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1 5 Digitizing Media Overview Target Data Rates and Quality Data Rates and Memory Allocation Storage Requirements Adjusting the Input Signal Monitoring Disk Space Monitoring Digitized Video Monitoring Digitized Audio Digitizing Hints Configuring Hardware Settings Configuring Media Settings Using the Edit Suite Window Digitizing via the Edit Suite Window Using the Power Digitize Panel Digitizing via the Power Digitize Panel Logging Clips via the Power Digitize Panel HDR Media in Bins and Programs

2 Chapter 5 Overview Digitization is the process whereby Media 100 converts analog signals from a video or audio source into digital data. Because of the amount of disk drive space required for the conversion of video data, the data must be compressed before being stored as a media file. Digitize JPEG Compression VTR Video Out # # # # # # # # # # Video Media Audio Out CH2 Disk Audio Out CH1 # # # # # # A1, A2 Synced Audio Media Digitize Media 100 s All-On-One Mastering gives you the flexibility to select the appropriate compression level and associated image quality for your video material. For example, if you have hours of source material and limited disk space, you can edit the program in stages. For the first stage, digitize all the video source material at a Draft (high compression, lower image quality) setting, then edit and position all elements to create the program. In the final stage, redigitize only the material actually used in the program at an Online (low compression, high image quality) setting before mastering the program to videotape. Digitized audio requires significantly less storage than video and does not need to be compressed to preserve its 16-bit, CD quality. Target Data Rates and Quality The target data rate, specified in Media 100 s Media Settings dialog box, allows you to control the quality level at which your source material will be digitized. The target data rate specifies approximately how much disk space each frame of your source material will occupy. Small target data rates allow you to fit more material on the storage disk; however, they also require more compression and therefore will produce a lesser picture quality. Large target data rates use minimal compression and produce higher quality images, but will require much more storage space. 98

3 Digitizing Media Note that the target data rate is an average frame size complex video images may require more compression and result in a slightly smaller actual digitized frame size; while simple video images may require less compression and result in a larger actual frame size than the specified target. Media 100 dynamically adjusts for these conditions while digitizing. Media 100 provides two quality modes for digitization: Draft mode (POWER Option only) Online mode You can specify different target frame sizes for both modes, allowing great flexibility in picture quality and disk space consumption. The standard unit of video is a frame which consists of two fields: one for odd-numbered scan lines and one for even-numbered scan lines. These fields are recorded next to each other on videotape and are interlaced during playback to display a full frame of video. A 40 KB frame of data in Online mode contains 20 KB per field. The Draft mode uses field doubling a 40 KB frame of data contains 40 KB in just a single field (the other field is discarded). At playback, this field is doubled to fill the scan lines of the frame. Thus, the selection of Draft or Online doesn t affect storage requirements. However, the field doubling used in Draft mode does provide a higher image definition for a given target frame size setting. The following tables show the range of data rates available for both NuBus and PCI bus-equipped Media 100 systems. NuBus Target Data Rates (in KB) Standard Draft Online NuBus NTSC PAL NuBus w/hdr Option NTSC PAL

4 Chapter 5 PCI Bus Target Data Rates (in KB) Standard Draft Online PCI NTSC PAL PCI w/hdr Option NTSC PAL Draft Mode Draft mode, as its name implies, is used for drafting or initially assembling your program quickly without the picture quality and detail necessary for final output. Recommended target frame sizes in Draft mode range from 5 KB to 180 KB, depending upon whether you re creating NTSC or PAL programs and the configuration of your Media 100 system. The upper limit of the Draft mode data rate is half the maximum Online setting. The Draft mode s smaller target frame sizes are produced by using high compression ratios and field doubling to digitize the frames. High compression ratios produce a picture quality sufficient for rough-draft editing and allow you to fit more frames on the storage disk, thus you can digitize more material. Note: Draft mode is available only if you have the POWER Option. Online Mode The Online mode is used for mastering the final program out to videotape using very high data rates for exceptional picture quality. Target frame sizes in Online mode range from 5 KB to 360 KB depending upon whether you re creating NTSC or PAL programs, the application memory allocation settings, and the configuration of your Media 100 system. The Online mode s larger available target frame sizes use low compression ratios when digitizing to produce high-quality output. The larger target frame sizes produce a better image quality, but consume disk space at a greater rate. Note: Rates higher than 100 KB (NTSC) or 120 KB (PAL) require that you have the HDR Option, and that you set the memory allocation correctly. 100

5 Digitizing Media Data Rates and Memory Allocation For supported Macintosh NuBus models, Media100's HDR Option provides maximum data rates up to 150 KB (NTSC) and 180 KB (PAL). For supported Macintosh PCI models, the HDR Option provides maximum data rates up to 300 KB (NTSC) and 360 KB (PAL). You select data rates from the Quality popup menu or the associated text entry field in the Media Settings dialog box. The availability of high data rates is based on the memory allocation value you set for the Media 100 application. Depending upon the setting, Media 100 allows a particular maximum data rate at which digitization can be safely accomplished. If the memory allocation is not set high enough, the higher data rates are disabled. For Macintosh NuBus models, Media 100 provides a single maximum data rate (150 KB NTSC or 180 KB PAL). To enable this maximum rate, set the memory allocation to 38000K. For Macintosh PCI models, Media 100 provides several maximum data rate levels that correspond to the current memory allocation setting. You select a maximum data rate by raising the memory allocation setting accordingly. Note: Refer to the Read Me Media 100 file in your Media 100 folder or the hardcopy Media 100 Read This First document for a list of the specific memory allocation values that enable various maximum PCI data rates. If the memory allocation is not high enough to support the data rate that you desire, you can adjust the setting to accommodate the needed rate. To set the memory allocation for HDR rates: 1. Quit Media Highlight the Media 100 application in your system folder. 3. Select Get Info from the File menu or press -I. The Media 100 Info dialog box displays with Minimum and Preferred Memory Requirements (expressed in KB). 101

6 Chapter 5 4. Enter increased allocation sizes for both the Minimum and Preferred settings. Memory allocation settings Note: Although you can set the Minimum and Preferred sizes separately, it is recommended that you enter the same amount in both fields. 5. Click the Close button in the upper left corner to exit the dialog box and apply the new allocation settings. 6. Launch the Media 100 application. Depending upon the new memory allocation setting, one or more increased data rates will be available. 102

7 Digitizing Media Storage Requirements As stated in previous sections, the quality of your picture and the amount of disk space consumed by video data are proportional. The higher the picture quality, the more disk space needed; the lower the picture quality, the less disk space needed. The following tables list the approximate amount of NTSC and PAL source material that can be stored on a 1-gigabyte disk drive for a variety of Draft and Online mode target frame sizes. Minutes of NTSC Digitized Editing Mode KB/ frame 1 Compression Ratio Minutes/GB Video +2 Tracks Audio Minutes/GB Video only Draft :1 54 min, 15 sec 116 min, 38 sec Draft 10 60:1 37 min, 02 sec 58 min, 19 sec Draft 15 40:1 28 min, 06 sec 38 min, 53 sec Draft 20 30:1 22 min, 39 sec 29 min, 09 sec Online :1 10 min, 28 sec 11 min, 40 sec Online :1 8 min, 52 sec 9 min, 43 sec Online :1 7 min, 42 sec 8 min, 20 sec Online :1 6 min, 48 sec 7 min, 17 sec Online :1 6 min, 05 sec 6 min, 29 sec Online :1 5 min, 31 sec 5 min, 50 sec Online :1 5 min, 02 sec 5 min, 18 sec Online :1 4 min, 38 sec 4 min, 52 sec Online :1 4 min, 18 sec 4 min, 29 sec Online :1 4 min, 00 sec 4 min, 10 sec Online :1 3 min, 45 sec 3 min, 53 sec 103

8 Chapter 5 Minutes of NTSC Digitized (Continued) Editing Mode KB/ frame 1 Compression Ratio Minutes/GB Video +2 Tracks Audio Minutes/GB Video only Online :1 2 min, 50 sec 2 min, 55 sec Online :1 2 min, 17 sec 2 min, 20 sec Online :1 1 min, 54 sec 1 min, 57 sec Minutes of PAL Digitized Editing Mode KB/ frame 1 Compression Ratio Minutes/GB Video +2 Tracks Audio Minutes/GB Video only Draft :1 58 min, 47 sec 139 min, 49 sec Draft 10 86:1 41 min, 23 sec 69 min, 54 sec Draft 15 58:1 31 min, 56 sec 46 min, 36 sec Draft 20 43:1 25 min, 60 sec 34 min, 57 sec Online :1 10 min, 27 sec 11 min, 39 sec Online :1 9 min, 05 sec 9 min, 59 sec Online :1 8 min, 03 sec 8 min, 44 sec Online :1 7 min, 13 sec 7 min, 46 sec Online :1 6 min, 32 sec 6 min, 59 sec Online :1 5 min, 59 sec 6 min, 21 sec Online :1 5 min, 31 sec 5 min, 50 sec Online :1 5 min, 06 sec 5 min, 23 sec Online :1 4 min, 46 sec 4 min, 60 sec Online :1 4 min, 27 sec 4 min, 40 sec Online :1 4 min, 11 sec 4 min, 22 sec 104

9 Digitizing Media Minutes of PAL Digitized (Continued) Editing Mode KB/ frame 1 Compression Ratio Minutes/GB Video +2 Tracks Audio Minutes/GB Video only Online :1 3 min, 57 sec 4 min, 07 sec Online :1 3 min, 44 sec 3 min, 53 sec Online :1 2 min, 50 sec 2 min, 55 sec Online :1 2 min, 17 sec 2 min, 20 sec Online :1 1 min, 54 sec 1 min, 57 sec 1. The target frame sizes listed in these tables correspond to the selections displayed in the Draft and Online mode pop-up menus. You can type other target frame size values in the corresponding text boxes. 2. The frame sizes are target figures. Frame sizes of 5 KB will be difficult to achieve for many images. Your actual frame size may be larger. 3. Target frame sizes above 100 KB (NTSC) or 120 KB (PAL) are available only if you have the HDR Option. Adjusting the Input Signal Before digitizing your source material, you can use Media 100 s waveform monitor and vectorscope controls located in the Input Setup window to calibrate your audio and video input signals. (This procedure is not required, but is useful if you need to make precise video adjustments.) Refer to Appendix A for instructions on using Media 100 s Input Setup features. Note: The Input Setup window is available only if you have the POWER Option. 105

10 Chapter 5 Monitoring Disk Space As source material is digitized, the Edit Suite window indicates the estimated amount of time and space remaining on your system s volumes (drives). Media 100 automatically stops digitizing and displays an alert before volume space is completely used. Note: The Time and Space values are estimates. Their accuracy will vary depending on the size and type of file being digitizing. The time and space estimates are dependent on the size of the files you are digitizing and the amount of space available on the selected volumes. The values reported are the current limiting values. Estimated time and space remaining Note: Due to a Macintosh file size limitation, the amount of source material that can be digitized as a single media file is limited to 2 GB. Attempting to digitize a larger file results in Media 100 stopping the digitization process and saving the clip before the 2 GB limit is reached. 106

11 Digitizing Media Monitoring Digitized Video Media 100 dynamically adjusts the recorded compression level to produce the best possible picture, consistent with the selected picture quality setting. The current quality setting displays in the Edit Suite window during digitization. Compression problems can result from certain unusual conditions, such as excessive noise in the input video signal, an abrupt change from simple to extremely complex frames, or a partial or full loss of input video. You cannot check for video compression problems by watching the Edit Suite window s subsampler, because the video displayed during digitization is uncompressed. You can, however, monitor the video loss-of-sync indicator in the Edit Suite window. If the red indicator illuminates, it is likely that synchronization has momentarily failed and that part of the signal may have been lost. Loss-of-sync indicator When your VTR is stopped, the loss-of-sync indicator may illuminate. However, once you start the VTR, the loss-of-sync indicator should no longer illuminate and stable video should be displayed in the Edit Suite window s subsampler. If Media 100 loses synchronization while digitizing, it automatically stops digitizing and saves all material digitized to that point. 107

12 Chapter 5 Monitoring Digitized Audio Media 100 s Audio window allows you to monitor the digitized audio level detected on Channel 1/L and Channel 2/R via the Media 100 Junction Box. These level indicators are peak-reading meters and may react differently to audio levels than an average reading meter found on some VTRs and audio consoles. To view the Audio window, select Audio from the Windows menu or press -2. To view only the Master Level controls, click the zoom button in the upper right corner of the Audio window. Master output level readout Headroom Master peak level reference Master output level slider Master Input/Output gain level indicators Media 100 samples audio digitally, so that the representation of input is accurate. However, to maintain the digital quality, the peak audio levels should never be allowed to clip (enter the red zone of the gain level indicators). The peak reading meters allow you to see the peak levels instantaneously. Adjust the input level to Media 100 at the VTR or external mixing device so that the highest peaks enter the red zone only occasionally. Note: Adjusting the input level at the VTR or mixing device is preferable to setting up the record level with program level tone, which will only display at approximately half scale on the Media 100 meter due to its lower peak level. 108

13 Digitizing Media Digitizing Hints Before you begin digitizing, you should be aware of the following information: Your videotape must have timecode if you plan to later redigitize your source material at a higher KB setting. If your videotape does not include timecode, copy your source material to a black-striped tape a blank tape recorded with timecode and black in video tracks. (Chapter 18, Mastering to Tape, provides detailed instructions for black-striping tape.) Ensure that your system s disk drives can handle the video quality rates you specify in the Media Settings dialog box. Use high-capacity, highspeed disk drives for the storage of all digitized video and audio material. Contact Data Translation or your authorized Media 100 dealer for the most recent list of recommended disk drives. Make sure that the VTR s input select switch (usually on the front panel) is not set to the same signal type as your video output connection. For example, if you are digitizing with your VTR s output cable connected to the S-video output connector, make sure that your input select switch is not set to S-video. If the input select switch is set incorrectly, intermittent picture problems may occur while digitizing. Note: The above information regarding the input select switch setting applies only while digitizing (using the VTR as an output device). When mastering a program from Media 100 to your VTR (using the VTR as an input device), the input select switch should always match the VTR s video input connection. When you digitize video, particularly at low compression to produce the highest quality images, you consume disk space at a rapid rate. Media 100 assumes that video and audio material digitized simultaneously is synchronized; that is, it has a timecode relationship that must be maintained. Synchronized audio media files are linked to the associated video media file until you break the linkage. 109

14 Chapter 5 Configuring Hardware Settings The Hardware Settings dialog box allows you to configure Media 100 s video and audio connections at the Media 100 Junction Box with internal video and audio settings. The Hardware Settings dialog box also allows you to configure the Machine Control setting. This setting implements remote control of a VTR for digitizing video and synchronized audio material from videotape. With the Machine Control cable installed and the VTR in remote mode, you can control the VTR from the Edit Suite window in Digitize mode. Play options include stop, play, rewind, fast forward, frame backward, and frame forward. If the taped material includes timecode, the timecode displayed reflects the recorded timecode. To configure hardware settings: 1. After launching Media 100 and opening or creating a project, open an existing bin or create a new one. To open an existing bin, double-click the bin icon in the Project window. To create a new Bin window, select New Bin from the File menu. If a bin is not opened or created, Media 100 will automatically create a new untitled bin when you begin digitizing. 2. Select Hardware Settings from the Edit menu. The Hardware Setting dialog box displays. 110

15 Digitizing Media 3. Select either NTSC or PAL from the Standard pop-up menu. When you initiate digitizing, Media 100 monitors the input signal and alerts you if the Standard setting conflicts with the input signal type. Characteristics associated with this setting include the following: Frame size Frame rate NTSC: 640 by 480 pixels PAL: 768 by 576 pixels NTSC: fps (frames per second) PAL: 25 fps (frames per second) 4. Select a signal type from the Video In pop-up menu. Note: Component is dimmed unless you have the HDR Option. The Video In signal type must match the video output signal connection on the back of your source VTR. Verify that cables from the VTR are connected to the appropriate video connectors on the Media 100 Junction Box. 111

16 Chapter 5 5. (NTSC only) Select either 7.5 IRE or 0 IRE from the Pedestal pop-up menu. (For PAL, the pedestal setting is always 0 IRE.) 0 IRE is used in Japan, while 7.5 IRE is used in all other countries that utilize the NTSC standard. Media 100 defaults to 7.5 IRE. Note: The 0 IRE setting is available only if you are using Media 100 on a Macintosh PCI platform. 6. Select either +4 db or 10 db from the Audio In and Audio Out pop-up menus. Selecting the +4dB option indicates that source audio was recorded with professional class equipment, typically using XLR-type connections. Ensure that the Audio Select switch on the Media 100 Junction Box is in the Balanced position when digitizing with audio at the +4 db setting. Selecting the 10 db option indicates that source audio was recorded with consumer class equipment, typically using RCA connections. Media 100 defaults to 10 db. Ensure that the Audio Select switch on the Media 100 Junction Box is in the Unbalanced position when digitizing with audio at the 10 db setting. WARNING! Ensure the appropriate setting has been selected. Digitizing +4 db audio at the 10 db setting results in severely clipped audio data. Digitizing 10 db audio at +4 db results in audio data at low levels. Monitor the peak indicators in the Audio Panel to determine if the signals are being clipped. 112

17 Digitizing Media 7. Select either the No Machine Control or the DQ-TimeCoder 1.4 DT option from the Machine Control pop-up menu. Selecting No Machine Control indicates that the device providing the source footage is not equipped with a 9-pin, RS-422 connector or otherwise cannot be controlled by Media 100 s play controls. Examples include camcorders, consumer class VCRs, and live broadcast or satellite feeds. Selecting DQ-TimeCoder 1.4 DT allows remote control of the VTR using Media 100 s play controls. For remote operations, the VTR must be equipped with a 9-pin, RS-422 connector and the Media 100 VTR remote control cable. Refer to your Media 100 Installation Guide for information on installing the VTR remote control cable. Note: The Machine Control folder must not be moved from its installed location within the Media 100 application folder. It must contain the DQ- TimeCoder 1.4 DT machine controller plug-in. 8. Click Configure. The Video Deck Configuration dialog box displays. 9. Click either the printer port or modem port radio button to indicate the serial port to which the remote control cable has been installed. Click OK. The Hardware Settings dialog box redisplays. 10. Click OK to save the settings or Cancel to revert to the original settings. 113

18 Chapter 5 Configuring Media Settings The Media Settings dialog box displays with three separate categories of settings for video, effects, and graphics, as well as a visual representation of media destination settings showing available disk space among your Macintosh system s volumes. From this dialog box you can configure how the free disk space is allocated to the storage of media files, and set the compression parameters for controlling the quality of digitized or imported video material. Each project retains these settings in its records. For a new project, you must allocate media file types to specific disks and change compression parameters as necessary. Before digitizing, you ll want to select a target frame size that corresponds to the function you are performing. If you change the quality values in the Media Settings dialog box, the new values will remain until you change the settings again. To configure media settings: 1. Select Media Settings from the Edit menu. The Media Settings dialog box displays. Image category Quality setting Media destination 114

19 Digitizing Media 2. Select an image type from the Image pop-up menu in the Video category. This selection instructs Media 100 on how to compress the video data. Media 100 provides three media type selections for each category. Natural Used for images with flesh-tones, natural scenery, irregular details and few straight edges Architectural Used for images containing fine details and many straight lines, such as buildings. Graphics Used for imported graphic images and animation. HDR Available only if the HDR Option is installed. Used for images to be digitized at high data rates Note: HDR is dimmed unless the HDR Option is enabled and the minimum/preferred memory allocations are set to at least 38,000 KB. 3. Click the Draft or Online radio button under the Video category. Note: The Draft radio button is enabled only if you have the POWER Option. See Draft Mode on page 100 for more information on Draft and Online modes. 115

20 Chapter 5 4. Select a KB rate from the Quality setting pop-up menu under the Video category or enter a value in the text box. The menu provides a range of settings based on whether NTSC or PAL was selected in the Hardware Settings dialog box. The settings specify the target frame size for video compression, expressed in KB (kilobytes per frame). Entering an invalid value results in an alert message and the last valid settings are used. The upper-limit selections are available only when the HDR Option is installed and your minimum and preferred memory allocation values are set accordingly. Note: Remember, maximum KB rates are based on the memory allocation of the Media 100 application. To adjust memory allocation settings, see Data Rates and Memory Allocation on page Repeat steps 2 through 4 for the Effects and Graphics categories. 116

21 Digitizing Media 6. In the media destinations grid, click the intersecting line for the desired external drive(s) and the video (V), audio (A), effects (Fx), and graphics (G) categories. Amount of free space available Video Audio Effects Graphics List of mounted volumes Shaded teal balls indicate which drives will be used for the different types of digitized media files. Note: The performance of disk drives and arrays varies widely. For some models, optimum performance is achieved by storing video and audio on separate drives. Data Translation s Media 100 Compatible Peripherals Guide provides detailed information on currently supported peripherals. Contact Data Translation or your authorized Media 100 dealer for a copy. For a new project, if you do not specifically allocate media file types among your system s disks, Media 100 defaults to the disk where the new project is stored. WARNING! Do not select the internal drive for storing video and audio data. The internal drive may not have the data-rate performance characteristics required for real-time video playback, particularly at higher quality settings. 7. Click Save to store the new settings or Cancel to revert to the original settings. 117

22 Chapter 5 Using the Edit Suite Window Although other windows and dialog boxes are necessary to configure Media 100 for digitization, control of the actual process takes place from the Edit Suite window in Digitize mode. From the Edit Suite window, you can: Identify the source of digitized material Identify the digitized clip Select the applicable video and audio channels Assign audio tracks and adjust pan settings for audio Remotely control an RS-422 equipped VTR Start and stop the digitization process To configure the Edit Suite window in Digitize mode: 1. Initiate Digitize mode. Press -D or select Digitize from the Edit Suite window s Mode pop-up menu. The Edit Suite window displays in Digitize mode. Clip name field Reel field Channel enable checkboxes Audio track pop-up menus Pan pop-up menus 118

23 Digitizing Media 2. In the Clip name field, enter a unique name for the clip to be digitized. Note: If a new clip name is not specified each time new source material is digitized, Media 100 appends a numeric suffix to the last name used. If no name was assigned, the clips are named Untitled1, Untitled2, etc. 3. In the Reel field, enter a unique identifier for the source video cassette. This information must exist if you intend to redigitize source material. Media 100 requires you identify each cassette or other media source from which you are digitizing material. Additionally, the identifier entered in the Reel field should match the actual label on the source media. If the source cassette has gaps and/or repeating sections of timecode, instead of a continuous increment across the entire cassette, you can assign unique reel identifiers to differentiate the broken or repeating sections. (Remember that you ll need to allow at least 5 seconds between sections to allow for tape preroll.) Be sure to mark any changes on the cassette s label as well. Media 100 does not differentiate between videotape cassettes. This field serves only as a reference so that you can easily identify source footage later. 4. Click the appropriate checkboxes to enable the desired audio and video input channels for digitization. Channel enable checkboxes V = source video signal CH - 1/L = channel 1 source audio CH - 2/R = channel 2 source audio Media 100 can digitize, in any combination, up to one video signal and two audio signals. To digitize audio only, disable the V checkbox. To digitize video only, disable the CH-1/L and CH-2/R checkboxes. Note: When digitizing audio separately from video, be sure to digitize both in the same standard (NTSC or PAL). Failure to do so will result in incompatibility between the clips when editing them together. 119

24 Chapter 5 5. Select the destination audio tracks for each audio channel from the track assignment pop-up menus. Click and hold to display the menu, then highlight the appropriate audio track. Track assignment pop-up menu Note: Channels A5 through A8 are available only if you have the HDR Option. 6. Select the desired audio pan settings for each audio input channel from the Pan pop-up menus. Pan pop-up menu The Pan pop-up menu provides four settings for distribution of the audio signal for each track. Left Use this option to distribute the entire signal to the left channel. Right Use this option to distribute the entire signal to the right channel. Center Use this option to distribute the signal equally between the left and right channels 120

25 Digitizing Media Mono Use this option to distribute the signal equally between the left and right channels. The Mono selection increases the signal by +3 db because a single speaker gives the perception of volume diminished by 3 db. The mono setting compensates for this loss of signal strength and should be used when mastering a program to tape with only a single channel of audio. 7. Open the Comments panel by clicking the panel expansion button in the lower right corner of the Edit Suite window. Panel expansion button Enter comments here 8. Enter any applicable comments using standard text editing commands, up to 255 alphanumeric characters. You can edit the comments in Edit Clip mode or in the Bin window. 9. To use the Power Digitize panel, see Using the Power Digitize Panel, starting on page 123. To digitize using the Edit Suite window, continue with Digitizing via the Edit Suite Window. 121

26 Chapter 5 Digitizing via the Edit Suite Window Depending upon the configuration of your Media 100 system, you can digitize media directly from the Edit Suite window or from the Power Digitize panel. To digitize media directly from the Edit Suite window: 1. Place the VTR in remote mode and use the Digitize panel play controls to position the videotape at the desired starting point. The Edit Suite window s subsampler and the external video monitor display the material as it is received by Media 100. Start button Play controls 2. Click Start to begin digitizing. During digitization, status messages Cueing, Prerolling, and Digitizing display in the Edit Suite window. 3. Click Stop or press the Space bar, the Esc key, or -. (period) to stop digitizing. 122

27 Digitizing Media 4. Repeat the start-and-stop sequence for each portion of source audio or video to be digitized. A clip appears in the active bin as each portion of source material is digitized. Depending on the bin s current view mode, an icon or name representation of the digitized material is displayed. Digitizing video and audio simultaneously synchronizes the material and results in a single keyframe icon. Note: Remember to update the reel identifier field each time you insert a new reel. Using the Power Digitize Panel The Power Digitize panel provides additional flexibility for clip digitization. Similar to digitizing in the Edit Suite window, the panel allows you to set a clip s beginning and end points on the fly using Mark In (Start) and Mark Out (Stop) buttons. Additionally, the panel allows for manual entry of beginning and end timecode values and cueing of videotape to the specific points. Once the beginning and end points are set using either method, you can either digitize the clip immediately (saving it into a bin) or create a clip without source media (log) and digitize it later. When log clips appear in the bin, they are without any media. Media for a logged clip is captured later using Media 100 s Auto Digitize function. 123

28 Chapter 5 Note: The Power Digitize panel is available only if you have the POWER Option. Panel expansion button { Power Digitize panel Digitizing via the Power Digitize Panel You can immediately digitize a clip from source footage using the Power Digitize panel. To use the Power Digitize panel: 1. Set up Media 100 for digitization as detailed in Configuring Hardware Settings on page 110, Configuring Media Settings on page 114, and Using the Edit Suite Window on page Click the panel expansion button to display the Power Digitize panel. 124

29 Digitizing Media 3. Select the clip s In and Out points using either of the following methods: Using the Mark In and Mark Out buttons Click the Edit Suite window s Play button to view the source material, then click the Mark In (F1) and Mark Out (F2) buttons as the beginning and end points of the clip pass. Source material can viewed in the Edit Suite window s subsampler or on the external monitor. When you click the Mark In button, Media 100 automatically subtracts a specified number of seconds from the In timecode field. This allows for your response time between seeing the desired start point and actually clicking Mark In. You can set the subtraction value from 1 through 5 seconds via the Edit menu s Preferences command. Timecode entry fields Current timecode position of source material (VTR) Used to set a clip s beginning and end points on the fly. Using the Timecode Entry fields Using a timecode edit list from previous viewing of the source material, enter the beginning and end points of the clip in the timecode entry fields. Unlike using the Mark In and Mark Out buttons, Media 100 does not subtract a specified number of seconds from the entered timecode. Changing either the In or the Out field updates the Length field accordingly. If you change the Length timecode value, the Out timecode updates automatically to maintain consistency. 125

30 Chapter 5 4. Ensure that the VTR is stopped. The VTR must be in a stopped state for the Digitize button on the Power Digitize button to be enabled. If you used the Mark In and Mark Out buttons to designate your clip, you must press the Stop play control, the Space bar, or the Escape key. If you used the timecode entry fields, the VTR is already stopped. 5. If you want to review the beginning and end point of clip before digitizing, click the Cue In (F3) or Cue Out (F4) buttons to move the tape from its current location to the specified point. Cue In button Cue Out button You can terminate the cueing in any of the ways you would normally stop tape movement click Stop, or press -. (period), the Space bar, or the Escape key. 6. When satisfied with the In and Out points of the clip, click Digitize. Media 100 inserts the 5 second preroll, brings the VTR up to speed, and digitizes the clip. The clip is then saved to the open bin. If no bin is open, an untitled bin is created. If the start timecode is less than 00:00:05:00 or the tape does not have timecode, an alert message displays. For example, if the first timecode designation on the tape is at 01:00:00:00 and you re searching for 00:20:00:00, the following alert message will display: Cannot locate timecode 00:19:55:00. Stopped at timecode 01:00:00:00. Clicking OK, instructs Media 100 to digitize from the point where it has stopped (01:00:00:00). When digitizing, you can terminate the process in any of the ways you would normally stop tape movement, or you can click Mark Out. 7. Repeat the process to digitize clips as needed. 126

31 Digitizing Media Logging Clips via the Power Digitize Panel Logging is a process where you mark clips on the fly to be digitized later. During logging, Media 100 creates empty clips that have pointers to the appropriate In and Out points for the source footage. This function is useful when digitizing a large number of previously reviewed clips. Instead of spending a large amount of time individually digitizing clips, you can create, or log, all the clips and capture the source media later using the Auto Digitize function. To log clips using the Power Digitize panel: 1. Set up Media 100 for digitization as detailed in Configuring Hardware Settings on page 110, Configuring Media Settings on page 114, and Using the Edit Suite Window on page Click the panel expansion button to display the Power Digitize panel. 3. Select the clip s In and Out points using either of the following methods: Using the Mark In and Mark Out buttons Click the Edit Suite window s Play button to view the source material, then click the Mark In (F1) and Mark Out (F2) buttons as the beginning and end points of the clip pass. Source material can viewed in the Edit Suite window s subsampler or on the external monitor. When you click the Mark In button, Media 100 automatically subtracts a specified number of seconds from the In timecode field. This allows for your response time between seeing the desired start point and actually clicking Mark In. You can set the subtraction time from 1 to 5 seconds via the Edit menu s Preferences command. Using the Timecode Entry fields Using a timecode edit list from previous viewing of the source material, enter the beginning and end points of the clip in the timecode entry fields. Unlike using the Mark In and Mark Out buttons, Media 100 does not subtract a specified number of seconds from the entered timecode. Changing either the In or the Out field updates the Length field accordingly. If you change the Length timecode value, the Out timecode updates automatically to maintain consistency 127

32 Chapter 5 Note: The video cassette with the source material is not required for the logging process, however it is required for later digitization. 4. Click Log or press the Enter key to create a clip without media. The clip appears in the current bin and is marked as Unavailable because no source media is associated with the clip. You can capture the appropriate source media using the Auto Digitize command. See Chapter 6, Auto Digitizing Media, for instructions on using the Auto Digitize command. 5. Repeat the process to log clips as needed. HDR Media in Bins and Programs There are several considerations when using video and audio clips that have been digitized at high data rates. If the HDR Option is disabled or not present on your Media 100 system, media previously digitized at rates higher than the base system currently allows is considered offline and displays as unavailable. When viewed in a bin in keyframe mode, the message HDR Media displays instead of the actual keyframe. These clips are considered unavailable. 128

33 Digitizing Media To make these clips available, you must either redigitize them at a lower data rate or enable the HDR Option. If the HDR Option is enabled on your system and a clip was digitized at a rate higher than the current memory allocation setting allows, the media again displays as unavailable. For example, if the current memory allocation setting safely allows a data rate of up to 200 KB and a clip was digitized at 300 KB, it would be considered offline. When viewed in a bin in keyframe mode, the message HDR Rate Too High displays for these types of clips. To utilize these clips, they must either be redigitized at a lower data rate or the memory allocation size must be increased to accommodate the higher settings. 129

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