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Open Search. Track Display for New Sequences When you create a new sequence with the New Sequence command and no material is loaded in the Source monitor, the Timeline displays a default set of tracks—the master timecode track TC1 , at least one video track V1 , and at least two audio tracks A1 and A2.
For film projects, the output timecode format tracks and EC edgecode track also display. You can change the initial set of tracks that display in the Timeline in the Edit tab of the Timeline Settings dialog box. You can add up to 24 audio or video tracks to a sequence. You can also add one Data D1 track for ancillary data closed captioning. The following illustration shows the default Timeline for a new sequence, with no material loaded in the Source monitor.
User Preferences for Creating Tracks There are two options in the Edit tab of the Composer Settings dialog box that help automate the way you create and enable tracks.
You can adjust these settings in advance, based on personal preference. This lets you create new tracks selectively as you edit. This lets you turn on the source tracks more selectively as you edit.
Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler to another part of the sequence at any time during editing. You cannot add filler to the end of a sequence or to an empty sequence. You can create black title media and insert it at the end of a sequence.
Filler appears at the beginning of the sequence in the Timeline. You can set a default duration for the filler in the Edit tab of the Timeline Settings dialog box. To add filler anywhere in a sequence: 1. The system loads a 2-minute clip of filler into the Source monitor. Mark the amount of filler that you want to add. Do one of the following: 7. Making a First Edit 0 t Move the position indicator for the sequence to the point where you want to add the filler.
Click the Splice-in or Overwrite button to edit the filler into the sequence. Making a First Edit This topic describes a method for adding a first clip to a sequence. You can also use this method without creating a new sequence in advance, in which case the sequence is created as soon as you make the edit.
To begin editing: 1. Load the first clip into a monitor. Option If you have not already marked In and Out points for the clip in advance or created a subclip, view and mark the clip. Click buttons in the Track Selector panel to select the tracks you want to include in the edit. Only the tracks that you capture for the clip appear as source tracks in the Timeline.
Source tracks in the Track Selector panel For example, with a talking head you might select tracks V1 picture and A2 sound if the voice was recorded on that track. You would deselect track A1, that might have unwanted wild sound picked up from a second microphone or no sound at all. Creating an Instant Rough Cut 1 As another example, if you lay down a music track first, you would select track A1 or A2 depending on where the music was recorded, and deselect V1.
Click the Splice-in button to add the edit to the sequence in the Record monitor. The Record monitor displays the end of the last frame of the new edit. You can drag the position indicator in the Timeline or the position bar beneath the monitor to review the clip.
The edit also generates a graphical display of the cut in the Timeline. Screen display for the first edit in a sequence. Top: monitor window with the source clip on the left and the sequence on the right. The Splice-in button and the indicator of the end of the last frame for the edit are highlighted. Bottom: the new edit in the Timeline. Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can create a rough cut by creating a storyboard in the bin, and then load these clips directly into the Timeline.
To create a rough cut from a bin: 1. In the bin, sort the clips in the order in which you want them to appear in the sequence. For example, in Frame view, arrange the bin so that you can drag clips into the storyboard order you want. Select the tracks for the edit. Undoing or Redoing Edits 2 n If no sequences are loaded in the Record monitor, the Timeline has no features.
Do one of the following: t Drag the selected clips to the Timeline to splice the clips into place. The clips splice together to form a new sequence based on the order in which they were listed in the bin. Undoing or Redoing Edits You can undo or redo up to previous actions listed in the Edit menu. You can undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command.
Undo and Redo commands in the Edit menu. Undoing or Redoing Edits 3 the submenu, and prior Undo commands in the lower part. For example, you can select the Undo Only Record Events option and then mark several In and Out points in clips loaded in the Source monitor. If you decide to undo the last edit made to the sequence, then you would not lose the In and Out points in the source clips.
The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform. You can use two marks or sometimes one mark to complete an edit using phantom marks.
Performing an Insert or Splice-in Edit An insert or splice-in edit inserts marked source material into the sequence without replacing material already in the sequence. Clip 3 in the sequence moves down when you splice clip 4 in at the insertion point red line.
To perform an insert edit: 1. Load a clip into the Source monitor. Mark an In point and an Out point. Mark an In point in the sequence as follows: a. Move the position indicator for the sequence to the point where you want to splice the clip into the sequence.
Click the Mark In button, or press the Mark In key. If you do not mark an In point, the system splices the new clip into the sequence at the current location of the position indicator.
Click the Splice-in button yellow to complete the edit. Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the selected source material. An overwrite edit replaces existing material and does not lengthen the overall duration of the sequence unless the material used to overwrite goes beyond the end of the sequence.
Clip 4 overwrites parts of clips 2 and 3 shaded in red when you edit it in at the insertion point red line. In the monitor, mark an In or Out point, but not both, to show the start or end of the clip you want to use. In the Record monitor, mark both an In point and an Out point to select the material in the sequence you want to overwrite.
You can also mark an Out point and move the position indicator to the In point. Click the Overwrite button red to complete the edit. Performing a Replace Edit The Replace Edit button blue replaces a clip in the sequence video, audio, or both with new source material, while maintaining the original In and Out points of the previous edit.
You can use it from the Command Palette or map it to a monitor palette. Sync Point editing, which is similar to replace editing, lets you overwrite material in the sequence based on the alignment of position indicators in the source material and in the Timeline. The difference is that Sync Point edits end at the nearest marks in either the source or record material, and replace edits always fill the In to Out portion of the clip in the sequence. To perform a replace edit: 1. Move the position indicator to select a sync frame in the source clip.
The frame displays in the monitor. The sync frame can be an In point, Out point, or any frame in between that you want to sync to a frame in the existing clip in the sequence. Move the position indicator to select the sync frame in the sequence for the edited segment that you want to replace. Click the Replace Edit button blue.
Mixing Frame Rates and Field Motion Types n 7 The system calculates In and Out points for the source material by using the sync frames and the existing In and Out points in the sequence for the previously edited clip that you want to replace.
When you select the tracks you want, check the durations before you perform the edit. If you replace a clip in an overlap edit and the position indicator falls within the overlap, you might end up replacing the wrong material unless you select the entire segment you want to replace.
Enabling Single-Mark Editing Single-mark editing lets you establish a single mark, and then use the location of the position indicator to determine the second mark when making the edit. To enable single-mark editing: 1. In the Project window, click the Settings tab. Double-click Composer. The Composer Settings dialog box opens. In the Edit tab, select Single Mark Editing. For example, you can work with 30i clips in a 24p project.
In your Avid editing application and in this documentation, clips that do not match the frame rate or field motion type of the project are known as mixed rate clips.
You can view and play mixed rate clips in the Source monitor or in pop-up monitors. You can also edit mixed rate clips into a sequence. Audio remains synchronized with video. You can stack clips with different frame rates or field motion types on multiple video tracks, apply effects, and otherwise perform all normal editing operations. The Motion Adapter effect does not appear in the Effect Palette and does not have an effect icon. Your Avid editing application applies Motion Adapter effects and sets their parameter values automatically.
If you promote a Motion Adapter effect to a Timewarp effect and then use the Remove Effect button to remove the Timewarp, your Avid editing application re-applies a Motion Adapter effect. Most of the time, they work automatically and seamlessly to allow mixed rate clips to play correctly in a project. You might need to provide accurate frame layout information for a clip, such as its field motion or whether it contains pulldown. In the Motion Effect Editor, you can view the parameter values for a Motion Adapter effect, and adjust the render type.
To make further adjustments, you need to promote the Motion Adapter effect to a Timewarp effect. In the bin, the Field Motion column provides field motion and frame layout information for a clip. Motion Adapter effects use the Field Motion attribute value to determine their Source parameter value. In the Modify dialog box, set a new format for a sequence to create a version of the sequence that plays at a different rate from its original rate. You can then work with that sequence in a project that uses the new frame rate.
Mixed rate clips also display with their original frame rate appended to the clip name. For example, if you have a 24 fps clip named sunset that you edit into a sequence with a frame rate other than 24 fps, the clip name displays as sunset The illustration shows a mixed rate clip in the Timeline. To further distinguish mixed rate clips from other material in the Timeline, you can display them in distinct colors. To change the appearance of a mixed rate clip, you can select a different rendering option from the Type list to change the way your Avid editing application interprets and displays frames.
The other Motion Adapter effect parameters are inactive. You can check the values your Avid editing application has calculated, but you cannot change them. If you need to make other adjustments, promote the Motion Adapter effect to a Timewarp effect. The full set of Timewarp effect parameters become available and you can freely change or animate the speed at which the clip plays. The illustration shows the Motion Adapter effect in the Motion Effect Editor, with the Type list and the Promote button active, and other parameters inactive.
Adaptive deinterlacing is a processing option that can improve the look of interlaced source material that is being converted to progressive frames. To view parameter values for a motion adapter and adjust the render type: 1. Move the position indicator to the mixed rate clip that uses the Motion Adapter effect you want to adjust. Click the Motion Effect button.
The Motion Effect Editor opens and displays the current parameter settings for the Motion Adapter effect. The system displays the current parameter values for the adapter. If you have not yet made any manual adjustments to the adapter, the values you see are those your Avid editing application created automatically.
The Type list render options is active. The Adaptive Deinterlace Source option might also be active. Other parameters are inactive. Select a rendering option from the Type list.
To promote a motion adapter to a Timewarp effect 1. Move the position indicator to the mixed rate clip that uses the motion adapter you want to adjust. The Motion Effect Editor opens. Click the Promote button. The motion adapter is promoted to a Timewarp effect and all standard Timewarp effect parameters are available. Adjust the Timewarp parameters as necessary to create the motion that you want for the clip. Modifying the Field Motion Attribute for a Clip The Field Motion bin column contains information about the frame layout of a clip or subclip.
It indicates whether the clip is interlaced or progressive, or whether it contains pulldown or repeated strobe frames. When you create a clip or subclip, its Field Motion attribute is set to either Interlaced or Progressive, depending on the project type. In most cases this value accurately represents the field motion of the clip or subclip, but you sometimes need to override the value to match the actual field motion of the video source or to indicate that the source contains pulldown or repeated frames.
The illustration shows the Field Motion bin column and the menu that lets you change the Field Motion attribute value. You can have several subclips derived from the same master clip, and set different Field Motion values on each of them. When you change the Field Motion attribute of a clip, it updates if it is loaded in a Source or pop-up monitor, and new edits into a sequence from the clip use the new Field Motion attribute value. However, edits that you made from that clip before you change the Field Motion attribute continue to use the old value.
If you want to update a sequence so that all its Motion Adapter effects use the current Field Motion attribute values for their source clips, refresh the Motion Adapter effects for the sequence. To modify the Field Motion attribute for a clip or subclip: 1. Open the bin that contains the clip or subclip you want to modify. Option If it is not already visible, display the Field Motion bin heading.
Click the Field Motion item for the clip or subclip, and select one of the following: Option Description Interlaced Use for all video with interlaced field motion. Use for a clip or subclip that contains pulldown.
Progressive Use for progressive video. Progressive Strobe Use for a clip or subclip that contains repeated frames, for example, a traditional strobe motion effect clip, or a clip where the original video was shot at a reduced frame rate such as 15 fps.
Usually results in a better finished look because blending between frames reduces stuttering motion. This setting improves image quality during playback of mixed-format sequences where material requires resizing. Consider consolidating the media to a local disk. This is a limitation of Timewarp and Motion Adapter effects when you work in draft qualities. If you switch to Full Quality, or render the Motion Adapter effects, the pulldown cadence is correct.
To achieve smooth playback, you can either use Full Quality or render the motion adapters for the relevant clips. Transcoding Mixed Rate Material You can transcode clips of any edit rate, including clips that you have edited into a sequence, to any resolution available within your current project. You also might want to transcode mixed-rate material in order to homogenize your sequence and transfer it to an editing application that cannot conform mixed-rate sequences, such as an Avid DS version older than You can also use transcoding for general clip conversion tasks such as removing pulldown from Once the transcode process completes, you can edit with the clips directly, or you can batch capture or import if you have access to original sources at the new rate.
The transcoded material When existing material in a sequence is transcoded across edit rates, your Avid editing application automatically removes motion adapters and adjusts Timewarp effects. In some cases, the last frame of a transcoded clip might be offline. Avid recommends using non-zero handles when you transcode sequences with mixed-rate clips to minimize the chance of seeing offline frames.
You should check transcoded sequences carefully and adjust any variations from the original sequences that are not acceptable to you, for example, by trimming. If you load this type of clip into the Source monitor or drag it into the Timeline, an error message appears. Your Avid editing application adds the marker at the closest valid location in the clip. You can use the Markers Window to access all the markers. Mixing Frame Sizes and Aspect Ratios c 6 Effect Templates and Mixed Rate Material You can use effect templates that you save in bins with clips of all frame rates and in sequences of any project type.
When you apply a template, your Avid editing application adjusts keyframes if necessary to account for differences in frame rate. However, Dynamic Relink behaves slightly differently when it operates on clips that do not match the frame rate of the project.
Motion adapters do not conform in versions of Avid DS prior to version You cannot play or adjust mixed rate material in these versions. Do not include mixed rate clips in sequences that you intend to finish on an Avid DS system running an older version of Avid DS than version Mixing Frame Sizes and Aspect Ratios You can work with media of different frame sizes, aspect ratios, and pixel aspect ratios in the same sequence.
For example, you can mix SD , HD , and film formats. How Your Avid Editing Application Reformats Clips in Sequences Your Avid editing application reformats a clip in a sequence when the aspect ratio, pixel aspect ratio, or frame size of the clip do not match those of the project.
When you change a format setting, for example, the aspect ratio for an SD project, all clips currently edited in a sequence immediately adapt to the new format. You do not need to re-edit any clips in your sequences. When you next view the sequence, you see any changes to the size and position of clips.
By default, your Avid editing application reformats clips to fill the frame by stretching. You can set other reformatting options by changing the Reformat attribute for that clip in the bin. The aspect ratio can be changed at any time, however this will affect any titles that you have created, so the titles also need to be recreated at the new aspect ratio.
For HD projects, only the aspect ratio is available as this is the only aspect ratio allowed in the HD standard. To change the aspect ratio for a project, do one of the following: t Click the Format tab in the Project window, then click the Aspect Ratio menu, and select either or , depending on the aspect ratio you want to use. Right-click in the monitor window in editing or in Trim mode, select Project Aspect Ratio, and then select either or , depending on the aspect ratio you want to use.
You see these changes when you next open and view an affected sequence. You do not need to re-edit the media into the sequence, and the source media remains unchanged. To recreate titles at the new aspect ratio: 1. After you have switched to the new aspect ratio, select a clip on the timeline that has a title that you need to recreate.
A new title will be recreated in the bin with the new aspect ratio. Continue recreating all other titles on your timeline using the same steps. When you create a clip or subclip, the Reformat attribute is automatically set to Stretch.
You can modify this Reformat attribute at any time. Reformat options apply only when a clip does not match the project aspect ratio. If you are working in an Interplay environment, do not change the Reformat attribute from the Stretch setting. If you use a different setting, and you then use Interplay Transcode or Send to Playback, the results might not be what you expect.
The illustration shows the Reformat bin column and the menu that lets you choose a Reformatting Option. Changes you make to the Reformat attribute apply only to the selected clip in the bin. You can have several subclips derived from the same master clip, and set different Reformatting Options on each of them. When you change the Reformat attribute of a clip, it updates if it is loaded in a Source or pop- up monitor, and new edits into a sequence using this clip use the new Reformatting Option.
However, previous edits using this clip continue to use the old value. If you want to update a sequence so that all versions of this clip in a sequence use the current Reformat attribute, refresh the Reformatting Options for the sequence.
To set the Reformat value for an individual clip or subclip: 1. Open the bin containing the clip or subclip you want to modify. Click the Text tab.
Option If it is not already visible, display the Reformat bin heading. Click the Reformat field for the clip or sub-clip, and select an option. Options apply only to clips that do not match the frame size and aspect ratio of the project. Reformatting Options Reference The table describes the choices available under the Reformat bin heading and their effect when you edit a clip into a sequence of a different size or aspect ratio.
These options have no effect on clips that do match the project size and aspect ratio. In all reformatting options, the center of the source material is set by default to the center of the sequence frame. Option Description Stretch Scales the clip to match the width and height dimensions of the sequence. The illustration shows an example where a clip is placed in a sequence. The clip is stretched horizontally to accommodate the width of the sequence. The illustration shows two examples.
When you edit a clip into a sequence left , the resulting segment has horizontal bars at the top and the bottom. When you edit a clip into a sequence right , the resulting segment has vertical bars at the sides.
Center crop, preserve aspect ratio Scales and crops the clip to be the smallest size possible while filling the entire frame. The resulting image is centered in the frame. When you edit a clip into a sequence left , the resulting segment is cropped at the sides. When you edit a clip into a sequence right , the top and the bottom of the segment are cropped. Center, keep original size Centers the clip in the sequence but does not resize it.
If the source clip is not the same size as the sequence, the clip is either cropped or does not cover the whole of the sequence frame. You can change these settings even if a clip has already been used in a sequence. If you want the change to be reflected, you can refresh the sequence to use the latest values for just one, or all attributes.
Make sure that you are applying the attributes to the appropriate clip in the bin. The same clip may exist as an AMA-linked clip or a transcoded clip. Aspect Ratio and Reformatting Options Refreshes the sequence so that clips whose frame size or aspect ratio have been changed now use the attributes set on the master clip. Color Adapters Refreshes the sequence so that clips whose color space has been changed now use the attributes set on the master clip.
Linked Plug-in Settings Refreshes the sequence so that clips whose linked source settings have changed now use the attributes set on the master clip. Stereo Correction Effects Refreshes the sequence so that all source-side effects applied to stereoscopic clips in the bins are updated accordingly in the sequence. All Refreshes the sequence so that it uses the current values for all of the individual options listed above. Lifting, Extracting, and Copying Material Lifting, extracting, and copying let you remove or reposition material quickly in your sequence.
For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Your Avid editing application places the material you remove into the Clipboard. You can then paste the material elsewhere in the sequence or into another sequence. You can also remove and reposition segments.
Lifting removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track or sequence remains the same. Extracting removes selected material from a track in the sequence and closes the gap left by its removal.
When you extract material, you shorten the duration of the track or sequence. Comparison of Lift and Extract operations.
Lifting material left leaves a gap that is replaced with black filler, and the length of the sequence remains the same. Extracting material right closes up the gap that the material previously occupied, and the sequence becomes shorter.
In both cases, the material you remove is placed into the Clipboard. The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. You can then insert the material elsewhere in the sequence or into another sequence. To lift material: 1.
Mark In and Out points at the start and end of the material in the sequence that you want to lift. Select the tracks containing the material. Lifting, Extracting, and Copying Material The system performs the function on selected tracks only.
Click the Lift button in the Edit tab of the Command palette to complete the edit. To extract material: 1. Mark In and Out points at the start and end of the material in the sequence that you want to extract. The system performs the function on selected tracks only. If sync locks are on, all material on all tracks is extracted.
Click the Extract button in the Edit tab of the Command palette to complete the edit. To copy material to the Clipboard: 1. Mark In and Out points at the start and end of the material in the sequence that you want to copy.
Click the Copy to Clipboard button. The system copies the selected material to the Clipboard, and leaves the sequence untouched. Using the Avid Clipboard The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment. The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments or for rebuilding the section at another location.
Each time you copy, lift, or extract additional material, you delete and replace the previous contents. All the clips added remain available in menu until you select Clear Menu or close the project.
The Clipboard lets you restore lifted or extracted segments quickly. This is useful if you have performed one or more edits since removing the material. In contrast, if you use the Undo function to restore the material, your Avid editing application also undoes all edits performed in the meantime.
Material in the Clipboard does not appear as a clip in the bin and is deleted when you close the project. To save a portion of a sequence for future use, mark the section and create a subclip. To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, Extract, or Copy to Clipboard buttons.
Left to right: Lift, Extract, and Copy to Clipboard buttons To keep the Clipboard contents throughout a session, do one of the following: t Click the Clip Name menu above the Source monitor, and select Clipboard Contents. The n is an incremental numbering of clips placed in the Clipboard during the session.
To restore material from the Clipboard: 1. Load the Clipboard contents by doing one of the following: t Click the Clip Name menu above the Source monitor, and select Clipboard Contents to place the Clipboard contents into the Source monitor and add the clip name to the Clip Name menu. Click the Mark Clip button to mark the entire segment. Adding Comments to Sequence Clips n n 4. Locate the In point in the sequence from which the segment was removed.
Move the position indicator here, or mark an In point. Splice or overwrite the material into the sequence. Adding Comments to Sequence Clips When you add comments to sequence clips, they appear in the Timeline or in lists that you create, such as an EDL or a cut list.
Comments can include instructions for color correction or for adjusting an effect. To add comments to the clips in a sequence: 1.
Click one of the Segment buttons located in the Timeline palette , and highlight the clip to which you want to add a comment in the Timeline. Segment Overwrite button red and the Segment Insert button yellow 2. Click the Clip Name menu above the monitor, and select Add Comments. The Comments dialog box opens. Type your comments in the text box, and click OK. Playing Back a Sequence You can play a sequence at any time to see the results of your editing. You can view the sequence in the Record monitor or a Client monitor.
You can also play back your sequence in a continuous loop by augmenting the Play In to Out command with the Alt key Windows or Control key Macintosh. You must set marks in the sequence to determine the range of the playback loop. Use looping playback to isolate and continuously play back a small portion of a sequence during a difficult edit. If you have several tracks of audio, you might need to mix them down and adjust levels before playback. Playing Back a Sequence n To play a sequence: 1.
Click the Video Track Monitor icon located on the uppermost video track to display all video tracks and effects during playback. Click the Data Track Monitor button to ensure proper playback of the data track. You can only monitor and view the data on a client monitor capable of handling ancillary data.
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