens.

335 Velocity User Guide 335 Edge Elements Edge elements completely surround the face of the object. You can add an unlimited number of edges to your object, and they can either overlap the face or extend beyond the face. Use the Edge tab to add, edit, and remove edges for selected objects. By combining edges you can turn multiple objects into a complex shape with one or more continuous edges. Add an Edge Each edge in an object can either overlap or extend beyond the face, and each edge can have its own sheen element. The object s edges are displayed in the Edge tab s Defined Edges list. The edge at the top of the list is the innermost edge, and the edge at the bottom is the outermost edge. The Settings and Sheen sections of the Edge tab allow you to edit the properties of the currently-selected edge. To add an edge, click the Add Edge button. A new edge is added to your object. New edges automatically become the outermost edge and appear at the bottom of the Defined Edges list. Edit an Edge You can rearrange your edges, set their widths, add sheens, and add treatments to them. You can also set how they behave when the object is resized. To edit an Edge 1 Select it in the Edge tab s Defined Edges list and use the controls in the Settings section of the tab. 2 Set the position for an edge: Select the Outside Edge radio button to display the edge outside the object s face and any other outside edges. If you switch an edge from the inside to the outside of an object it automatically becomes the outermost edge.

336 336 Chapter 11: Using the Inscriber CG Select the Inside Edge radio button to display the edge inside an object s face and any other inside edges. If you switch an edge from the outside to the inside of an object it automatically becomes the innermost edge. 3 Enter the width of the edge in the Edge Width field. 4 Select a treatment for the edge from the Treatment list. The treatment determines the color, image, and active texture choices available for the edge. See Element Treatments to learn how to use treatments. Create a sheen for the edge using the controls in the Sheen section of the Edge tab. See Sheen Elements to learn about sheens. Remove an Edge To remove an edge from an object, select the edge you want to remove in the Defined Edges list and click the Remove Edge button. The edge is removed and the other edges move to fill the gap if necessary. Combine Edges By default the edges of objects overlap the faces and edges of the objects beneath them. Use the Combine Edges button to bring several objects together onto one layer, causing their edges to disappear behind the overlapping faces. This is most effective when you have overlapping graphic objects with identical face and edge settings. Combining their edges creates the appearance of a composite object with a combined edge. To combine the edges of objects, select two or more objects and click the Combine Edges button in the CG Editor toolbar. The edges of the objects disappear where their faces overlap. Combining the edges of two or more objects moves them all to the same layer. If you need to bring the combined objects forward or send them backward in the layer list, be sure to select all of the combined objects before you change their layer. See Layer Objects to learn about layering your objects. To stop an object from combining its edges, select it and move it up or down a layer. The object moves ahead or behind the other objects, separating its edges.

337 Velocity User Guide 337 The Depth Element The depth element extends away from an object at an angle, giving it the appearance of thickness and depth. The depth element can have a sheen applied to it. Use the controls on the Attributes palette s Depth tab to change the depth properties of selected objects. 1 Set the total distance of the depth element using the Depth control. 2 Choose to place the depth inside or outside of the object s outer edges. Click the Inside button to position the depth element inside any outer edges defined for the object. The edges surround the depth element. Click the Outside button to position the depth element outside the edges of your object. The depth extends outwards from the object edges. 3 Select a treatment from the Treatment drop-down list. The treatment determines the color, image, and active texture choices available for the depth. See Element Treatments to learn how to use treatments. Create a sheen for the object s depth using the Sheen tab inside the Depth tab. See Sheen Elements on page 338 to learn about sheens. The Shadow Element The shadow element appears behind all the other elements in an object. It is a color or pattern that is offset from the face and edge by a specific number of pixels. Shadows add depth to flat 2D objects and provide an additional way of adding visual interest to your layouts. Use the Shadow tab s Settings section to change an object s shadow properties. 1 In the Settings section of the tab, set the offset distance of the shadow element using the Offset control. 2 Set the shadow s blur with the Blur control. A greater value produces a softer, more diffuse shadow. 3 Use the Glow control to set the amount of glow in your shadow. A larger glow value spreads the shadow out from beneath your object in all directions. 4 Use the Angle control to change the angle of the shadow. 5 Select a treatment from the Treatment drop-down list. The treatment you select determines the color, image, and active texture choices available for the shadow. See Element Treatments to learn about treatments.

338 338 Chapter 11: Using the Inscriber CG Create a sheen for the shadow using the Sheen section of the Shadow tab. See Sheen Elements on page 338 to learn how to create sheens. Sheen Elements A sheen refers to a band of color that cuts through an element, like a focused highlight. You can add a sheen to any of the visible elements in an object except elements using the active texture treatment. 1 Select an object. 2 Select the element you want to add a sheen to by switching to the Face, Edge, Depth, or Shadow tab. 3 If you are adding a sheen to an edge, select the edge you want to edit from the Defined Edges list. 4 Use the controls in the Sheen section of the tab to define the element s sheen. Select the Apply Sheen checkbox to add a sheen to the element. To remove the sheen, clear the Apply Sheen checkbox. Click the Color drop-down list to select the color for the sheen. Use the Width control to set the width of the sheen. Use the Offset control to set the offset of the sheen. Offset determines the sheen s position on the element. Higher offset values move the sheen toward the top of the element, and lower values move the sheen toward the bottom. An offset of zero places the sheen in the middle of the element. Use the Angle control to rotate the sheen. If you are adding a sheen to an edge element, click the Apply to All Existing Edges button to add an identical sheen to all of your object s edges. Figure 11-4 Add a Rotated Blue Sheen to a Graphic Object Element Treatments One treatment can be applied to each element in a layout object. These treatments dictate the color, image, and Active Texture choices available for the elements they are applied to. A treatment can also be applied to the layout background. See Layout Backgrounds. The Solid Color treatment adds a single color to an element.

339 Velocity User Guide 339 The Linear Gradient, Radial Gradient, and 4 Color Gradient treatments add a mix of colors to an element. The Image treatment adds an image file to an element. The Active Texture treatment adds a moving image to an element. You must have the Clip Option activated on your system before you can add Active Textures and clip objects to your layouts. The None Treatment makes an element completely transparent. You can add Beveled Edge and Tube Edge treatments to edge elements. Apply a Treatment To apply a treatment to an object 1 Select one or more objects in the CG workspace. 2 Select the element you want to edit by switching to the Face, Edge, Depth, or Shadow tabs in the Attributes palette. 3 If you are editing an edge, select the edge you want to edit from the Defined Edges list. 4 Select the treatment you want to apply from the Treatment drop-down list. Use the controls in the tab to customize the treatment. See the sections below for an explanation of the controls for each treatment. Mix and Manage Colors Customizing treatments often involves choosing one or more colors. Click a color drop-down list to select a color using the Color Palette. Transparency Many treatments allow you to set a transparency value with a slider control. Drag the slider to the right to select 100% transparency (completely invisible), and drag it to the left to select 0% transparency (completely opaque). You can also enter a transparency percentage in the number field. The Style Library Styles are sets of attributes for CG objects. Attributes include the sizes, fonts, colors, and treatments of object elements.

340 340 Chapter 11: Using the Inscriber CG The Style Library collects and organizes the styles in your layout. It provides a quick and easy way to re-use styles within CG without needing to recreate them for every object. By building a list of commonly-used styles you can apply a standardized look to the text and graphic objects in a layout. The Style Library also lets you transfer styles between the layouts in your playlist, and your styles can be saved and loaded using the Styles Library Manager. To access the Style Library, switch to the Styles tab of the CG Libraries palette. All the styles display according to your current view settings. Hold the mouse cursor over a style to view the style s number, name, and attributes. Add a Style to the Library Once you have set the attributes and treatments of an object, add the object s style to the Style Library. 1 Select the text or graphic object in the layout. 2 On the Styles tab of the CG Libraries palette, select Menu > Add Style to Library. The Style Name dialog opens. 3 Give the style a number and a name. 4 Click OK. The style is added to the Style Library. Apply a Style to an Object Once you have added a style to the Style Library, you can apply the style to other objects in the layout. Select the objects you want to apply the style to and use one of the following methods: 1 Click the style in the Style Library. 2 Right-click the style in the Style Library and select Apply Style. 3 Within the Style Library, select Menu > Apply Style. 4 Drag the style from the Style Library and drop it on the object. This method works if you have only one object selected.

341 Velocity User Guide 341 Set as Default Style If you want all new objects to be created with a specific pre-made style, set that style as the default style. Within the Style Library, right-click a style and select Set as Default Style. All new objects are created with the default style. The Media Library Use the Media Library to create a standardized collection of images, and video clips. The Media Library makes it easy to re-use media within CG without needing to repeatedly import media files. It also allows you to quickly drag media objects into your layout, into existing layout objects, or into layout backgrounds. You can use the Media Library to transfer media between the layouts in a playlist. When you save a layout the Media Library is saved with it. To access the Media Library, switch to the Media tab of the CG Libraries palette. The stored media is displayed according to the current view settings. Hold the mouse cursor over a media box to see the file location, name, and type of the media. You must have the Clip Option enabled on your system before you can add video clips to layouts or the Media Library. Add Media to the Library Add image files and video files to the Media Library using one of the following methods: Right-click a library box and select Add Media to Library. Click the Plus button at the bottom of the Media tab. Within the Media Library, select Menu > Add Media to Library. When the Open dialog appears, select the image files or video files you want to add and click the Open button. The media is added to the library. Apply Media Add a Logo Object Logos are special graphic objects that mix a face color with a bitmap image. They are commonly used for station identification images, corporate logos, or product logos. To add a logo object to a layout with the Media Library, grab the media box containing the logo and drag it to the CG workspace. The logo object is added to the layout. You can also double-click a library box in the Media Library to add a full-sized logo object to the layout.

342 342 Chapter 11: Using the Inscriber CG See Logo Objects for information about adding embellishments, tints, and constraints to logos. Add a Clip Object Clip objects are commonly used to add full resolution, uncropped video clips to layouts. To add a new clip to a layout with the Media Library, grab the media box containing the clip and drag it to the CG workspace. The clip object is added to the layout. You can also double-click a library box in the Media Library to add a full-sized clip object to the layout. See Clip Objects for information about setting clip alignment, transparency, and playback options. You must have the Clip Option enabled on your system before you can add video clips to layouts or the Media Library. Add an Active Texture Treatment to an Object Add a video clip to an object element to apply a moving image to text and graphic objects. Active Textures are commonly looped video clips used to add texture and motion to several layout objects. To apply an Active Texture to an object using the Media Library 1 Select the Pointer tool in the Tools palette. 2 Select the object you want to edit. 3 In the Media tab of the CG Libraries palette, grab the media box containing the video clip and drag it to the object. 4 Drop the Active Texture in the object. The Active Texture is applied to all the elements in the object. You must have the Clip Option enabled on your system before you can add Active Textures to layouts or the Media Library. Add Media to the Background To add media to the background of a layout, select the media you want to apply and click the Apply to Background button at the bottom of the Media Library. See Layout Backgrounds to learn more about layout backgrounds. Manage Objects CG provides many ways of selecting, arranging, and organizing the objects in your layouts. Objects are selected with the mouse or with the keyboard, and they can be easily moved, aligned, and distributed. They can also be grouped in order to maintain their position.

343 Velocity User Guide 343 Use the Layer buttons in the CG Editor Toolbar to change the layering of your objects, to control the way they overlap in the layout. Sometimes it is easiest to select and edit large numbers of objects in a tree view. Use the Layout Tree View window to select, layer, lock, duplicate, name, and delete objects. Select Objects You must select objects before you can modify or position them in the layout. CG provides a Pointer tool to help you select and manipulate objects, and a Selection tool to give you more control over the text and control points within the objects. When you double-click an object you automatically switch to the Selection tool. Pointer Tool Selection Tool Pointer Tool Selection Tool Overview Graphic Object Selection Spline Object Selection Text Object Selection Duplicate Objects Moves, modifies, rotates, duplicates, and scales objects. Selects the entire object. Selects the entire object. Selects the entire object. Hold the ALT key and drag an object to duplicate it. Moves, modifies, rotates, and scales objects. Selects control points and text. Selects the entire object. Selects the object and automatically displays all the control points within the spline. Drag the control points to edit the spline shape. Selects the object and automatically places a text cursor inside the object. Hold the CTRL key and drag the mouse cursor to select a range of text. Objects cannot be duplicated with the Selection tool.

344 344 Chapter 11: Using the Inscriber CG Select Objects with the Mouse To use the Pointer or Selection Tool to select objects 1 Select either the Pointer or Selection tool. 2 Select an object. The object is outlined with a selection boundary. If you select a text object with the Selection tool, a text cursor is automatically placed in the text. If you select a spline object with the Selection tool, the control points in the spline are automatically visible. Otherwise, the entire object is selected. To select a range of text within a text object, hold the CTRL key and drag the Selection tool over the text you want to select. You can also hold the SHIFT key and press the LEFT ARROW and RIGHT ARROW keys to expand the text selection. 3 To select the next object in the layout, click the Next button in the CG toolbar. To select the previous object click the Previous button. Tip: If you want to select multiple objects so you can change their position or attributes simultaneously, hold the SHIFT key as you click the objects. You can also draw a selection boundary around the objects you want to select. Figure 11-5 Select Multiple Items with a Selection Boundary In large layouts with overlapping objects it is sometimes easiest to select objects with a tree view. See Layout Backgrounds for more information. Select Objects and Text with the Keyboard To use the ARROW keys and the TAB key to quickly navigate between objects in a layout 1 Select an object with either the Pointer or the Selection tool. 2 Use the ARROW keys to navigate between objects or to navigate within paragraph objects.

345 Velocity User Guide 345 Pointer Tool Selection Tool If the entire object is selected, press the DOWN ARROW key to select the next object in the layout. Press the UP ARROW key to select the previous object in the layout. If the text cursor is within a paragraph object, press the DOWN ARROW key to move down through the paragraph lines and press the UP ARROW key to move up through the lines. When the cursor is on the last line, press the DOWN ARROW key to move to the next item in the layout. Pressing the UP ARROW key when the cursor is on the first line selects the previous item in the layout. Tip: To select text within a text object, hold the SHIFT key while pressing the ARROW keys. A range of text is selected. 3 Use the TAB key to navigate between objects. Switch the Selection Mode before using TAB to navigate between text objects, otherwise a tab stop is added to your text. a b c When your text cursor is blinking in a text object, press the ESC key to switch to Selection Mode. Your text cursor is removed from the text object. Press the TAB key to move to the next object in the layout, and press the SHIFT+TAB key to move to the previous object in the layout. If you want to edit a selected text object, press the SPACEBAR to enter Edit Mode. A text cursor appears in the text object, allowing you to edit the text. Position Objects There are several ways to position and orient the objects in a layout. They can be moved with the Pointer and Selection tools, the keyboard, the Position fields, or the Nudge buttons. Their spacing relative to each other or to the layout can be changed with the Alignment and Distribution menus. Move Objects Move objects in the CG workspace with the Pointer and Selection tools, the keyboard ARROW keys, and the Nudge buttons. You can also select an exact position for your objects by entering values in the Position X and Position Y fields. Use the Pointer and Selection tools to quickly drag selected objects within the layout. Enter new X and Y coordinates for selected objects by typing values in the Position fields in the CG Editor toolbar. If more than one object is selected, the coordinates are based on the top-left object in the selection. The Position X value is the distance from the left edge of the layout. Position Y is the distance from the top edge of the layout. Use the Nudge button in the CG Editor toolbar to move selected objects by a certain number of pixels in either a horizontal or vertical direction. a Enter the number of pixels to nudge by in the Pixel Shift field.

346 346 Chapter 11: Using the Inscriber CG b Nudge the selected objects using the Nudge button in the CG Editor toolbar. The Nudge button displays the last nudge direction you used. Click the Nudge button to nudge the selected objects in that direction. To nudge in a different direction, click the arrow beside the Nudge button and click the Nudge Left, Nudge Right, Nudge Up, or Nudge Down button in the flyout menu. Use the ARROW keys to move selected objects either horizontally or vertically. Press the ARROW keys to move the objects one pixel at a time. Hold the SHIFT key while pressing the ARROW keys to move the objects 10 pixels at a time. Hold the ALT key while pressing the ARROW keys to move the objects by the number of pixels specified in the CG Editor toolbar s Pixel Shift field. Align Objects Use the Align menu or the Attributes tab to quickly align objects to the safe title area or to each other. To align objects in a layout 1 Select the objects you want to align in the CG workspace. 2 Access the alignment controls with one of the following methods: Click the arrow beside the Alignment button in the CG Editor toolbar to open the alignment menu. By clicking directly on the Alignment button you can also quickly align objects using the last-used alignment type. If at least one of the selected objects is a graphic object, switch to the Attributes tab of the Attributes palette. There are alignment controls in the Alignment section of the tab. 3 Select the type of alignment you want to use: Select the Align to Object radio button to align the objects to their own horizontal and vertical boundaries. Select the Align to Layout button to align the objects to the safe title area boundaries. See Video Safe Title Area for information about displaying and modifying the safe title area. 4 Click an alignment button. Object Options Button Description Align Left to Object: The objects move horizontally so their left boundaries are aligned with the leftmost object.

347 Velocity User Guide 347 Button Description Align Center to Object: The objects move horizontally so their center axes are aligned with the center of the selection. Align Right to Object: The objects move horizontally so their right boundaries are aligned with the rightmost object. Align Top to Object: The objects move vertically so their top boundaries are aligned with the topmost object. Align Middle to Object: The objects move vertically so their center axes are aligned with the middle of the selection. Align Bottom to Object: The objects move vertically so their bottom boundaries are aligned with the bottommost object.

348 348 Chapter 11: Using the Inscriber CG Layout Options Table 11-1 Align to Layout Options Button Description Align Left to Safe Title Area: Objects move horizontally so their left boundaries are aligned with the left edge of the safe title area. Align Center to Safe Title Area: Objects move horizontally so their center axes are aligned with the center of the safe title area. Align Right to Safe Title Area: Objects move horizontally so their right boundaries are aligned with the right edge of the safe title area. Align Top to Safe Title Area: Objects move vertically so their top boundaries are aligned with the top edge of the safe title area. Align Middle to Safe Title Area: Objects move vertically so their center axes are aligned with the middle of the safe title area. Align Bottom to Safe Title Area: Objects move vertically so their bottom boundaries are aligned with the bottom edge of the safe title area. Align Left to Center of Safe Title Area: Objects move horizontally so their left boundaries are aligned with the center of the safe title area. Align Right to Center of Safe Title Area: Objects move horizontally so their right boundaries are aligned with the center of the safe title area. Align Bottom to Middle of Safe Title Area: Objects move vertically so their bottom boundaries are aligned with the middle of the safe title area. Align Top to Middle of Safe Title Area: Objects move vertically so their top boundaries are aligned with the middle of the safe title area. Figure 11-6 Distributing Objects

349 Velocity User Guide 349 Object Distribution To distribute objects in a layout 1 Select the objects you want to distribute in the CG workspace. 2 Access the distribution controls using one of the following methods: Click the arrow beside the Distribution button in the CG Editor toolbar to open the Distribution menu. You can also quickly distribute objects using the last-used distribution option by clicking directly on the button. Switch to the Attributes tab in the Attributes palette. The distribution controls are in the Distribution section of the tab. 3 Select a distribution option.

350 350 Chapter 11: Using the Inscriber CG Distribution Options Option Description Selected Objects Left: The objects move horizontally so their left boundaries are evenly spaced. Selected Objects Right: The objects move horizontally so their right boundaries are evenly spaced. Selected Objects Bottom: The objects move vertically so their bottom boundaries are evenly spaced. Selected Objects Top: The objects move vertically so their top boundaries are evenly spaced. Selected Objects Horizontal Center: The objects move vertically so their horizontal centers are evenly spaced. Selected Objects Vertical Center: The objects move horizontally so their vertical centers are evenly spaced. Lock Objects You may want to lock the position of certain objects to prevent them from being moved accidentally. To lock the position of an object, right-click the object in the CG workspace and select the Lock Position option. Unlock an object by choosing the Unlock Position option. You can also lock objects using the Layout Tree View. See Layout Backgrounds for more information. Rotate and Flip Objects You can rotate objects using the Rotate buttons, the Attributes tab, or the Rotate tool. To rotate selected objects Click the Rotate Right and Rotate Left buttons in the CG Editor toolbar to rotate objects 90 degrees. In the Formatting section of the Attributes tab in the Attributes palette, change the value in the Rotation field. For text objects, the Rotation field is on the Text Object Properties section of the Attributes tab. Position the Pointer or the Selection tool near the object s handle until it turns into the Rotate tool. Click and drag the object clockwise or counter-clockwise.

351 Velocity User Guide 351 Rotate Objects with the Rotate Tool To flip graphic objects, grab one of the object s handles with the Pointer or Selection tool then drag the handle through the object s opposite boundary. The object flips across the boundary. Flip a Graphic Object Gradients flip with their object elements, but Images and Active Textures do not. You cannot flip text objects. Layer Objects Layers allow you to overlap the objects in a layout. Each object is on its own layer unless you combine the edges of several objects. Send a Semi-Transparent Logo Object Backward The background object is always on the bottom layer, but the other objects in a layout can be moved forward and backward with the Layer buttons and the right-click menu. When you select one or more objects and click a Layer button in the CG Editor toolbar, the objects move forward or backward according to the button selected. Layer Buttons Button Description Bring to Front: Moves the selected object in front of all the objects in the layout.

352 352 Chapter 11: Using the Inscriber CG Layer Buttons (Continued) Button Description Bring Forward: Moves the selected object in front of the object currently ahead of it. Send to Back: Moves the selected object behind all the objects in the layout. You cannot move an object behind the layout s background. Send Backward: Moves the selected object behind the object currently behind it. You can also move objects by right-clicking them and choosing Bring to Front or Send to Back from the right-click menu. When the edges of objects are combined, all of the combined objects move to the same layer. To change the layering of combined objects while still maintaining their edge appearance, be sure to select all the combined objects before changing their layer. See Combine Edges to learn more. In large layouts with overlapping objects it is sometimes easiest to change object layers in a tree view. See Layout Backgrounds. Group Objects The objects in a layout can be grouped together to help you maintain the spacing of the text and graphics. When an object in a group is moved, all the objects within the group are moved as well. Click the Group button in the CG Editor toolbar to group two or more selected objects. If you click the Group button when both a group and an ungrouped object are selected, all the selected objects are grouped together. When you select one object in a group, the entire group is surrounded by a boundary but only the object you clicked on is selected. The selected object is surrounded with a white boundary while the unselected objects have a blue boundary. Three Grouped Objects with Only One Selected All of the objects in a group move together when one of the objects is moved. Changes to object attributes only affect selected objects. Click the Ungroup button to break apart the selected object s group. If the selected object is part of more than one group, only the most recently created group is released.

353 Velocity User Guide 353 Layout Backgrounds Layout backgrounds are video transparent by default, but you can use a color, image, or Active Texture treatment to block the video signal. Video transparent areas in layouts are marked by a fill pattern. In the example below, all of the areas filled with the grey checkered pattern are transparent when the layout is taken to video. The pattern is not included in the final rendered image, it simply shows you where the live video feed appears while you work on the layout. A Layout Without a Visible Background Treatment Set a Layout Background Unlike other parts of layouts, backgrounds are special objects that cannot be selected with the Pointer or Selection tools. Use the Set Background dialog to edit backgrounds. To open the Set Background dialog, click the Background button on the CG Editor toolbar and select the Set Background option. You can also open the Set Background dialog by right-clicking the CG workspace and choosing the Change Background option. Within the Set Background dialog, select the treatment you need to use from the Treatment drop-down list. Treatments dictate the color, image, and Active Texture choices available for the background. The Solid Color treatment adds a single color to the background. The Linear Gradient, Radial Gradient, and 4 Color Gradient treatments add a mix of colors to the background. The Image treatment adds an image file to the background. The Active Texture treatment adds a moving image to the background. The None treatment makes the background completely transparent. Once you have chosen a treatment, use the controls in the Set Background dialog to customize the treatment s appearance. The controls for background treatments are similar to those described in Element Treatments, with the exception of the Image treatment. Image Treatment Use the Image treatment to apply an image file to your background. The options available for image backgrounds are slightly different than the options available for other objects. Select the Image treatment from the Treatment drop-down list, then click the Add button and select the image file you want to use. The image is applied to the background.

354 354 Chapter 11: Using the Inscriber CG An Image Treatment Applied to the Background Align the Image To align the image in the background, click the Size As radio button to re-size the image so it completely fills the background, or click the Tile the Image radio button to tile the image at its original size. The image is aligned to the upper-left corner of the layout. Image Transparency Set the transparency of the background image s regions with the Transparency controls. 1 Select the background region you want to set the transparency for. Select All from the Transparency drop-down list to set a uniform transparency for the entire background. Select Top Half to set the transparency for the top half of the background. Select Bottom Half to set the transparency for the bottom half of the background. 2 Set the region s transparency by dragging the Transparency slider, or enter a value in the Transparency field. 0% is completely opaque and 100% is completely transparent. 3 Set the angle of the transparency by changing the value in the Angle field. Remove a Background To remove a background from a layout, click the Background button on the CG Editor toolbar and select the No Background option.

355 Applying Effects This chapter contains instructions on previewing, adjusting and committing effects to clips in a Velocity timeline. There is also information on using keyframes, the keyframe interface and Bezier spline controls. This chapter also describes how to use the wide range of transitions available in Velocity projects. There is also a section on customizing transitions and applying filters. Video Effects Overview A wide variety of effects are located on the video effects tab located near the gallery and the MediaBase tabs. The Video Effects Tab The pane on the left side of the interface lists the types of effects available. They are software effects, fade effects and strobe effects. When a timeline clip is selected, clicking any of these icons shows a preview of that effect.

356 356 Chapter 12: Applying Effects What Each Effect Does 3rd Party Plugin What it does. Lists any supported 3rd party effect software plugins that reside in the Plugins folder. Parameters for Adjustment. Select the appropriate software from the drop-down list and click on the Launch Settings button to open the effect interface. Binary Color What it does. Converts the color of a clip into three primary colors, three secondary colors and white and black by comparing each color component to an RGB threshold you define (0-255). Parameters for Adjustment. All colors above the threshold setting are changed to their maximum value (255). All colors below are changed to their minimum value (0). When the slider is near 0, the image is whiter, when it is nearer 255, the image is blacker. Blur - Gaussian What it does. Blurs the entire clip evenly. Parameters for Adjustment. Move the Blur slider towards 100 for a more intense blur, and towards 0 for a less intense blur. Blur - Motion What it does. Blurs via a user defined direction. Parameters for Adjustment. Move the Blur slider towards 100 for a more intense blur, and towards 0 for a less intense blur. Direction. At 0 degrees, the blur is directly to the right. As you move this slider to the right, the angle increases counter-clockwise. A blur of +90 degrees goes straight up. A range of -360 to +360 degrees allows full clockwise and counterclockwise rotation. Use Solid Color in Edge. Allows you to open the color picker and choose a color to shade in the blur edge. Blur - Radial Spin What it does. Blurs simulating rotation. Parameters for Adjustment. Move the Blur slider towards 100 for a more intense blur, and towards 0 for a less intense blur. Direction. Choose the slip to go either Clockwise or Counter Clockwise. Position. Use the X and Y sliders to adjust the horizontal and vertical position of the blurred image. Use Solid Color in Edge. Use to open the color picker and choose a color to shade in the blur edge. Blur - Radial Zoom What it does. Blurs simulating a zoom effect. Parameters for Adjustment. Move the Blur slider towards 100 for a more intense blur, and towards 0 for a less intense blur. Direction. Choose either Zoom In or Zoom Out. Position. Use the X and Y sliders to adjust the horizontal and vertical position of the blurred image.

357 Velocity User Guide 357 What Each Effect Does Brightness/ Contrast What it does. Adjusts the intensity of colors in your image and the amount of difference between the darker areas and the lighter areas. Parameters for Adjustment. Color. Select the color channel (red, green, blue or all) to which the controls apply. Brightness. Darken a clip by sliding the handle toward Min or increase the brightness by sliding the handle toward Max. At Min, no color from the chosen channel remains. At Max, the selected color is given its full value. Keyframe this slider to create a fade to black effect. Contrast. Lowering the contrast makes the image appear more gray. Raising it makes any difference in brightness more pronounced. Color Correction What it does. Edit the shadows, mid-tones and highlights through 3-way color wheels, perform color matching, secondary color correction, and use color curves to adjust the overall coloring of your clips. Parameters for Adjustment. Secondary Color Correction. After selecting this tab choose a color, adjust the tolerance of that color by using the eyedropper tool to select a color, and then move the Tolerance slider. The Enable Secondary Correction box must be checked to enable this feature. Crop What it does. Removes selected area of video image. Presets are available Parameters for Adjustment. Edge Pixel Visible. Use to adjust the crop from the bottom, top, left or right of the clip image. Variable. Use to manually adjust individual crop settings in Edge Pixel Visible section. Mirror. Enables sliders to also adjust their opposite adjustment (top & bottom, etc.) Lock All. All sliders will move together when adjustments are made.

358 358 Chapter 12: Applying Effects What Each Effect Does Chroma/Luma Keying What it does. Select a clip and a color or luminosity to make transparent so you can superimpose an image from one clip onto another. Makes sections of your clip transparent based on your selected hue and saturation. Areas which do not match the selected hue and saturation values remain opaque and are shown as the foreground while transparent sections allow a background clip to show through. Only the brightness or luminosity is a factor in determining which areas are made transparent. Hue and saturation do not play a role. If you are using blue or green screen keying, you probably shot your video with action occurring in front of a special blue or green curtain. Blue/Green screen is useful for tough keying situations like keying smoke and fine details like hair, or for fast motion, etc. Parameters for Adjustment. Use the drop-down box at the top of the Chroma/ Luma Keying window to select keying type. Available controls depend on the key type. Pick Key Color. Click to change your cursor to an eyedropper. Select a key color on the preview window. All occurrences of that color on the foreground clip become transparent (show the background clip). Or double click the color box to open a color palette window. Hue Tolerance. How closely the hue of a region must match the selected color before it becomes transparent. At the left, only areas with very exact hue matches are transparent. At the right, all hues become transparent. Saturation Tolerance. Controls how closely the saturation must match the key color before a region becomes transparent. When this slider is set near the left, close saturation levels are required for transparency. When this slider is set all the way to the right, any saturation level of a given hue becomes transparent. Foreground Transparency. The transparency of the areas that remain after the key has been applied. Reverse. Makes transparent regions opaque and opaque regions transparent. Star Highlight What it does. Creates a single highlight. Position your star by dragging the Preview target. Make the star larger or smaller by dragging the target s surrounding red circle. Parameters for Adjustment. Intensity. Brightness of the highlight. At 0, no highlight exists. At 100, a very bright, large highlight is created. Arm Number. Your star highlight can have from two to 10 arms. Rotation Angle. Adjusts the star arms positioning. Changing this at different keyframes results in a spinning effect. Arm Thickness. At 0, the highlight has very thin arms. As the number increases (towards 100), the base of the arm broadens. You can also keyframe the arm thickness. Position. Use the X and Y sliders to adjust the horizontal and vertical position of the star highlight. The Radius slider adjusts the radius size of the highlight. Crystallize What it does. Organizes similar colors in an image into irregularly shaped cells. Use keyframes and different cell sizes to create a progressive freezing effect. Parameters for Adjustment. Cell Size. If near 0, the crystals are very small. If near 100 they are larger and blocky. The cell size value is a relative number.

359 Velocity User Guide 359 What Each Effect Does Edge Detection What it does. Detects all edges of a given direction in the clip. Parameters for Adjustment. Select one of the direction buttons to determine which side or corner the detection is performed from. Selecting one of the buttons deselects the previous one. Experiment with the different directions on a clip to get the most desirable result. Flip What it does. Simply flips the image. Parameters for Adjustment. Flip Orientation. Use the radio buttons to flip the video clip horizontally, vertically or both. Mask What it does. Creates a transparent section of video where the mask is applied. Parameters for Adjustment. Mask over background. Places the selected mask range over the image of a background clip Mask over clip. Places the mask over the currently selected clip. Files. Use to choose an image (with alpha) to use as a mask Free Draw & Shapes. Use to draw a mask with a rectangular shape, an elliptical shape, or a free draw shape. Edge Softness. Adjusts the softness of the mask edge. Drawing Method. Choices are Rectangle, Ellipse or Free Draw Mirror What it does. Takes half of the screen, inverts it and places it onto the opposite half of the screen. Applied to video, this creates symmetrical motion Parameters for Adjustment. Flip Orientation. Choose one of the radio buttons representing the four halves of the screen. This half-screen is duplicated and reversed. The top button selects the top half of the video screen, the right button selects the right half etc. The chosen half of the image is flipped and repeated on the other side. Mosaic What it does. Breaks clip image into mosaic tile blocks. Keyframe this effect for an interesting transition (i.e., start with the block size at the minimum, and end with the block size at Maximum). Parameters for Adjustment. Special Mosaic. Blocks with highlit edges. Block Size. If near 0, the mosaic blocks are very fine and the original image is apparent. If near 100, the blocks are large and obscure the original image. Picture in Picture (PIP) What it does. Provides the ability to adjust settings used for resized images so you can smooth out the image when the image is resized using PIP. Parameters for Adjustment. To Apply the Picture in Picture (PIP) Effect In the Gallery, click and drag the Picture in Picture effect on top of a clip on the timeline. Right-click on the timeline and select Video Effects (or press V). The Video Effects window displays.

360 360 Chapter 12: Applying Effects What Each Effect Does Pointillist What it does. Colored dots on a black background. Parameters for Adjustment. Dot Space. If near 0%, dots are closely spaced. As you drag the slider towards 100%, the dots become farther apart. Dot Size. Dots are very small near 0. They get larger as you move the slider towards 10. If the Dot Spacing is closer than the Dot Size, the cells collide and become irregularly shaped. Posterize What it does. Collapses individual color shades in a clip, reducing similar colors into areas of solid color. Parameters for Adjustment. Color - Select a primary or secondary color to apply the effect to. Or, to apply the effect to all colors, choose All. Level - Drag left to decrease the number of colors. This in turn creates a more pronounced effect. Near min, very few color shades remain. Near Max, almost all shades are kept. Sharpen What it does. Increases the sharpness of a clip by emphasizing edges. Parameters for Adjustment. Level - Drag to the left to increase the degree of sharpening. With this control near Min there is little or no effect. As the level is increased towards Max, the edges become very pronounced. The numeric value is relative. Smoothen What is does. Increases the smoothness of a video. As the intensity gets higher the picture looks smoother, slightly blurred with less-defined edges. Parameters for Adjustment. Level. Drag to the left to increase the degree of smoothness. With this control near Min there is little or no effect. As the level is increased towards Max, the clip image becomes blurred as all rough contours are diminished. The numeric value is relative. Solarize Tint What is does. Produces a selective reversal of color components in an image or frames of a video clip. Creates a blend between the positive and negative of the original. Parameters for Adjustment. Threshold. Determines which pixels will be inverted. Pixels below the level are reversed, while those above remain the same. This value parallels the RGB range of At 255, all shades of the color component are inverted. 0 means no change. What it does. Makes the image look as if it is being viewed through colored sunglasses. The selected color passes through while all others are blocked out. Parameters for Adjustment. Pick Color - Click to activate the eyedropper color selector. Move the eyedropper to the color you want to be the tint color and click the left mouse button. Or, double click the color box to open a full range selector.

361 Velocity User Guide 361 What Each Effect Does Star Highlight What it does. Creates a single highlight. Position your star by dragging the Preview target. Make the star larger or smaller by dragging the target s surrounding red circle. Parameters for Adjustment. Intensity. Brightness of the highlight. At 0, no highlight exists. At 100, a very bright, large highlight is created. Arm Number. Your star highlight can have from two to 10 arms. Rotation Angle. Adjusts the star arms positioning. Changing this at different keyframes results in a spinning effect. Arm Thickness. At 0, the highlight has very thin arms. As the number increases (towards 100), the base of the arm broadens. You can also keyframe the arm thickness. Position. Use the X and Y sliders to adjust the horizontal and vertical position of the star highlight. The Radius slider adjusts the radius size of the highlight. Video ProcAmp What it does. Adjusts different color levels of the selected clip. Parameters for Adjustment. Luma. The range of brightness of all areas of the video. Chroma. The color saturation. This control increases or decreases all colors by the same amount. At -100 the image is black and white, at 100 all of the colors are very saturated. Setup. Adjusts the brightness/contrast on a limited basis. Hue. This will change the color levels.

362 362 Chapter 12: Applying Effects What Each Effect Does Page Effect What it does. Manipulate a clip like a sheet of paper flipping or rolling in the foreground. Change its flip/roll angle, its radius and phase over time. The background is any clip on a lower numbered track than the clip with this filter applied. Parameters for Adjustment. Drag the red rectangle on the preview screen to alter the size of the page effect. The page size can be interpolated over time. Move the red target to change the direction of the flipping or rolling motion. Page Effect. Select Page Flip or Page Roll. Angle. At zero degrees, the page effect starts at the bottom of the page. As the angle increases, the effect moves counter clockwise from bottom, right, top, left and back to the page bottom again. Use keyframes to interpolate this angle over time creating a changing curl around the page edges. Radius. With a small radius, the flipped or rolled part of the page is smaller. With a large radius, the entire page tends to curl at once. Phase. At zero, the page is flat. At 100% the page is completely flipped or rolled. Without keyframes, this parameter automatically varies from 0% to 100% through the duration of the clip. Use keyframes to change this value over time to create a flipping/rolling effect. Page Backside. There are three choices: Solid Color (double click the color selection box to adjust the color), Current Clip, or Selected clip. If you choose Selected Clip, use the File button to choose a clip. Border. There are two types: Solid color (double click the color box to choose a color) or Selected Clip (use the File button to select a clip to use). Border Thickness. At zero, there is no border. Drag the slider to the right to thicken the border. Split Page. (Page Flip only) Divides a page into smaller pages. Select from three horizontal, three vertical, and three square matrix sizes. Flip Pattern. (Split page type only) Choose a straight repeating pattern, a vertical mirror, a horizontal mirror or a combined horizontal and vertical mirror. Advanced. Opens the advanced border controls on the right hand side of the screen. You may control the Border transparency, the Light intensity (the brightness of the border color), and the border profile (the 3D shape of the border). Zoom What it does. Increases or decreases the zoom range on selected areas of the video image. Parameters for Adjustment. Select an edge or a corner of the red bounding box in the effect interface and drag in the appropriate direction to adjust the zoom range. Only the area within the red bounding box will be shown in the output. You can also select any of the presets as quick adjustment.

363 Velocity User Guide 363 What Each Effect Does Water Drop What it does. Creates a circular ripple effect. Drag the red target on the preview screen to determine the wave s center point. To make an expanding wave pool, set the Wave Diameter to zero at your first keyframe and 100 at the second. Parameters for Adjustment. Wave Amplitude. The height of the ripples. Near the Min of 0%, waves are very faint. Towards 100%, waves become sharper and very distinct. The percentage is relative. Wave Length. Near the Min of 0%, the waves are very faint. As this control is increased towards 100%, waves become very wide. Wave Number. Ranging from 1 to 20. Wave Diamete. At the minimum of 0%, waves are not visible since they are all collapsed in the center. As this control is nears its maximum value of 100%, the wave diameter grows greater than the screen size. Outside the Edge. Information outside the edge of the clip must be used to fill in the edges of the clip. Mirrored tiles give the effect of extending the screen edge using reflections from the clip.or select Use Solid Color and double click on the color box to choose from a full range color selector. Position. Use the X and Y sliders to adjust the horizontal and vertical position of the water drop. Adding An Effect There are several ways to add an effect to a clip: Select the timeline clip. Then CTRL-click to add effect, or SHIFT-click to add effect and simultaneously open Video Effects window. The Video Effects window opens. Make the adjustments you want and click APPLY. Press EXIT to close the window. Another way to apply an effect is to select a clip and press on the toolbar. You can also select a clip on the timeline that does not yet have an effect applied and press V. Or go to Effects > Apply Video Effects. The Video Effects window opens. You can also drag and drop an effect onto a clip on the timeline. You can then go to the effects tab and drag any effect to this window and the interface for that effect will then open.

364 364 Chapter 12: Applying Effects Previewing An Effect To Preview the Effect Select a clip on the timeline and click on any effect in the effects tab to see a preview in the preview monitor of the clip with the effect applied. Click CTRL+click to commit the effect to the clip. Adjusting Effects To Make Changes to that Effect Select the clip on the timeline and press V. Or go to Effects > Apply Video Effects. The effect window will then open and you can make changes to that effect, add keyframes, etc. Previewing Tracks With Effects If you are working with multiple layers of effects on multiple tracks it can tend to be a bit confusing when it comes to making changes to a specific track and not being able to see them very well due to the other tracks being visible. So, there are four viewing options to help you rule out specific tracks (based on how they are stacked on the timeline) you want to preview. These buttons are located directly to the right of the keyframe zooming tools in the effects interface. All Tracks Solo Track Foreground Tracks Background Tracks Apply Effects Viewing Options The four options are All Tracks, Solo Track, Foreground Tracks and Background Tracks. Click on the appropriate button to only preview those tracks wile you are editing in the effects interface. Track Based Effects You also have the option to apply effects to a specific track on the timeline. When you apply a track based effect, the effect will be applied to all clips on that track. To apply a track based effect, go to the track header of the track you want to apply an effect to and click on the Track Fx button. Track FX Button Disable Track FX Button Track-based Effect Controls The Apply Effects interface will appear and you may then choose which effect(s) you want too apply to that track.

365 Velocity User Guide 365 When track based effects are applied, segments will stay real time as long as possible using the current hardware routing scheme. Working With Keyframes A keyframe is a frame in a clip where you may save your settings. Most effect sliders can be keyframed and adjusted. Before you make any changes there is one keyframe at the beginning of the effect. Unless you add a keyframe at the end of the clip, the effect applied is static from the last keyframe until the end of the clip. Move the effect sliders to change the settings for the currently active keyframe. Velocity interpolates between keyframes to gradually change the settings between keyframes. Keyframes take an effect from being static to having motion or changing over time. To move along the ruler, click anywhere in the keyframe grid and drag the playhead left or right across the ruler. Once the marker is the active tool on the interface, you can move frame by frame using the keyboard s left and right arrow keys. Add a keyframe by pressing the Add button. You can add a keyframe to any frame of a clip. When you add a keyframe, the settings currently shown will be used for that keyframe. If you modify these settings, as long as the cursor is on the keyframe they will be recorded as the new keyframe settings. To move a keyframe once you have created it, place your mouse cursor over the keyframe indicator that you want to move. When the cursor changes shape to a double-headed arrow, drag the keyframe right or left. Keyframe indicators Keyframe Indicators

366 366 Chapter 12: Applying Effects The Keyframe Interface Preview Slider Play Controls Linear/Spline Zoom contro Keyframe Interface Keyframe Play Con- Zoom controls Start of clip Back one frame Loop Play/Stop Play in to out Forward one frame End of clip Previous Keyframe/Index Undo Horizontal Zoom In Vertical Zoom In Vertical Zoom Out Next Keyframe/Index Redo Horizontal Zoom Out Keyframe Controls Delete. Removes the blue, currently active, keyframe. Delete All. Removes all keyframes except the first one, which can t be deleted. This is not the same as resetting the effect back to zero, because the first keyframe retains its settings. Linear/Spline. This setting determines the way changes between keyframes are calculated. When set to Linear, the effect strength alters in a straight line between the different settings. Keyframe point Click and drag keyframe point to change position Linear Change

367 Velocity User Guide 367 When this is set to Spline, change happens on a curve. Drag center of keyframe point to change posi- You can drag one of the two handle arms of the keyframe point to change the position Spline Change This creates a gradual beginning of the change between keyframes, then the change accelerates, and finally gradually eases into the next setting. With a linear tension, at 25% of the way between keyframes, the effect is 25% complete, whereas with spline, at 25%, the effect s change may only be at 10%. Copy. The settings from the blue (currently active) keyframe are copied to the clipboard. You can also copy a keyframe by pressing CTRL+C on your keyboard. Another method of copying a keyframe is to grab it, hold down the SHIFT key, and then drag it to another location. This will place a copy of the original keyframe at the new cursor location. Paste. Move to the location you would like to paste the copied keyframe to by dragging the slider along the ruler and clicking the Paste button. You can also paste a keyframe by pressing CTRL+V after you have copied it. If you select multiple clips, the same effects are applied to all the clips. Keyframes are applied to each clip individually. For example, if you use Proc Amps to fade to black, the fade to black will fade each clip. To fade across a series of clips, unify those clips first into a single clip. If you want to apply an effect up to an exact location on a clip on the timeline, place the playhead to that exact part of the clip and place a check in the Timeline Playhead mode check box in the lower right corner of the timeline interface before you apply an effect. When you then select a filter, you will see the playhead on that part of the clip in the keyframe section as well as a keyframe at the beginning of the clip. Choose your desired effect and click the Apply/ Close button. When the clip is played back, the effect will be 0% applied at the beginning of the clip and will be 100% applied by the point where you originally assigned the playhead to maintain its position. You will notice that there are undo and redo buttons underneath the zoom controls. You may use these functions for each change you make by either clicking on the appropriate button, or by pressing CTRL+X to undo pr CTRL+Y to redo. Tip: In order for your playhead to stay in the same position while you switch effect tabs in the Apply Effects interface, click on the Settings button and uncheck the Reset KF slider to 0% whenever a new effect tan is accessed check box. If this box is checked, the playhead will lose its position as it is placed at the beginning of the clip. Bezier Spline Controls Bezier spline controls are meant to serve as variables for the various effect settings.

368 368 Chapter 12: Applying Effects Corresponding Spline Control Lines Bezier Spline controls Bezier Spline Controls These controls are found in various effects interfaces in Velocity. You can tell by locating the buttons that have a curvy line on them. The colors of the lines correspond with the colors of the lines in the keyframe interface. For example, if you click on a blue spline control button next to a field where it gives an X axis value, the blue line in the keyframe interface will become active and you will be able to edit that value directly in the keyframe interface by moving nodes, making curves with handles, etc. For each button that has an individual color, that line color will be active in the keyframes interface so you may edit that value. When you drag Bezier nodes in the keyframe interface, it may be convenient for you to disable any horizontal movement. Holding ALT while dragging a node in the Bezier editor will disable horizontal movement of that node. Holding SHIFT will move the entire curve up or down. Using Effects Macros An effect macro is simply a file with the effects that you have set up. A macro includes all the effects in the list, with their particular settings, keyframes, etc. To save an effects macro, press the Save button. A window opens. Choose a location to save the file. It is saved as an FLT file. To load an effects macro, press the Load button. Browse to the place where you saved the file. A loaded effects macro adds its effects to whatever effects are already in the Effects list. Real Time Effects Settings Click the Settings button at the bottom right corner of the effect screen to open the Apply Effects Options window. Store Keyframes Location based on Frame Position. This option is used to store the keyframes of an effect you have made based on its frame position, not based on percentage. Once this option is checked you will have two options: Absolute Frame Location. If this option is chosen, then the keyframe attributes that you apply to another clip will occur at the same frame location of the other clip. If the other clip has a different length, the effect will not change due to the fact that this option is frame based, not percentage based. Relative Start/End Frame Location. This option is used to keep the same start/end frame settings and apply them to another clip, while not having the original effect being changed. View Timecode in Frames. When this option is checked, the timecode and duration areas will be shown in frames rather than in timecode. Link Playhead and Preview slider. When this option is checked, the playhead will move with the preview slider while you are scrubbing a clip in the keyframe interface.

369 Velocity User Guide 369 Reset KF slider to 0% whenever a new effect tab is accessed. If you uncheck this, the keyframe slider is left at its current location for easy synchronization of multiple effects. Tool Tips. When this option is checked, you will be able to see a brief description of what buttons do in the keyframe interface when you hover the mouse over them. Show Timeline Indices. When this option is checked and if there are any timeline indices present within the range of the currently selected clip, then you will be able to see the indices in the keyframe interface. Undo Level. This field is used to choose the number of edits you want Velocity to remember so you may undo them. There is no limit of undos, however if the number gets too high, it can take up some memory resources. Changing the Clip Play Speed There are two way to change the clip speed. The first way is to select the clip, then select Effects > Clip Speed from the menu, right-click on the clip and choose Clip Speed, or press shortcut S to open the Speed dialog box. If you have multiple clips selected, when you change the clip speed on one of them, that applies that change to all the clips. When you select Clip Speed from the menu a window displays with a box you can use to type a percentage. You can change the clip speed from 1% to 50,000%. No interfield motion. This option is useful for applying speed change effects to clips without interfield motion. Keep Duration. Maintains the current length of the clip on the timeline as you apply slow motion to it. To maintain the In point of the clip, type a positive number. To maintain the Out point, enter the speed change with a minus (-). Render. When this is checked, Velocity does a software render of the clip. Mode. (Radio buttons) You can choose Frame, Field 1, or Field 2 for slow motion. The Frame option can create a jumpy effect which can be remedied by using one of the two field modes. Note: If you use the Speed Change button, the last active mode will be used. Set as Default. The currently set speed and speed change preferences will always be the default when you attempt to apply a speed change to a clip whose speed is at 100%. Reset. When this button is clicked, all options will be reset to the proper defaults. Tip: The second way to change the clip speed it to click on the Change Speed button on the toolbar. Mare sure that the clip(s) is selected, and then click the Speed Change button in the toolbar. Using the mouse, hover over the clip s In or Out point and pull the edit point in the appropriate direction. As you are pulling, the speed percentage will be displayed. Clip speed button

370 370 Chapter 12: Applying Effects Trim clip to change speed using Speed Change button Changing the Clip Speed After you have changed the speed of a clip you may create transitions and apply other effects. If you add effects that need rendering you will be able to render the section that includes the clip with the speed change. Reverse Motion If you would like to play your clip in reverse motion you may right-click on the clip and select Reverse. The clip will be played back in reverse from the dedicated video hard drive. You may add speed changes to clips that have been reversed. Reverse doesn t work on the audio portion of a clip. Fade In/Out Depending on the type of clip and the effect you want, there are three different fade options. Auto Fade This can be applied to a video clip or to a title or still image such as a TGA to fade it in and out on the timeline. To apply an Auto Fade 1 Right-click on a clip and select Auto Fade from the pop up menu. When this option is checked the clip starts out completely transparent. It fades up from 100% transparent to fully opaque. 2 The fade takes place over a duration by going to the main menu and choosing File > User Settings > Modify Settings. 3 Select the Auto Fade Defaults button. The clip remains fully opaque until a specified period before the end. Then the clip fades out to 100% transparent, again over a duration determined in the Auto Fade settings. Tip: All fades in a project auto fade over this duration. If you want to alter the fade rate for individual clips, use a Custom Fade instead. Any clip on the timeline that has auto fade applied to it displays a small FD in the upper left hand corner.

371 Velocity User Guide 371 You cannot apply Auto Fade to a clip that has fewer frames than the combined number of fade in and out frames. If you apply a fade to a clip, and you apply another effect as well (say, it fades up from black and then has a transition at the end), the effect will have to be rendered. If you apply Auto Fade to a video clip with audio, it affects the video only, and does not apply a fade to the audio. Custom Fade Tip: To apply a Custom Fade, right-click a clip and choose Custom Fade from the menu. The Custom Fade window opens. Custom Fade is used to keyframe a fade up or a fade down so it does not happen in a simple, linear fashion. It is also used to have multiple fades in your project, all of which can fade at different rates. There are four Presets: Fade In -Fade Out, Fade In, Fade Out and User Defined Default. All but User Defined Default create keyframes at 0%, 20%, 80% and 100% (assuming Fade In - Fade Out, the most complicated selection) and Transparency settings. After you choose a preset, you can adjust its Keyframe and transparency settings manually. The User Defined Default option is used to create your own fade by applying keyframes in the necessary locations and clicking the Set as Default button. You also have the option of manually entering the numeric value of the percentage and frame position of the playhead by clicking on the percentage or timecode and then typing in the appropriate values. After you have adjusted the keyframes to create the appropriate custom fade, you have the option to set it as the default setting by clicking on the Set as Default button. You can also save the custom fade my clicking on the Save button and giving it a name. It will be saved as a FAD file. Tip: To load a previously saved custom fade, click on the Load button and select the appropriate fade file. If you apply a fade to a clip, and you apply another effect as well (say, it fades up from black and then has a transition at the end), the effect will have to be rendered. Copy/Paste/Add Video Attributes Attributes are the list of effects and settings that have been applied to a clip, including speed change, auto and custom fade. Select the clip with the attributes you want to copy. From the main menu select Effects > Copy Video Effect Attributes. Or, right-click on the clip and select Copy Video Effect Attributes.

372 372 Chapter 12: Applying Effects Select the clip you want the attributes to be copied to. From the menu select Effects > Paste Video Effect Attributes. The second clip will now have the same effects settings as the first. Like effect attributes can only be applied to like timeline objects. So, if you have copied the effect attributes from a transition, they can only be pasted to a transition. If you have multiple clips selected, the attributes are pasted to all of them. You cannot select multiple transitions at the same time, so this doesn t apply to them. Add Video Attributes Tip: Select the clip you want the attributes to be copied to. From the menu select Effects > Add Video Effect Attributes. Paste attributes overwrites the attributes, so all clips have the same set of attributes. Add attributes applies the attributes to the clip(s), leaving any effects, etc. that are already there in place. The new attributes are placed at the bottom of the list, applied after the first attributes. You can only paste, but not add, attributes from one transition to another. You can add or paste attributes between clips. If you have two clips with a DVE Effect, and there are no overlapped settings, the two effects are just combined. If there are overlapping effects, an entire DVE Effect is added to the clip. If you have a speed change on a clip and add that clip s attributes to another clip s, the speed change will be applied. But if the destination clip also has a speed change, the new speed change will not be added. When clips that have keyframes are copied and pasted, those keyframes are applied on a percentage basis to the destination clip so the entire effect is displayed, no matter the length of the clip. After pasting a keyframed effect, you might want to check the effect s timing. Clip Effect Info A clip that has effects applied to it looks like Figure Clip Information. Clip Information In the gallery, the clip displays a magenta FX indicator in its left upper corner. Clip Effect Information

373 Velocity User Guide 373 In the timeline, a clip with an effect displays a the number of effects (# FX) in the top left corner. If there is an effect and a fade, it displays FX+FD. When you copy or move a clip between timelines, the effects are always carried with a clip. When you move that clip between timelines and galleries, you must turn this preference on. From the main menu, choose File > User Settings > Modify Settings. Place a check mark beside Keep effect/filter when moving or copying to or from Gallery. If the effects on a clip on the timeline have been disabled (right-click on the clip and choose Disable Effects), the label telling how many effects have been applied turns red. You can remove all the effects on a clip by right-clicking on it and choosing No Effects. The only way to get back your settings, keyframes, etc., after doing this is to press Undo. Picture In Picture Effect To apply the Picture In Picture video effect 1 Select the Video FX tab from the Gallery. 2 Drag and drop the effect onto a clip on the timeline. 3 Right-click on the clip and select Video Effects, or press V. The Video Effects window displays. 4 Use one or more of the following sections to adjust the inserted picture: Image Size. Use this area to change the size of the effect. Position. You can select a position in the Presets area, then make adjustments here to position the effect more accurately. Rotation. You can create a 3D effect to the picture here.

374 374 Chapter 12: Applying Effects Presets. Select one of these to place the effect over the original image. Filter. Select one of the following: Disable. When selected, Filter mode does not affect the image and the resizing will follow the same resize method as before. Auto. When selected, pre-defined values are used that automatically adjust depending on the size of the image, resulting in a smoother image. Manual. When selected, you can adjust the smoothness by entering filter settings (such as band pass and tap order) within the PIP settings interface. Shadow. Use this area to add shadow around the effect. Border. Use the slider or enter a number for the thickness of the border. Perspective. When used in conjunction with Rotation, this will increase the amount of the 3D effect. Name of Parameter. See The Keyframe Interface for more information on how to use this sections. Selecting and Customizing Transitions When you place clips with a slight overlap on a tracks and b tracks (in expanded track mode), you create a transition. In this mode, a transition looks like this: A Simple Transition In condensed A/B roll mode (collapsed track mode), a transition looks like this: A Condensed Transition In both cases, the audio fades from one to the other across the duration of the transition unless you specify otherwise. To set the auto audio cross fade at transitions 1 This is found in the main menu under File > User Settings > Modify Settings. 2 Check off Auto audio cross fade at transitions. A transition is the change from one video clip to another by means of a conversion process such as a fade or a wipe. The conversion steps combine two clips into a single video output. The default is a dissolve.

375 Velocity User Guide 375 Copy & Paste Video Effect Attributes on Transitions Attributes are the list of effects and settings that have been applied to a clip or transition. Effect attributes can only be applied to similar timeline objects. Attributes copied from a transition can only be pasted to a transition. When you paste attributes, they overwrite any previous settings applied. When you copy attributes from one transition to another, you are copying the effect (but not the associated clips) including any alterations applied to it. This is similar to applying a transition macro, but doesn t save a file. To copy and paste effect attributes on a transition 1 Select the transition whose attributes you want to copy. 2 Right-click and select Effects > Copy Video Effect Attributes. 3 Select the transition you want the attributes to be copied to. 4 Right-click and select Effects > Paste Video Effect Attributes. Choosing a Transition To access the transition viewer Hold down the CTRL key and double-click the default transition that is created on the X track. Or right-click on the transition and choose Transition Viewer. The Transition Effects window opens. Linear Dissolve Transition Effects - Linear

376 376 Chapter 12: Applying Effects Spline Dissolve Transition Effects - Spline Use the slider along the top of the window to choose the type of transition, and the arrows to advance the transition pages. Click on a square to select a transition. That transition automatically plays in the Preview window and on the video monitor. A description of that transition appears in the top right corner of the window. Select a transition by clicking on its icon. The transition will play automatically. If you want to re-play the transition you can click on the Play button again. For information on how the Keyframe interface works, see The Keyframe Interface. Wipe Transitions Velocity comes with over 200 pre-made real time Wipe transitions divided into six groups. Simple. The default transition (Fade from A to B) and many simple wipes. Shapes. A page of simple geometric shapes and a page of complex mask based shapes. Patterns. A variety of swirl, checkerboard, zig-zag, ooze, and shatter patterns. Misc 1. Two pages of widely different transitions. Many of these transitions combine more than one pattern or use organic shapes. Misc 2. Three pages of widely different transitions. Many of these transitions combine more than one pattern or use organic shapes. OMF/AAF Wipes. Two pages AVID compatible 2D transitions. Customizing Wipe Transitions Click on the Customize button in the real-time Transition Viewer. This opens the Custom Wipe window which includes the Key Frame Settings and the Key Frame Controls. Play. Plays your transition with the settings you have chosen. Swap A/B. Makes the transition go from the incoming clip to the outgoing clip, rather than the other way around. Loop. Plays the transition repeatedly when Play is pressed. Otherwise it stops after one repeat.

377 Velocity User Guide 377 Adding Transitions Like the Effects, there is a Transitions tab in the gallery window (see Figure ). The pane on the left side of the transitions tab list the different types of transitions available. Transitions tab Adding transitions to clips: Click and drag a transition from the Transitions tab onto a transition on the timeline. Click on a transition on the timeline, then CTRL+click on the transition you want in the transition tab. This will commit the transition you selected to the transition on the timeline. Click on a transition on the timeline, then SHIFT+click on a transition in the transitions tab. The Transition Effects window opens. Make the adjustments you want and click APPLY. Press EXIT to close the window. Select the transition from the tab, then press SHIFT and drag the transition to the clip on the timeline. This opens the Video Effects window. Make your adjustments and press Apply. Press EXIT to close the window. To Preview a Transition You can also select a transition on the timeline and click on any transition in the tab to preview the transition. Click on a transition on the timeline, then click on the transition you want in the transition tab. There are three right-click options now for transitions: If you right-click on a transition on the timeline, you can choose: Transition info. Displays info for the transitions. Transition Settings. Use to change the duration of the transition. Transition Viewer. Use to make changes to the transition.

378 378 Chapter 12: Applying Effects Keyframe Interface Keyframe Interface For information on how the Keyframe interface works, see The Keyframe Interface.

379 Velocity User Guide 379 Adobe After Effects Integration Velocity integrates with Adobe After Effects to provide powerful effects and compositing. Install After Effects on the same machine as Velocity Launch Velocity Right click on a clip on the Timeline and select Apply AE Effects If After Effects is not already running, it is automatically launched An After Effects dialog appears in Velocity Define the After Effects Project Path, Composition Name, and Duration, or use the defaults For the Standard Settings, choose Use Clip or Use Project. This will dictate such things as the Composition resolution based on the clips resolution or the Velocity project timeline s resolution Click OK to proceed The interface switches to After Effects Double click the Composition in the Project pane In the Composition, the top track will be the clip selected in Velocity. This will show the trimmed portion, along with the available raw media before and after. The bottom track is the Velocity Background. This is a composite of all the lower tracks from the Velocity timeline for visual and audible reference. Since the final render will take place in Velocity, this reference track can prove useful when previewing a key or any other transparency effect Utilize the full feature set of After Effects along with any additional 3rd party plug-ins that might be installed When the work has been completed on the clips, use File > Save, or Ctrl S to save the After Effects Project Alt-tab or select Velocity in the task bar to return to Velocity, while leaving After Effects open and running On the timeline, the clip has been replaced with an After Effects Project (AEP) clip Scrubbing on the timeline will request rendered frames from the After Effects render engine to present a preview in Velocity Rendering the clip on the Velocity Timeline will complete the effect for real-time playback When right-clicking on the AEP clip and selecting the After Effects menu, the following options appear: Switch to After Effects: this will return the interface to After Effects and load the matching project Select AE Composition: if multiple Compositions are created within the After Effects Project, they can be selected here. This can be useful when dealing with multiple versions of an effect Update Composition Trim Points: if the clip s trim points are changed on the Velocity Timeline, this will update the After Effects Composition to use these same points Remove AE Effects: this will remove the After Effects Project association and return the clip on the timeline back to the original

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381 Rendering This chapter contains information on creating complex timelines and dividing the timeline into sections. This chapter also explains the three types of render segments, as well as information on why certain clips need to be rendered and others do not. Resourcing As you create a complex timeline, replete with layered clips, titles, transitions and effects, you should keep an eye on the render status bar at the top of the timeline. This line can give you valuable information about how ready your timeline is for playback. On the render status bar, the timeline is divided into segments. A segment is a portion of the timeline that uses a specific set of resources. Any time those resources change, a new segment begins. This would include adding or removing a title, starting or ending a transition, cutting to a new clip or razoring a clip (if you want to apply an effect to a portion of a clip, but don t want to render the entire duration). Clips with different formats should be able to playback on any timeline, regardless of the timeline output settings. Although, rendering may be necessary for clips with certain effects applied to them that may cause the playback to be sluggish, drop frames, etc. There are several types of render segments Unrendered. This segment shows with a yellow stripe and a blue section on the bottom. This indicates that the clip(s) in the segment either do not match to the Timeline settings or have effects applied to them. It may playback properly but has a higher likelihood of dropping frames depending on the type of clip or the effect applied. Unrendered RT. This segment shows with a medium blue bar. This indicates that the clip in the segment closely matches to the Timeline settings. It should play back properly without dropping frames. Render not required. This segment shows with a green stripe and a blue section on the bottom. This indicates that the clip in the segment matches to the Timeline settings such that no rendering is required. Rendered Segment. This segment shows a green stripe and a dark blue section on the bottom is what is shown AFTER a clip is rendered.

382 382 Chapter 13: Rendering Use the Preview Quality setting to reduce the complexity of playback and achieve better performance. This is beneficial for previewing segments that would otherwise need to be rendered in order to get acceptable playback. Rendering Files Rendered file names begin with MLT, followed by a string of numbers. MLT files that are no longer required (such as after repeated renderings) are deleted when you exit Velocity. However, if Velocity shuts down unexpectedly, you may develop an excess of these files. Rendering a Portion of the Timeline The following instructions show you how to render segments of a timeline in Velocity. To render a part of the Timeline 1 Select the clip or clips to render by doing one of the following: Double-click a renderable timeline segment. You can select more than one timeline segment by pressing SHIFT and double-clicking on the desired segments. De-select a marked segment by pressing SHIFT and double-clicking on it. Select all the renderable segments by pressing CTRL and double-clicking a renderable segment in the render bar. You cannot select a segment that cannot be rendered. 2 Double-click on a previously selected segment. The Segment Rendering Options window opens. 3 Select the desired options from the Segment Rendering Options window: Render. Renders the segment you have clicked on only. Even if you have selected multiple timeline segments, only the one double-clicked on will be rendered. Unrender. If a segment has been rendered, this button is enabled. It removes the last render from this clip. Mark Segment. Places a marquee around the selected segment and closes the Segment Rendering Options window.

383 Velocity User Guide 383 Render Marked Segments. Renders all selected timeline segments. Render All. Renders all timeline segments that must be rendered, but will skip all timeline segments that can potentially be hardware rendered but do not require rendering. Unrender Marked Segments. Deletes the rendering operations from selected timeline segments. Unrender All. Unrenders all rendered timeline segments. Render All Segments in the Movie Range. Renders all segments that Require rendering that are over the Movie Range (the blue marker two rows below the Render Status bar at the top of the timeline. Doesn t render clips that can be rendered but do not require it. Unrender All Segments in the Movie Range. Unrenders all segments that have been rendered over the Movie Range. If you click on the render bar at the end of your timeline (after the last clip), you can t render, because there is no finite end to the render segment. If you need to create a clip longer than the end of your project, extend the Make Movie range past the end and render that, or place a blank BMP at the end of your timeline, extended to fill out the entire duration of your project. This is not necessary if you are printing or outputting to tape, as blank areas of the timeline play back as black.

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385 Using the NXEC400 External Controller The NXEC400 external deck controller can be used for Timeline scrubbing, Trim Window and Multicam editing. You can also use the deck control for batch capture and print to tape. Connecting the NXEC400 The dual connector cable that accompanies the NXEC400 has both a serial port plug and a power source cord that plugs into the power source which is provided with the controller. Also included are two power cables that are plugged into a power source and a power outlet. One power cable is compatible with North American outlets. The other cable is compatible with European outlets. COM port Connecting the Controller Computer Configuring the NXEC400 To properly configure the NXEC400, you must enable the controller and set the COM port within the User Settings window. To enable the controller and set the COM Port 1 Launch Velocity and select File > User Settings > Modify Settings (or F5). 2 In the navigation tree under System Settings, select COM Port. 3 In the External Controller section, select the appropriate COM port that the controller is assigned to from the drop-down menu. 4 In the Jog/Shuttle area, place a check in the box next to Enable.

386 386 Chapter : Using the NXEC400 External Controller In order for the Velocity program to recognize the NXEC400, the Enable check box must be checked. 5 Click OK. Adjusting the COM Ports Batch Capture and Print to Tape Deck Control Batch Capture Mode You can perform Batch Capture functions from the NXEC400 by using the two buttons on each side of the time code display. Eject tape from deck Record from deck; toggles between modes Batch Capture Controls Tip: The button on the top right corner of the controller (the Record button in Batch Capture mode) is the toggle button that switches to Trim mode, Timeline mode, and MultiCam mode.

387 Velocity User Guide 387 When the controller is in Timeline mode, you may perform functions such as scrubbing the Timeline with the Jog/Shuttle wheel, lifting and extracting clips, zooming in or out of the Timeline, and marking positions on the Timeline. The tools for editing in Timeline mode are located in the row of editing tool buttons below the time code display. The Play Controls and Jog/Shuttle wheel can by used to navigate through a clip quickly and efficiently. Surrounding the Jog/Shuttle wheel are Mark In and Out functions and Index markers for marking and editing within the timeline or trim window. Goto Previous Clip/Edit Play In to Out Stop Play Goto Next Clip/Edit Goto Previous Index Add/Remove Index Goto Next Index Goto Previous Mark Out Goto Next Mark Out Mark In Jog/Shuttle wheel Mark Out The play controls will work in every mode.

388 388 Chapter : Using the NXEC400 External Controller NXEC400 Overview and Functionality The NXEC400 external hardware jog/shuttle controller provides tactile precision control for scrubbing, trimming, editing and remote deck control such as batch capture and print-to-tape within the Velocity user interface. Keypad buttons provide easy access to interface functions, including timeline playback, marking in and out points, and performing three and four point edits. This robust, heavy-duty controller includes all of the functionality of the NXEC400 and extends it with a back-lit LCD time code display, USB interface, enhanced keypad layout and more. Timecode display Editing tools Play Controls Jog/Shuttle wheel The NXEC400

389 Using the NXFAD Audio Control Console The NXFAD motorized external audio fader console provides an easy, tactile interface to Velocity audio mixing capabilities. You may control up to eight tracks of audio with precision in real-time. Connecting the NXFAD The dual connector cable that accompanies the NXFAD has both a serial port plug and a power source cord that plugs into the power source which is provided with the controller. Also included are two power cables that are plugged into the power source and a power outlet. One power cable is compatible with North American outlets. The other cable is compatible with European outlets. NXFAD COM port Power Source Power cable (North American or European included) Computer NXFAD Connections Configuring the NXFAD To properly configure the NXFAD, you must enable the controller and set the COM port within the Velocity User Settings window. To enable the Controller and Set the COM Port 1 Launch Velocity and select File > User Settings > Modify Settings (or F5). 2 In the navigation tree under System Settings, select COM Port. 3 In the External Controller section, select the appropriate COM port that the controller is assigned to from the drop-down menu. 4 In the Audio Console area, place a check in the box next to Enable.

390 390 Chapter : Using the NXFAD Audio Control Console In order for the Velocity program to recognize the NXFAD, the Enable check box must be checked. 5 Click OK. COM Port Configuration