Avid NewsCutter XP User's Guide

Avid ® NewsCutter ® XP
User’s Guide
Release 2.0
for the Windows ® 2000 Operating System

© 2000–2001 Avid Technology, Inc. All rights reserved.
Avid NewsCutter XP User’s Guide • Part 0130-04911-01 Rev. A • July 2001
2

Contents
Chapter 1
Chapter 2
Desktop Basics
Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Creating an Emergency Repair Disk . . . . . . . . . . . . . . . . . . . . . . . 31
Using Shortcut Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using the Windows Taskbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Dragging Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Setting the Avid Color Scheme. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Setting Your Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
About the NewsCutter XP Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . 36
About the Avid Projects and Avid Users Folders . . . . . . . . . . . . 36
Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . 37
Deleting Projects and User Profiles. . . . . . . . . . . . . . . . . . . . . . . . 37
Starting the NewsCutter XP Application. . . . . . . . . . . . . . . . . . . . . . . 38
Accepting Your NewsCutter XP License Electronically . . . . . . . . . . 39
Starting a Project
Opening a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Identifying a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Creating a New User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Selecting an Existing User . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Selecting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Nesting Projects in Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
3

Opening a Project in NewsCutter XP . . . . . . . . . . . . . . . . . . . . . . 46
Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . 47
Saving Your Project Information on a Drive or
Floppy Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Ending an Edit Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Quitting the NewsCutter XP Application . . . . . . . . . . . . . . . . . . 49
Turning Off Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Mounting and Ejecting Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Ejecting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Mounting All Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Connecting to the Avid Production Network . . . . . . . . . . . . . . . . . . . 53
Using Shortcut Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Chapter 3
Working with the Project Window
Opening and Closing the Project Window . . . . . . . . . . . . . . . . . . . . . 56
Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Creating a Folder in a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Creating a New Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Opening and Closing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Closing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Deleting a Bin or Folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Emptying the Trash. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Saving Bins Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Saving Bins Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
4

Retrieving Bin Files from the Attic Folder. . . . . . . . . . . . . . . . . . 71
Modifying the Creation Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Using the Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
About Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
General Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Appearance Interface Settings. . . . . . . . . . . . . . . . . . . . . . . . . 84
Changing Interface Component Colors. . . . . . . . . . . . . . . . . 86
Interface Appearance Templates. . . . . . . . . . . . . . . . . . . . . . . 90
Changing Shading Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Changing Button Separation . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Changing Button Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Changing the Settings Scroll List Display . . . . . . . . . . . . . . . . . . 97
About the Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . 103
Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Naming Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Selecting Among Multiple Settings. . . . . . . . . . . . . . . . . . . 105
Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Copying Settings Between Settings Files . . . . . . . . . . . . . . 106
Moving Settings Between Systems . . . . . . . . . . . . . . . . . . . 106
Using Site Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Displaying Project Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
5

About the Memory Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Accessing the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . 111
Linking User Settings and Workspaces . . . . . . . . . . . . . . . . . . . 113
Switching Between Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . 114
Deleting a Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Navigating in Dialog Boxes and Menus . . . . . . . . . . . . . . . . . . . . . . 116
Chapter 4
Chapter 5
Using Basic Tools
Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Using the Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
About Button Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Mapping User-Selectable Buttons . . . . . . . . . . . . . . . . . . . . . . . . 122
Using the Blank Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Mapping the Modifier Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Mapping Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Activating Commands from the Command Palette . . . . . . . . . 125
Using the Avid Calculator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Using the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Displaying System Information. . . . . . . . . . . . . . . . . . . . . . . . . . 128
Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Getting Information with the Console Window. . . . . . . . . . . . 128
Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Checking the Hardware Configuration . . . . . . . . . . . . . . . . . . . 129
Logging
Logging Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Logging Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
6

Double-Checking the Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Adding a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . 139
Converting a Log File to an ALE File . . . . . . . . . . . . . . . . . . . . . 140
Using Drag-and-Drop Conversion . . . . . . . . . . . . . . . . . . . . . . . 145
Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Logging with an Avid-Controlled Camera or Deck . . . . . . . . . 148
Logging with a Non-Avid-Controlled Camera or Deck. . . . . . 152
Modifying Clip Information Before Recording . . . . . . . . . . . . . . . . 154
About the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Using the Modify Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Options for Modifying Bin Information . . . . . . . . . . . . . . . . . . 156
Modifying in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Exporting Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Chapter 6
Preparing to Record
Understanding Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . . . . . 160
What Is IEEE Standard 1394? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
What Is DV? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
What Is OHCI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Using General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Choosing Record Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
General Record Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Batch Record Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Edit Record Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Media Files Record Settings . . . . . . . . . . . . . . . . . . . . . . . . . 169
Setting Media Creation Resolutions and Selecting Drives . . 171
7

Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Deleting Deck Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Setting Up the Record Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Opening the Record Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Selecting Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Methods for Setting the Video and Audio Input . . . . . . . . . . . 187
Choosing a Resolution in the Record Tool. . . . . . . . . . . . . . . . . 188
Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Targeting a Single Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Targeting Separate Drives for Audio and Video . . . . . . . . 190
Interpreting the Time Remaining Display. . . . . . . . . . . . . . . . . 192
Recording to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . 192
Recording Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . 195
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Choosing the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . 196
Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . 198
Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Resizing the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . 203
Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . 203
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Using the Console to Check Audio Levels. . . . . . . . . . . . . . . . . 206
Compression Resolutions and Storage Requirements . . . . . . . . . . 208
Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Digital Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Setting Media Creation Resolutions and Selecting Drives . . 208
Data Rate Calculations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
8

Chapter 7
Recording
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . 215
Adding Locators On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Recording and Logging at the Same Time. . . . . . . . . . . . . . . . . . . . . 216
Recording from One Point to Another . . . . . . . . . . . . . . . . . . . . 217
Recording from an IN Point to an OUT Point . . . . . . . . . . 217
Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Recording On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Autorecording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Recording from a Non-Avid-Controlled Deck . . . . . . . . . . . . . 225
Recording with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . 228
Recording Audio from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Recording to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Patching When Recording to the Timeline . . . . . . . . . . . . . . . . 232
Batch Recording from Logged Clips. . . . . . . . . . . . . . . . . . . . . . . . . . 233
Preparing to Batch Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Resizing the Record Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Preparing Settings for Unattended Batch Recording . . . . 234
Batch Recording Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Rerecording Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Rerecording Master Clips and Subclips. . . . . . . . . . . . . . . . . . . 238
Rerecording Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Saving Two Versions of a Sequence
When Rerecording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Rerecording the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Other Recording Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . 241
Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . 242
Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . 242
Returning to the Previous Place in the Select Tape
Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
9

Chapter 8
Chapter 9
Importing Files
Preparing to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Creating and Using Import Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 245
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . 260
Using Open Media Management (OMM) . . . . . . . . . . . . . . . . . . . . . 261
Preparing to Use OMM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
OMM Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Creating an OMM Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Using OMM to Import Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Reimporting Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
The Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Selected Clips Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Import Target Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Import Options Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Starting the Reimport Process . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Organizing with Bins
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
About Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Frame View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Custom Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Customizing Bin Views in Text View . . . . . . . . . . . . . . . . . 276
Saving a Custom Bin View. . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Setting the Bin Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Selecting Clips and Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Duplicating Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . 280
Moving Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
10

Copying Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Deleting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Assigning Colors to Bin Objects . . . . . . . . . . . . . . . . . . . . . . . . . 283
Adding a Color Column to a Bin . . . . . . . . . . . . . . . . . . . . . 283
Assigning a Source Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Assigning a Custom Source Color . . . . . . . . . . . . . . . . . . . . 285
Limiting Color Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Sorting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Sifting by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Selecting Offline Items in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . 288
Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . 289
Displaying Audio File Information. . . . . . . . . . . . . . . . . . . . . . . 290
Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Arranging Bin Columns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Moving and Rearranging Columns . . . . . . . . . . . . . . . . . . . 291
Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . 293
Deleting Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Duplicating Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . 295
Changing a Custom Column Heading. . . . . . . . . . . . . . . . . 297
Managing Clip Information in Text View . . . . . . . . . . . . . . . . . 297
Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . 297
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . 298
Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Modifying Data by Using the Modify Command. . . . . . . 299
Copying Information Between Columns . . . . . . . . . . . . . . 301
Sorting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Sorting Clips in Ascending Order . . . . . . . . . . . . . . . . . . . . 301
Sorting Clips in Descending Order . . . . . . . . . . . . . . . . . . . 302
Performing Multilevel Sorting with Columns. . . . . . . . . . 302
11

Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Changing the Bin Background Color . . . . . . . . . . . . . . . . . . . . . 304
Enlarging or Reducing Frame Size . . . . . . . . . . . . . . . . . . . . . . . 305
Rearranging Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Changing the Frame Identifying the Clip . . . . . . . . . . . . . . . . . 306
Arranging Frames in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Using Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Entering Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Adding Text in Script View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . 309
Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . 311
Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . 311
Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Creating Audio Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Chapter 10
Managing Media Files
Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . 319
Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
About the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . 325
Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Finding a Related Media File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Relinking to Selected Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Relinking Consolidated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
12

Workgroup Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
About MediaManager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
About TransferManager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Chapter 11
Viewing and Marking Footage
Changing the Pop-up Monitor Size . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Using the 16:9 Display Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Displaying Tracking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Tracking Format Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Displaying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Copying Text from the Info Window . . . . . . . . . . . . . . . . . . . . . 341
Displaying the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . 342
Displaying Multiple Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . 344
Setting the Font and Point Size for Monitor Displays . . . . . . 345
Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Loading and Clearing Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Loading into the Pop-up and Source/Record Monitors. . . . . . 346
Using the Clip Name Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Switching Between Loaded Sequences . . . . . . . . . . . . . . . . 347
Clearing Sequences from Monitors . . . . . . . . . . . . . . . . . . . 349
Resizing Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Hiding the Video in the Source/Record Monitor . . . . . . . . . . . 349
Resizing the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . 350
Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Using Position Bars and Position Indicators . . . . . . . . . . . . . . . 351
Using Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
About the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Shuttling with the J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . 354
Navigating with Home, End, and Arrow Keys . . . . . . . . . 356
Playing in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . 356
Connecting a Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Selecting the Client Monitor Setting . . . . . . . . . . . . . . . . . . . . . 357
13

Supporting a Camera Without Video Input. . . . . . . . . . . . . . . . 358
Play Length “In Use” Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . 359
Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Clearing a Mark and Setting a New One . . . . . . . . . . . . . . 361
Dragging IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . 361
Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . 362
Marking Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Using the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Opening the Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Using the Tool Palette Options . . . . . . . . . . . . . . . . . . . . . . . 365
Using the Tool Palette from the Record Monitor. . . . . . . . 366
Using the Timeline Top Toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . 366
Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . 370
Moving to the Previous or Next Locator . . . . . . . . . . . . . . . 372
Deleting Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Marking an Area Using Locators . . . . . . . . . . . . . . . . . . . . . 372
Deleting a Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Using the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Viewing and Navigating in the Locators Window . . . . . . 374
Sorting Information in the Locators Window . . . . . . . . . . 375
Displaying Frames in the Locators Window . . . . . . . . . . . 376
Changing the Color of the Locator Icon . . . . . . . . . . . . . . . 376
Accessing a Locator in a Sequence or Clip . . . . . . . . . . . . . 376
Printing the Locators Window. . . . . . . . . . . . . . . . . . . . . . . . 377
Deleting Locators by Using the Locators Window . . . . . . 377
Displaying Information in the Locators Window . . . . . . . 378
Finding Frames and Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Using Frame Offset Timecode to Cue a Frame . . . . . . . . . . . . . 379
Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . 379
14

Using Match Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . 381
Chapter 12
First Edits
Setting Up a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Starting a New Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Changing the Sequence Info. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Changing the Start Timecode for Sequences. . . . . . . . . . . . . . . 387
Setting Up Tracks for the New Sequence. . . . . . . . . . . . . . . . . . 387
Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Making the First Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Beginning to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Creating an Instant Rough Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Undoing or Redoing Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Monitoring Audio While Editing . . . . . . . . . . . . . . . . . . . . . . . . 395
Editing Additional Clips into the Sequence. . . . . . . . . . . . . . . . . . . 395
Performing a Splice-in Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . 397
Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Extracting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Copying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Placing a Sequence into the Clipboard . . . . . . . . . . . . . . . . 400
Recovering Material from the Clipboard . . . . . . . . . . . . . . 401
Playing the New Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Improving Playback Performance . . . . . . . . . . . . . . . . . . . . . . . . 403
Proceeding with Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
15

Chapter 13
Using the Timeline
Customizing Timeline Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Accessing the Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . 406
Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Additional Procedures for Customizing the Timeline . . . . . . 411
Enlarging and Reducing Tracks . . . . . . . . . . . . . . . . . . . . . . 411
Changing the Timeline Track Color . . . . . . . . . . . . . . . . . . . 412
Saving a Custom Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . 412
Replacing a Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . 413
Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Using the Timeline Scroll Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Displaying Detail in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . 415
Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . 415
Selecting and Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . 416
Selecting Segments with the Segment Mode Pointer. . . . 417
Selecting One or More Segments by Lassoing. . . . . . . . . . 417
Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
About Finding Black Holes and Flash Frames . . . . . . . . . . . . . 418
Finding Black Holes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Finding Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Performing Segment Mode Edits. . . . . . . . . . . . . . . . . . . . . . . . . 421
Extracting/Splicing-in Segments. . . . . . . . . . . . . . . . . . . . . . 421
Lifting/Overwriting Segments . . . . . . . . . . . . . . . . . . . . . . . 422
Deleting Segments with Segment Mode. . . . . . . . . . . . . . . 423
Bin Editing into the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Bin Editing Directly into a Sequence . . . . . . . . . . . . . . . . . . . . . 425
Using the Top and Tail Commands . . . . . . . . . . . . . . . . . . . . . . . 426
Setting the Duration for Filler at the Start of a Sequence. . . . 427
Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . 427
About Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
16

About Nesting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Monitoring Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Monitoring a Solo Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Adding an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Removing Match-Frame Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Backtiming Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Chapter 14
Working in Trim Mode
Customizing Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . 445
Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Trimming Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Slipping or Sliding Clips or Segments . . . . . . . . . . . . . . . . . . . . 448
Selecting Segments for Slip or Slide Trimming . . . . . . . . 448
Performing the Slip or Slide Trim . . . . . . . . . . . . . . . . . . . . 450
Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Adding Black While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Trimming with Sync-Locked Tracks . . . . . . . . . . . . . . . . . . . . . . 454
17

Chapter 15
Working with Audio
About Audio Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Accessing Audio Effect Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Audio Editing Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Soloing Audio Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . 460
Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Smooth Scrub Versus Digital Scrub. . . . . . . . . . . . . . . . . . . 461
Selecting Tracks for Scrubbing . . . . . . . . . . . . . . . . . . . . . . . 461
Performing Smooth Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . 463
Using the J-K-L Keys to Perform Smooth Scrub . . . . . . . . 463
Using the Mouse to Perform Smooth Scrub . . . . . . . . . . . . 463
Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . 465
Performing the Digital Scrub Procedure. . . . . . . . . . . . . . . 466
Adjusting Pan Defaults. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Adjusting Default Pan Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . 472
Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Adjusting Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Applying Pan Value Adjustments . . . . . . . . . . . . . . . . . . . . 475
Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . 476
Rendering an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Modifying Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Creating or Modifying an Audio Pan/Vol Effect . . . . . . . . 478
Modifying How the System Interprets Pan . . . . . . . . . . . . 478
Bypassing Existing Volume Settings. . . . . . . . . . . . . . . . . . . . . . 479
Adjusting Volume While Playing an Audio Mix Effect . . . . . 479
Limitations on Adjusting Volume . . . . . . . . . . . . . . . . . . . . 481
Improving Response Time . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
18

Using Audio Gain Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Automation Gain Values and System Clip Gain Values. . . . . 482
Adjusting Volume in the Timeline . . . . . . . . . . . . . . . . . . . . . . . 484
Deleting Audio Gain Keyframes . . . . . . . . . . . . . . . . . . . . . 486
Moving Audio Gain Keyframes in the Timeline. . . . . . . . 486
About the Automation Gain Tool . . . . . . . . . . . . . . . . . . . . . . . . 487
Track Solo Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Selecting Tracks in the Automation Gain Tool . . . . . . . . . 490
Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . 491
Recording Automation Gain Information . . . . . . . . . . . . . . . . . 492
Using the Automation Gain Tool Sliders . . . . . . . . . . . . . . 493
Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Basic EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Removing Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . 506
Using Audio EQ Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Creating Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . 509
Adding an EQ Template to the Fast Menu . . . . . . . . . . . . . 510
Adjusting EQ While Playing an Audio Effect. . . . . . . . . . . . . . 511
Digidesign AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Installing AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 512
Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . 513
Applying an AudioSuite Plug-in to a Clip
in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
19

Using a Plug-in Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
AudioSuite Plug-in Fast Menu . . . . . . . . . . . . . . . . . . . . . . . 517
Rendering Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
AudioSuite Controls for Creating New Master Clips . . . 518
Mono, Stereo, and Multichannel Processing . . . . . . . . . . . 521
Creating New Master Clips by Using Plug-Ins . . . . . . . . . 522
Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . 523
Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . 525
Canceling a Render Operation . . . . . . . . . . . . . . . . . . . . . . . 525
Addressing Errors When Rendering a Plug-in Effect. . . . 526
Recording Voice-Over Narration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Creating the Voice-Over. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
About Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Using Auto VO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Mixing Down Audio Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
Changing the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Chapter 16
Syncing Methods
Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Managing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Editing to Avoid Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Fixing Sync in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Fixing Sync in Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . 546
Managing Sync with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . 546
Using Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
20

Syncing with Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . 551
Chapter 17
Chapter 18
Output Options
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Selecting Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Audio Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Calibrating for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . 555
Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . 556
Adjusting Output on Two-Channel Audio Systems. . . . . 557
Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Frame-Accurate Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Manual Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . 560
Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Recording a Digital Cut to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Understanding Passthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Using EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Exporting and Exchanging Material
About Exporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Preparing to Export a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Publishing with the Avid Publishing Wizard . . . . . . . . . . . . . . . . . 574
Using the Review & Approval Service . . . . . . . . . . . . . . . . . . . . . . . 574
Obtaining Review & Approval Comments . . . . . . . . . . . . . . . . 575
Opening Review & Approval Files . . . . . . . . . . . . . . . . . . . . . . . 576
Displaying Information in the Locators Window. . . . . . . . . . . 577
Using Locator Colors with Review & Approval Files . . . . . . . 578
Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
21

Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . 580
Using the Drag-and-Drop Method for Export. . . . . . . . . . . . . . 582
Using Media Cleaner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Using ProEncode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Using AvidLinks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Creating Files for a DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . 592
Using OMM to Export Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Exporting a Clip with OMM and the Drag-and-Drop
Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
About OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Choosing an OMFI Transfer Method . . . . . . . . . . . . . . . . . . . . . 601
Exporting OMFI Compositions Only . . . . . . . . . . . . . . . . . 601
Exporting OMFI Compositions with Media Files. . . . . . . 602
Exporting as an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Exporting AAF Compositions Only . . . . . . . . . . . . . . . . . . . . . . 605
Exporting AAF Compositions with Media Files. . . . . . . . . . . . 607
QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . 610
QuickTime Reference Export Options . . . . . . . . . . . . . . . . . . . . 613
Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Exporting as an AVI File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
AVI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
AVI Video Compression Dialog Box Options . . . . . . . . . . . . . . 633
About Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Using the Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . 635
Exporting with an Avid Meridien Codec . . . . . . . . . . . . . . 635
Exporting with the Avid ABVB NuVista Codec for
QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Using the Avid Codec for AVI . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
22

Installing an Avid Codec on Other Systems . . . . . . . . . . . . . . . 643
Copying an Avid Codec for QuickTime . . . . . . . . . . . . . . . 643
Copying an Avid Codec for AVI . . . . . . . . . . . . . . . . . . . . . . 644
Exporting from a Third-Party Application. . . . . . . . . . . . . . . . . 644
Exporting Tracks as Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Exporting as a Graphics File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Exporting as an MPEG File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
Transferring a Project Between Systems . . . . . . . . . . . . . . . . . . . . . . 659
Methods for Transferring Files Between
NewsCutter XP Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Compatibility Requirements for Transfer . . . . . . . . . . . . . . . . . 661
Transferring a Project and Associated Media Files . . . . . . . . . 661
Transferring Projects, User Profiles, and Site Settings . . . . . . 663
Transferring Media to and from a Video Server . . . . . . . . . . . . . . . 665
Setting Up a Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . 665
Configuring the Video Server as a Deck . . . . . . . . . . . . . . . 666
Transferring from NewsCutter XP to the Video Server . . . . . . 667
Transferring from the Video Server to NewsCutter XP . . . . . . 668
Chapter 19
Using the NRCS Tool
Configuring the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
Starting the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Understanding the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Using the Directory Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Opening a Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Making a Shortcut to a Directory. . . . . . . . . . . . . . . . . . . . . . . . . 678
Removing a Shortcut to a Directory . . . . . . . . . . . . . . . . . . . . . . 679
Deleting a Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
Changing the Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
23

Editing Story Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Entering Edit Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Formatting Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Rearranging Text in a Story . . . . . . . . . . . . . . . . . . . . . . . . . . 682
Marking Text as Presenter Instructions . . . . . . . . . . . . . . . . 682
Marking Text as Closed Caption. . . . . . . . . . . . . . . . . . . . . . 683
Adding a Production Cue. . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Deleting a Production Cue. . . . . . . . . . . . . . . . . . . . . . . . . . . 685
Marking Text as Machine Control . . . . . . . . . . . . . . . . . . . . 685
Marking Text as Normal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Finding the Read Time of a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Building a Sequence from a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Script-Based IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . 690
Setting Timeline IN and OUT Points Based
on Story Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Adjusting the Story Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692
Adjusting the Story Timing with a Time Marker. . . . . . . . . . . 693
Adjusting the Story Timing with a Time Pad . . . . . . . . . . . . . . 694
Saving Changes to a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Sending and Receiving NRCS Mail . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Sending NRCS Tool Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699
Receiving NRCS Tool Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Disconnecting from the iNEWS Server . . . . . . . . . . . . . . . . . . . . . . . 700
Appendix A
Using AudioSuite Plug-Ins
Accessing the AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Core AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Digidesign Intelligent Noise Reduction–Broadband Noise
Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Focusrite d3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
24

Digidesign D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Digidesign D-fx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707
Description of Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . 707
DeEsser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707
Using DeEsser Effectively . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
DeEsser Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Duplicate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
DC Offset Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
Master Clip Mode Parallel Processing. . . . . . . . . . . . . . . . . 713
Time Compression Expansion Parameters . . . . . . . . . . . . . 714
Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Pitch Shift Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717
EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719
EQ II Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720
Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Using Compression Effectively. . . . . . . . . . . . . . . . . . . . . . . 722
Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723
Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Limiter Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727
Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727
Expander/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Expander/Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 730
Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732
Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732
25

Appendix B
Appendix C
File Format Specifications
Graphics (Image) Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . 737
Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . 738
Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Audio File Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747
Field Ordering in Graphics Imports and Exports . . . . . . . . . . . . . . 748
Avid Log Specifications
Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
Understanding Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . 754
Describing an Avid Log File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Data Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Index
26

Tables
Table 3-1 Bin Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Table 3-2 General Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 79
Table 3-3 Interface Settings Options (General Tab) . . . . . . . . . . . 82
Table 3-4 Interface Settings Options (Appearance Tab) . . . . . . . 85
Table 3-5 Customizable Interface Components . . . . . . . . . . . . . . 86
Table 3-6 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Table 3-7 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Table 3-8 Navigation Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Table 5-1 Options for Modifying Bin Information . . . . . . . . . . . 156
Table 6-1 Record Settings (General Tab) . . . . . . . . . . . . . . . . . . . 165
Table 6-2 Record Settings (Batch Tab) . . . . . . . . . . . . . . . . . . . . . 167
Table 6-3 Record Settings (Edit Tab) . . . . . . . . . . . . . . . . . . . . . . 169
Table 6-4 Record Settings (Media Files tab) . . . . . . . . . . . . . . . . 170
Table 6-5 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Table 6-6 Deck Preferences Options . . . . . . . . . . . . . . . . . . . . . . . 181
Table 6-7 Adjustable Audio Project Settings . . . . . . . . . . . . . . . . 199
Table 6-8
Table 6-9
Drive Storage Capacities (Minutes)
for NTSC Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Drive Storage Capacities (Minutes)
for PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Table 6-10 Data Rate Storage Calculations for NTSC Video. . . . 212
Table 6-11 Data Rate Storage Calculations for PAL Video . . . . . 212
Table 8-1 Import Settings Options (Image Tab) . . . . . . . . . . . . . 248
Table 8-2 Import Setting Options (OMFI Tab) . . . . . . . . . . . . . . 253
Table 8-3 Import Setting Options (Shot Log Tab). . . . . . . . . . . . 255
Table 9-1 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . 272
27

Table 9-2 Modify Command Options . . . . . . . . . . . . . . . . . . . . . 299
Table 11-1 Timecode Display Options . . . . . . . . . . . . . . . . . . . . . . 343
Table 13-1 Timeline Settings Options. . . . . . . . . . . . . . . . . . . . . . . 407
Table 13-2 Timeline Settings Options (Edit Tab) . . . . . . . . . . . . . 408
Table 13-3 Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . 410
Table 14-1 Key Functions in Slip or Slide Trim. . . . . . . . . . . . . . . 451
Table 15-1 Number of Tracks and Scrub Speeds . . . . . . . . . . . . . 462
Table 18-1 Applications for AvidLinks Export . . . . . . . . . . . . . . . 588
Table 18-2
Export Settings Dialog Box
(DV Stream Options) . . . . . . . . . . . . . . . . . . . . . . . . . 595
Table 18-3 Export Settings Dialog Box Options . . . . . . . . . . . . . . 599
Table 18-4
Table 18-5
Table 18-6
Export Settings Dialog Box
(OMFI Options). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Export Settings Dialog Box
(AAF Options). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Export Settings Dialog Box
(QuickTime Reference Options) . . . . . . . . . . . . . . . . 613
Table 18-7 QuickTime Movie Export Options . . . . . . . . . . . . . . . 618
Table 18-8 QuickTime Compression Settings . . . . . . . . . . . . . . . . 622
Table 18-9 AVI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Table 18-10
Table 18-11
Table 18-12
AVI Video Compression Dialog Box
Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Export Settings Dialog Box
(Audio Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Export Settings Dialog Box
(Graphic Options). . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Table 18-13 Graphic Format Settings Options . . . . . . . . . . . . . . . . 651
Table 18-14 Devices for Transferring Files . . . . . . . . . . . . . . . . . . . 661
28

Table 18-15 Default Folder and File Locations . . . . . . . . . . . . . . . . 664
Table 19-1 NRCS Tool Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Table B-1 Graphics File Import Specifications. . . . . . . . . . . . . . . 739
Table B-2 Animation File Import Specifications . . . . . . . . . . . . . 743
Table B-3
QuickTime File Import and Export
Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744
Table B-4 AVI File Import and Export Specifications . . . . . . . . 745
Table B-5 OMFI File Import Specifications . . . . . . . . . . . . . . . . . 747
Table B-6
Recommended Field Settings for Two-Field
Import and Export. . . . . . . . . . . . . . . . . . . . . . . . . . . 750
Table C-1 Compatible Log Formats. . . . . . . . . . . . . . . . . . . . . . . . 754
Table C-2 Avid Log Sample Table. . . . . . . . . . . . . . . . . . . . . . . . . 755
Table C-3 Avid Log Global Headings. . . . . . . . . . . . . . . . . . . . . . 756
Table C-4 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . 758
Table C-5 Avid Log Data Headings . . . . . . . . . . . . . . . . . . . . . . . 760
29

CHAPTER 1
Desktop Basics
Although most of your work is performed within the NewsCutter XP
application, you need to use a few basic desktop procedures.
The following sections describe basic procedures involving the
Windows operating system and the Avid folders:
• Working with the Desktop
• About the NewsCutter XP Folder
• Managing the Avid Projects and Avid Users Folders
• Starting the NewsCutter XP Application
• Accepting Your NewsCutter XP License Electronically
n
This
chapter refers to the default installation directory path for the various
Avid folders. If you choose a different directory path during the installation,
you must substitute that path when using this chapter.
30

Working with the Desktop
For information on the
Windows operating
system, such as the
desktop and icons, see
your Microsoft ®
Windows Help.
This section describes the following desktop features that you will use
when working with NewsCutter XP:
• Creating an Emergency Repair Disk
• Using Shortcut Menus
• Using the Windows Taskbar
• Dragging Windows
• Setting the Avid Color Scheme
• Setting Your Screen Resolution
Creating an Emergency Repair Disk
You or your system administrator needs to create a Windows
emergency repair disk (ERD) to rebuild your system configuration if it
becomes damaged. You need to update the ERD any time you make a
system change, like installing new software.
To create an emergency repair disk:
1. Click the Start button, and click Run.
2. In the text box, type:
rdisk /s
3. Click OK.
4. Follow the instructions to create the disk.
5. Store the disk in a safe, dry, static-free location.
If you have a problem, search for Emergency Repair Disk in the
Windows Help.
31

Using Shortcut Menus
Instead of using the standard menus to find the command you need in
a window, try using the shortcut menus.
To use a shortcut menu, do one of the following:
t
t
Right-click in a window to access a shortcut menu that shows the
most frequently used commands for that window. For a list of the
available shortcuts, see the Avid NewsCutter XP Quick Reference.
You can also right-click a screen object to access What’s This? Help
for the object.
Using the Windows Taskbar
By default, the Microsoft Windows taskbar always appears on the
bottom of your screen, on top of your application. You have two other
choices:
• Keeping the taskbar hidden behind the application
• Setting the taskbar to appear only when you drag the mouse
pointer to it
n
If
you keep the taskbar hidden while running NewsCutter XP and you
minimize an application such as Help, you will not see the minimized icon. To
see the taskbar and minimized icons, minimize NewsCutter XP.
To change the taskbar settings:
1. Right-click an unused part of the taskbar.
2. Choose Properties from the shortcut menu.
The Taskbar Properties dialog box appears.
3. Click the Taskbar Options tab.
32

4. Select the options you want:
n
The
t
t
5. Click OK.
To keep the taskbar hidden, deselect Always on top and Auto
hide.
To set the taskbar to appear when you want, select Always on
top and Auto hide.
taskbar can to be dragged to the top, bottom, or either side of the monitor.
For more information, see your Windows Help.
Dragging Windows
By default, Windows systems show the contents of windows when
you drag them. Deselect this option to improve screen display and to
avoid problems repainting the screen.
To deselect the option “Show window contents while dragging”:
1. Click the Start button, point to Settings, and then select Control
Panel.
2. Double-click Display.
3. In the Display Properties dialog box, click the Plus! tab.
4. Deselect “Show window contents while dragging.”
5. Click OK.
n
For
a shortcut to the Display Properties dialog box, right-click an empty part
of the desktop, and choose Properties.
33

Setting the Avid Color Scheme
By default, NewsCutter XP is set to the gray and purple Avid color
scheme.
To change the color scheme:
1. Click the Start button, point to Settings, and then select Control
Panel.
2. Double-click Display.
3. In the Display Properties dialog box, click the Appearance tab.
4. Choose a different color scheme from the Scheme list.
5. Click OK.
n
For
a shortcut to the Display Properties dialog box, right-click an empty part
of the desktop, and choose Properties.
Setting Your Screen Resolution
NewsCutter XP works best with the following screen resolutions:
• 1024 x 768 pixels
• 1152 x 864 pixels
• 1280 x 1024 pixels
A larger resolution displays more pixels and lets you view more
objects in the monitors. The objects will appear smaller.
To view or change the screen resolution:
1. Click the Start button, point to Settings, and then select Control
Panel.
2. Double-click Display.
3. In the Display Properties dialog box, click the Settings tab.
34

4. Under Desktop Area, drag the slider to the resolution you want.
5. Click OK.
n
Also
n
For
in the Settings tab, make sure the Color Palette is set to True Color.
a shortcut to the Display Properties dialog box, right-click an empty part
of the desktop, and choose Properties.
About the NewsCutter XP Folder
The NewsCutter XP folder contains essential operational files and
supporting files. You can find it in the following location:
drive:\Program Files\Avid\
You should not touch any of these files, except where noted in the
following descriptions:
• Help folder: This folder contains the Help files. You can find
information about Help in “Using Help” on page 54.
• NewsCutter XP application: The application icon resides here.
You can start the application by following the procedures
described in “Starting the NewsCutter XP Application” on
page 38.
• Settings: In addition to Project and User settings, the system
maintains two settings files in this folder that apply to all users
and all projects on the system. You can copy or move the Site
Settings file to other systems on the desktop, using the same
procedure described in “Moving Settings Between Systems” on
page 106.
• Supporting Files: A series of files located in the SupportingFiles
folder that add functionality to the application. The system
accesses most of these files from within the application. You can
add third-party effects to the 3rd Party Plug-Ins folder and
35

AVX_Plug-Ins folder from programs such as Avid Visual
Extensions (AVX ) for use in effects editing, as described in the
Avid NewsCutter XP Effects Guide.
Managing the Avid Projects and Avid Users Folders
Managing projects, user profiles, and settings involves moving,
copying, or deleting files and folders, and changing project or user
names. You use the desktop to move projects and user profiles
between systems. For information about moving a project from one
system to another, see the Avid Products Collaboration Guide.
About the Avid Projects and Avid Users Folders
When you create a new project or user profile, the system creates the
following files and folders:
• When you create a new user, the system creates three items: a user
profile file, a User Settings file, and a user folder containing both.
Each item is given the user name you provide. The new folder is
stored in the Avid Users folder on the internal hard drive.
• When you create a new project, the system creates three items: a
project file, a Project Settings file, and a project folder containing
both. Each item is given the project name you provide. This new
folder is stored in the Avid Projects folder on the internal hard
drive.
Avid Projects and Avid Users folders allow you to move entire projects
or selected Project and User settings between systems by copying and
moving files on your desktop.
36

Changing Project and User Names
You cannot change project or user names from within NewsCutter XP.
You must change the name from your desktop before starting the
application.
To change a project or user name:
1. Double-click the internal hard drive to open it.
2. Double-click the Avid Users or the Avid Projects folder to open it.
3. Click the name of the folder you want to change.
The name is highlighted for text entry, and the arrow changes to
an I-beam.
4. Type the new name of the folder.
n
When
you change a user name or project name, make sure you change the
name of the folder and all the files in the folder that have the old name. The
system does not automatically change the names of corresponding files in the
folder.
5. Close the windows, and restart NewsCutter XP.
Deleting Projects and User Profiles
You cannot delete projects and user profiles from within the
NewsCutter XP application. You must make the change from your
desktop before starting the application. The Avid Users and Avid
Projects folders are now located in:
drive:\Program Files\Avid\Avid NewsCutter XP
To delete a project or user profile:
1. Double-click the internal hard drive to open it.
2. Double-click the Avid Users or the Avid Projects folder to open it.
37

c
n
Recorded
3. Drag the project or user folder you want to delete to the Recycle
Bin. Empty the Recycle Bin to remove the files from the system.
Deleting a project also deletes any bins that are in that project.
4. Close the windows, and restart NewsCutter XP.
media related to a deleted project is not eliminated with the project
folder. For more information on deleting media files, see “Deleting Clips and
Sequences” on page 282 and “Deleting Media Files with the Media
Tool” on page 319.
Starting the NewsCutter XP Application
The NewsCutter XP application is now located in:
drive:\Program Files\Avid\Avid NewsCutter XP
For most users, the desktop is a more convenient location for starting
the application.
To create a shortcut on the desktop:
t
See your Windows documentation.
To start NewsCutter XP:
1. Click the Start button.
2. Point to Programs.
3. Point to the Avid folder.
4. Select NewsCutter XP.
After a few moments, the Select User and Project dialog box appears.
38

Accepting Your NewsCutter XP License
Electronically
The NewsCutter XP license agreement appears the first few times you
start the system.
To accept your NewsCutter XP license electronically:
1. Read the License Agreement, and then click Accept or Decline at
the bottom of the screen.
After the agreement appears a few times, a new button appears at
the bottom of the screen.
2. If you do not want to see the license agreement again, click Accept
and Don’t Show Again.
A dialog box appears.
3. Type the name of your organization in the dialog box, and click
OK.
The Select User and Project dialog box appears, and you can begin
working with NewsCutter XP.
39

CHAPTER 2
Starting a Project
Your work in NewsCutter XP begins when you turn on the system,
start the application, and open an existing project or create a new
project. This chapter describes these and other procedures for starting
a project. You can use several techniques to safeguard and restore your
work if necessary. These topics are covered in the following sections:
• Opening a Project
• Backing Up Your Project Information
• Ending an Edit Session
• Connecting to the Avid Production Network
• Mounting and Ejecting Drives
• Using Shortcut Menus
• Using Help
For information on the Windows operating system and terminology,
see the Windows Help. For information on turning on your system,
see the Avid NewsCutter XP Setup Guide.
n
This
chapter refers to the default installation directory path for the various
Avid folders. If you chose a different directory path during the installation,
you must substitute that path when using this chapter.
40

Opening a Project
Each time you start the NewsCutter XP application, the Select User
and Project dialog box appears.
Users scroll list
Projects scroll list
To establish your identity as a user with the system and to select or
create a project to open, use the following procedures:
• Identifying a User
• Selecting a Project
• Opening a Project in NewsCutter XP
• Closing a Project
You can also create additional folders within which to store projects, or
you can quit the application from the Select User and Project dialog
box.
41

Identifying a User
To identify a user for the project, do one of the following:
t
t
Create and identify a new user.
Select a user from a list of existing users. This user name
represents the user profile, which includes the settings associated
with the user.
Creating a New User
To create a new user profile:
1. Click New User in the Select User and Project dialog box.
2. Type the name of the new user, and press Enter.
n
If
you plan to move bins and projects from one platform to another, do not use
the characters / \ : * ? “ < > |when naming projects, bins, and users.
3. Click OK.
The Select User and Project dialog box reappears with your user
name highlighted in the list of users.
You are ready to select a project. See “Selecting a Project” on page 43.
Selecting an Existing User
To select from the list of existing users:
t
Click the user name to highlight it in the Users scroll list on the left
side of the Select User and Project dialog box.
Folders containing collections of users appear in the list with asterisks
preceding them.
42

To select a user in a folder:
1. Double-click the folder to open it and display the user names.
2. Click a user name to select it.
Selecting a Project
To select a project, do one of the following:
t
t
Open an existing project.
Create and open a new project.
You can also place projects in folders and nest the folders within other
folders.
Selecting an Existing Project
Existing projects appear in the Projects scroll list in the Select User and
Project dialog box.
Projects pop-up menu
Projects scroll list
43

To select an existing project, do one of the following in the Select
User and Project dialog box:
t
t
Click an existing project name to highlight it.
Press the first letter of the project name on the keyboard to
highlight it.
To open a project nested in a folder:
1. Double-click the folder name to open it and display the contents in
the Projects scroll list.
2. Click the project name to highlight it.
To locate a project in another folder:
1. Click the Projects pop-up menu, and choose a drive from the
pop-up menu.
2. Double-click a folder name to open it. Continue opening folders
until the Projects scroll list displays the project folder you want.
3. Click the project name to highlight it.
Creating a New Project
When you create a project for the first time, NewsCutter XP saves the
video format as a Site setting; all projects you create subsequently use
the same video format setting.
To create a new project the first time you open NewsCutter XP:
1. Click New Project in the Select User and Project dialog box.
The New NTSC Project dialog box appears.
44

2. Type the name of your new project in the Project Name text box.
3. Click OK.
The system creates the new project files and folder and returns
you to the Select User and Project dialog box. The project name is
highlighted in the Projects scroll list.
Nesting Projects in Folders
You can create folders in the Select User and Project dialog box for
storing related products. To nest a folder, you must first create a folder.
To create a folder:
1. Click New Folder in the Select User and Project dialog box.
The New Folder dialog box appears.
2. Type a name for the folder, and press Enter or click OK.
The folder name appears in the Projects scroll list with an asterisk
preceding it.
3. Double-click the folder name to open the folder.
Any new projects you create now are displayed and stored in this
folder. Any existing projects you move into this folder from your
desktop are displayed in this folder.
45

Opening a Project in NewsCutter XP
To open a project, do one of the following:
t
t
t
Click OK.
Double-click the highlighted project name in the Projects scroll list.
Double-click the highlighted user name in the Users scroll list.
The Source/Record monitor and the bin open with the selected
User settings loaded.
The title bar of the Project window contains the project name and user
name you selected in the Select User and Project dialog box.
Project name
User name
Close button
Project window
46

Closing a Project
When you close the current project, you return to the Select User and
Project dialog box.
To close the current project, do one of the following:
t
t
With the Project window active, choose Close from the File menu.
Click the Close button in the Project window.
Backing Up Your Project Information
For information on
using the Auto-save
feature, see “Saving
Bins Automatically” on
page 69.
Although NewsCutter XP automatically saves your bins, projects, and
settings, you should back up these items frequently to avoid losing
any of your work in case your hard drive fails. Because the storage
requirements are minimal, you can back up these files easily to a
variety of storage devices, including:
• Floppy disk
• Network storage device (such as a file server)
• Mass storage device
Saving Your Project Information on a Drive or Floppy Disk
To save your work on a drive or floppy disk:
1. Mount the drive or insert a floppy disk as appropriate.
2. From the Windows desktop, double-click the My Computer icon.
3. Double-click the icon for the targeted storage drive or floppy disk
to open it. Double-click any additional folders to target the
appropriate storage location.
4. Double-click the internal hard drive to open it.
47

5. Drag a project folder, user folder, or settings file to the targeted
storage location.
6. When the system finishes copying the files, unmount the drive or
eject the floppy disk and store it where appropriate.
Restoring from a Backup
To restore a project, user profile, or settings from a backup storage
device:
1. Mount the drive or insert a floppy disk as appropriate.
2. From the desktop, double-click the drive or floppy disk and the
internal hard drive.
3. Drag the copies from the storage device to the appropriate folder
on the internal hard drive:
- Project folders and settings files go in the Avid Projects folder.
- User folders and settings files go in the Avid Users folder.
- Site settings files go in the Avid NewsCutter XP folder.
4. Start the NewsCutter XP application.
Ending an Edit Session
To end the session, you must first quit the application, and then turn
off your equipment in the order described in this section.
48

Quitting the NewsCutter XP Application
There are two ways to quit NewsCutter XP, depending upon whether
you are between projects or you have a project open.
To quit the NewsCutter XP application if you are between projects:
1. Click Quit in the Select User and Project dialog box.
Quit button
A message box appears.
2. Click Leave to quit the NewsCutter XP application. Click Cancel
to return to the Select User and Project dialog box and select
another project.
49

To quit the NewsCutter XP application from an open project:
1. Click the Close button at the far right of the title bar.
Close button
The Select User and Project dialog box appears.
2. Click Quit.
3. Click Leave.
n
If
you want to turn off your system, see “Turning Off Your Equipment” on
page 51.
50

Turning Off Your Equipment
c
Quit NewsCutter XP before turning off your equipment. See
“Quitting the NewsCutter XP Application” on page 49.
To turn off your equipment without damaging your computer or
media storage drives:
1. Choose Shut Down from the Start menu.
The Shut Down Windows dialog box appears.
2. Click “Shut down the computer,” and click Yes.
3. Turn off your speakers and monitors.
4. Turn off each drive.
c
Move your drives only when the system is completely off.
Never remove drives from your NewsCutter XP system when it is
turned on.
Mounting and Ejecting Drives
The Eject command makes selected media drives inaccessible to
NewsCutter XP. If the drive you eject supports the auto-eject feature
(for example, Jaz ® drives), the command ejects the disk from the drive.
By default, all media drives connected to your system are listed and
can be seen by NewsCutter XP. You can remove one or more drives
from the list at any time by choosing Eject from the File menu. For
example, if you want to use only some of your drives for a particular
project, choose Eject to prevent other drives from appearing in
NewsCutter XP. The Eject command does not remove drives from the
Windows system.
51

c
n
On
Before you physically remove or add drives, shut down the
Windows system completely. For information on removing and
adding drives, see the Avid MediaDrive Utilities User’s Guide.
systems with multiple media drives, ejecting unused drives can improve
the performance of the Media tool. You need to eject the drives before you can
open the Media tool. See “Using the Media Tool” on page 315.
Ejecting Drives
To eject a disk or make a drive unavailable to NewsCutter XP:
1. With the NewsCutter XP application active, choose Eject from the
File menu.
The Select a Disk or Drive to Eject dialog box appears. The scroll
list displays all drives currently available.
2. Select a drive to eject. Ctrl+click to select additional drives.
3. Click Eject.
The drives are no longer available to NewsCutter XP.
Mounting All Drives
Because the system cannot interface with ejected drives individually,
you cannot mount selected drives. However, you can mount all drives
connected to the system, including those previously ejected.
To mount all drives:
t
Choose Mount All from the File menu.
All drives turned on and connected to the system become
available to NewsCutter XP.
52

Connecting to the Avid Production Network
The Avid Production Network (AvidProNet ) is a Web site
community designed specifically for professionals in the media
creation business. The purpose of the AvidProNet Web site is to
provide you with Web-based tools and services to allow you to take
full advantage of the Internet in your business.
You can use Review & Approval services for an easy method to
obtain the required reviews and approvals for your material during
the production process. Review & Approval services are available on
the AvidProNet Web site. See “Using the Review & Approval
Service” on page 574.
To access the AvidProNet Web site from your Avid system:
t
Choose www.AvidProNet.com from the Help menu.
Using Shortcut Menus
The Windows environment allows you to access frequently used
commands by using the right mouse button (right-clicking) to click an
object. NewsCutter XP takes advantage of this feature. When working
with NewsCutter XP, right-click in a window to access a menu that
shows the most frequently used commands for that window.
You can also right-click a screen object to access What’s This? Help for
the object.
53

Using Help
You can get help and background information for tasks, windows,
dialog boxes, and screen objects through your Avid Help system. Your
Help system is HTML-based and operates in the Web browser
Microsoft Internet Explorer. Avid recommends using version 5 or
higher.
To open Help from within NewsCutter XP:
t
Choose NewsCutter XP Help from the Help menu.
Help opens in Microsoft Internet Explorer.
To find out how to use Help:
t
Click the Using Help button in the Help system.
54

CHAPTER 3
Working with the Project
Window
The Project window provides controls in three different display modes
for structuring and viewing important information about your current
project. These include a display of bins and folders associated with the
project, a list of all settings, and basic information about the format of
the project and use of system memory. These topics are described in
the following sections:
• Opening and Closing the Project Window
• Using the Bins Display
• Using the Settings Scroll List
• Using the Info Display
• Customizing Your Workspace
• Navigating in Dialog Boxes and Menus
n
This
chapter refers to the default installation directory path for the various
Avid folders. If you chose a different directory path during the installation,
you must substitute that path when using this chapter.
55

Opening and Closing the Project Window
The Project window provides three different displays (Bins, Settings
and Info) for structuring and viewing information about your current
project.
Settings button
Bins button
Info button
Use the Project window to:
• Create and open bins.
• View and modify settings.
• View information about the format of the project and the use of
system memory.
56

You can also add folders to your projects that allow you to organize
the projects.
Bins from other projects appear in the Project window in italic print.
You can see bins and folders in a flat view, which lists only the folder
contents and not the folder. Flat view is an option in the Project
window’s Fast menu. You can also drag bins into folders or folders
into folders.
The Project window opens automatically when you select a project in
the Select User and Project dialog box.
To close the project, do one of the following:
t
t
With the Project window active, choose Close from the File menu.
Click the Close button in the Project window.
The Select User and Project dialog box appears.
To reopen the Project window from within a project:
t
Choose Project from the Tools menu, or click in the Project
window.
The Project window becomes active.
Using the Bins Display
Bins contain the master clips that are created when you record source
material. (The master clips are linked to the media files.) Bins also
contain the sequences, subclips, and effect clips that you create during
a project. From the Project window, you can view a list of bins
associated with the project, and open, close, and create bins. You can
also open bins created for another project.
57

Viewing a List of Bins
To view a list of bins associated with the project:
t
Click the Bins button in the Project window.
Bins button
58

The views for working with clips in a bin are Text view, Frame view,
and Script view. For more information about working with different
bin views, see “About Bin Views” on page 273.
• In Text view, clips are displayed in a database text format using
columns and rows, with icons representing the various objects.
You can save various arrangements of columns, text, and objects
as customized views.
Text View button
59

• In Frame view, each clip is represented by a single picture frame,
with the name of the clip. You can play back the footage in each
frame and change the size of frames. You can also rearrange the
frames in any order within the bin.
Frame View button
60

• In Script view, the features of Text view are combined with those of
Frame view, with an added script box next to each frame. The
frames are displayed vertically on the left side of your screen with
the script box next to each. Use the script boxes to hold text for
notes or a script.
Script View button
61

Displaying Bins
By default, your bins display all existing media objects except source
clips and rendered effects. You can display only those media objects
that you need to organize your project.
To set the bin display:
1. Click in a bin.
2. Choose Set Bin Display from the Bin menu.
The Set Bin Display dialog box appears.
3. Select the object types and options that you want to see. For more
information about setting the bin display, see “Setting the Bin
Display” on page 271.
4. Click OK.
The bin displays objects according to your specifications.
62

Creating a Folder in a Project
To create a folder in a project:
1. Click the Bins button in the Project window.
Bins button
Fast Menu
button
2. Click the Fast Menu button in the lower left corner.
3. Choose New Folder from the Bin Fast menu.
A new, untitled folder appears.
4. Type a name in the name text box.
63

Creating a New Bin
To create a new bin from the Project window:
1. Do one of the following:
t
t
Choose New Bin from the File menu.
Click the New Bin button in the Project window.
Either one of these procedures opens a new (empty) bin that is
given the name of the project as displayed in the title bar of the
Project window. The new bin appears in the Bins list of the Project
window with a default name highlighted and a number appended
to it. A corresponding file is placed in the project folder, and a
backup copy is placed in the Attic folder.
2. Type the name of the new bin, and press Enter.
To place a bin in a folder:
t
Drag the bin to the folder icon.
Renaming a Bin
Each new bin that you create takes the name of the project that appears
in the Project window, numbered incrementally.
To change the name of a bin:
t
Click the bin name in the Project window, and type a new name.
Opening and Closing a Bin
To open a bin directly:
1. Click the Bins button in the Project window.
2. Double-click the icon next to the bin name.
64

To open a bin from the File menu:
1. Choose Open Bin from the File menu.
The Open dialog box appears.
Up One Level button
2. Select a bin. Navigate to the correct folder, if necessary.
c
3. Click Open.
Never open a bin that is stored on a floppy disk; otherwise, the
system will not be able to save your work. Always copy the bin to a
project folder on the internal hard drive before you open it.
Opening Selected Bins
To open several bins at once from the Project window:
1. Click the name of one of the bins in the Bins list.
2. Ctrl+click each additional bin you want to open.
3. Choose Open Selected Bins from the File menu.
65

Closing a Bin
To close a bin, do one of the following:
t
t
Click the Close button.
Choose Close Bin from the File menu.
Deleting a Bin or Folder
To delete a bin or folder within a project:
1. Select the bin or the folder you want to delete in the Bins list of the
Project window.
2. Press the Delete key.
A Trash icon appears in the Bins list in the Project window. It
contains the deleted item. The deleted item is stored in the Trash
until you empty it.
n
The
c
Trash is not visible in the Project window until you select your first item
to delete.
Only clips, subclips, and effects that are in a bin enter the Trash after
you delete the bin. If you select a clip, subclip, or effect directly and
press the Delete key, the item does not appear in the Trash.
Viewing Contents in the Trash
If you need to view the contents in the Trash or decide you do not
want to delete those items in the Trash, you must first move the bins
and folders out of the Trash.
66

Trash icon
Fast Menu
button
To view items in the Trash:
1. Double-click the Trash icon in the Bins list to open it.
2. Click the bins or folders you want to remove (or view) from the
Trash, and drag them from the Trash to the Bins list in the Project
window.
3. Double-click the bin or folder to view it.
Emptying the Trash
To empty the Trash:
1. Click the Fast Menu button.
2. Choose Empty Trash from the Fast menu.
A message box appears.
67

3. Click Empty Trash to delete the bins or folders from the Trash and
from your internal hard drive.
Managing Folders and Bins
You can use the Project window to create hierarchies of folders and
bins that reflect the specific workflow of the current project. This
structure should provide both simplicity and backup security.
Although the specifics vary depending on your production needs and
habits, a few basic principles can help you get started:
• Limit the number of sequences you create in each project. For
instance, consider creating one new project for each show, episode,
spot, or scene.
• Limit the number and complexity of clips in each bin by creating
and organizing bins in three groups, as follows:
- Create a set of bins for the recording stage.
For example, you can create one bin for each source tape or
each day’s worth of dailies transfers to be recorded to avoid
slowing the system with large bins and causing confusion
between tapes.
- Create a second set of bins for organizing your project.
For example, you can create a separate bin for each segment of
a video project or each scene of a project, depending upon the
preferences of the editor.
68

- Create a third set of gins for the editing stage, including:
A current cut bin for storing each work in progress (sequence)
An archive bin for keeping the original version of each cut
(sequence)
A selects or storyboard bin for screening selected clips or cuts
gathered from the source bins
A format cuts bin for storing the final cuts with added format
elements such as segment breaks, color bars and tone, slate, or
countdown
• (Option) Create additional folders at the desktop level for better
organization. For example, you can create one folder for each
recording bin and show cut bin, or a folder containing all shot logs
to be imported.
• Save these files as a template for future productions of a similar
nature.
Saving Bins Automatically
NewsCutter XP automatically saves changes to your work on a
regular basis during each session. Two things happen when an
auto-save occurs:
• Any open bins are updated with changes made since the last
auto-save. Updated bins have an asterisk in the title bar.
• Copies of these bins are placed in the following location as
backup:
drive:\Program Files\Avid\Avid NewsCutter XP\Attic folder
To adjust the frequency of automatic saves:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Bin.
69

The Bin Settings dialog box appears.
3. Type a number in the minutes text box for the Auto-Save interval.
4. Click OK.
Saving Bins Manually
For added security, you can save a bin manually. You might want to do
this immediately after performing an important edit. There are three
ways to save bins manually.
To save a specific bin:
1. Click the bin to activate it.
2. Choose Save Bin from the File menu.
To save selected bins:
1. Activate the Project window by choosing Project from the Tools
menu or by clicking anywhere in the window.
2. Click a Bin icon to select it. Ctrl+click any additional bins.
3. Choose Save All from the File menu.
70

The system saves all the selected bins.
n
The
Save Bin command appears dimmed if there have been no changes since
the last time the active bin was saved.
To save all the bins:
1. Click in the Project window to activate it but do not select any
individual bins in the Bins list.
2. Choose Save All from the File menu.
The system saves all the bins for the project.
Retrieving Bin Files from the Attic Folder
You retrieve files from the Attic folder in the following circumstances:
• When you want to replace current changes to a sequence or clip
with a previous version
• When the current bin file becomes corrupted
The Attic folder contains a folder for each project. When a bin is saved,
a copy of the bin file is stored in the project folder in the Attic folder.
The system adds the file name extension .back plus a version number
to the bin name. The bin file with the highest version number
represents the latest copy of the bin file.
When you view a project folder in Details view, you can also identify
the most recent backup file based on the name and timestamp of
creation displayed in the Date Modified column.
To retrieve a file from the Attic folder:
1. Minimize the NewsCutter XP application.
2. From the desktop, double-click the Attic folder in the following
location:
drive:\Program Files\Avid\Avid NewsCutter XP\
71

The Attic folder opens and displays project folders that contain the
backup files.
3. Double-click the project folder that contains the files you want to
retrieve.
4. If the project folder is not already in the Details view, choose
Details from the View menu.
The project folder displays the file names and their creation dates.
5. Ctrl+click the files you want to retrieve.
6. Drag the selected backup bin files to the desktop.
This makes a copy of the files, leaving the original files in the Attic
folder.
7. Double-click the NewsCutter XP button in the taskbar to activate
it.
n
If
n
The
the taskbar is hidden, see your Windows documentation.
8. Click the Project window to activate it, and click the Bins button to
display the Bins list.
9. Choose Open Bin from the File menu. Select one of the backup bin
files you copied to the desktop, and click Open.
When you open the backup bin, a link to the backup bin on the
desktop is created in the Other Bins folder.
NewsCutter XP system does not allow a bin and a copy of a bin to be
opened at the same time. You must keep all other bins closed and open the
backup bins one at a time. You might also need to change the creation date to
avoid conflicts. For more information, see “Modifying the Creation Date”
on page 73.
10. Create a new bin if you do not plan to overwrite existing files.
11. Open the new bin, and open the backup bin in the Other Bins
folder.
72

12. Select the material you want to keep from the backup bin, and
drag the files to the new bin.
Repeat steps 9 through 12 for any other backup bins you copied to
your desktop.
13. Select and delete the backup bins in the Other Bins folder.
14. Drag the backup bin files to the Recycle Bin on the desktop.
Once you have moved the objects, modify their creation dates so they
are considered newest by the system. The creation date is modified
whenever you make a change to an object and then save the bin.
Modifying the Creation Date
After you have moved backup bins from the Attic folder, you must
modify the creation date for these backup items so they are considered
the newest items by the system. This prevents them from being
overwritten by a newer item.
To modify the creation date:
1. Click the F button at the lower left corner of the Bin window to put
the bin in Frame view.
2. Choose Select All from the Edit menu.
3. Click the Step Forward button or press the Step Forward key to
advance the pictures displayed by one frame; click the Step
Backward button or press the Step Backward key to move back
again. This modifies the timestamp on these clips to the present
time and date.
4. Close the backup copies of the bins.
5. Quit the NewsCutter XP application.
6. Drag the backup copies of the bins to the Recycle Bin.
73

Using the Settings Scroll List
From the Settings scroll list of the Project window, you can view, select,
open, and alter various User, Project, and Site settings, as described in
this section.
To view the Settings scroll list:
t
Click the Settings button in the Project window.
Settings button
74

About Settings
Three types of settings appear in the Settings scroll list, as indicated in
the second column of information: User, Project, and Site settings.
• User settings are specific to a particular editor. User settings
reflect individual preferences for adjusting the user interface in the
system. Individual User settings are stored in each user folder,
which is stored in the following location:
drive:\Program Files\Avid\Avid NewsCutter XP\Avid Users
• Project settings are directly related to individual projects. When
you change a Project setting, it affects all editors working on the
project. Specific Project settings are stored in each project folder,
which is stored in the following location:
drive:\Program Files\Avid\Avid NewsCutter XP\Avid Projects
• Site settings establish default parameters for all new users and
projects on a particular system. They can apply to particular
configurations of equipment installed at the site; for example,
specification and node settings for an external switcher. They can
also include other User or Project settings that you copy into the
Site Settings window. Site settings are stored in a separate Settings
folder, in the following location:
drive:\Program Files\Avid\Avid NewsCutter XP\Settings
Defining Settings
You can use the Settings scroll list to establish a hierarchy of settings
that address the specific needs of each production phase. For example,
you can establish:
• User settings that facilitate logging, recording, and organizing
projects, and editing interface preferences, including Bin View
settings that display useful columns of information for each bin
• Project settings that reflect the specific needs of the project
75

By establishing these settings once, and by selecting the appropriate
setting or bin view in context, you can save time and effort that would
be spent searching for information or adjusting bin headings
on-the-fly. You can also save these settings along with your template
for use on similar projects, as described in “Managing Folders and
Bins” on page 68.
Reviewing Basic Settings
The following sections describe basic system settings to review at the
start of your project:
• Bin Settings
• General Settings
• Interface Settings
To view the settings:
t
Double-click each setting in the Settings scroll list of the Project
window.
Bin Settings
Bin settings define general system functions related to bins. Select
these functions in the Bin Settings dialog box.
76

Table 3-1 describes the options listed in the Bin Settings dialog box.
Table 3-1
Bin Settings Options
Option
Auto-Save interval
Inactivity period
Force Auto-Save at
Description
Specifies the length of time between attempts to auto-save project files. The
default is 15 minutes.
To avoid interrupting an edit, the NewsCutter XP system waits until the system
is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an
interval at which the system will interrupt an edit to make the auto-save.
Specifies the length of time the NewsCutter XP system waits when the system is
inactive before automatically saving the project files. The default is 0 seconds.
Specifies the maximum length of time between auto-saves. When the system
reaches this time, it will auto-save the project files even if it must interrupt an
edit to do so. The default is 30 minutes.
77

Table 3-1
Bin Settings Options (Continued)
Option
Maximum files in
attic
Max versions of any
one bin
Double-click loads
clip in
Enable edit from bin
(Splice, Overwrite)
Enable ‘Sticky’ bins
Description
Specifies the total number of files stored in the Attic folder. When a bin is saved,
the NewsCutter XP system copies the previous version of the bin to a project
folder in a special folder called the Attic. The default is 300 files.
Keep more files if there are many editors working on the system. This ensures
that all the bins are backed up.
When multiple editors are working on one system, store bin settings as Site or
Project settings. This ensures that another user does not override your settings
and delete your backups.
Specifies the total number of single-bin copies stored in the Attic folder. This
setting prevents filling the Attic with too many copies of one bin, at the risk of
losing the others. The default is five copies.
Determines if a clip loads in the Source/Record monitor or in a new pop-up
monitor.
Allows you to edit clips directly from a bin by selecting a clip and clicking the
Splice-in or the Overwrite button.
Keeps the current bin window attached to the Project window. The windows
move together unless you disable this option.
78

General Settings
General settings define fundamental system defaults.
Table 3-2 describes the General Settings options.
Table 3-2
General Settings Options
Option
Project Format
Temporary File Directory
Default Starting TC
Description
This option displays the format currently selected for the project. It cannot
be changed.
When you use the Drag-and-Drop Export or an export that creates an
intermediate movie file, NewsCutter XP must store the intermediate file,
which can be as large as the final export. By default, the Temporary File
Directory is located in the same directory as NewsCutter XP.
To improve efficiency or to avoid DISK_FULL errors when exporting, you
can set a different directory for these temporary files. Click Set and
navigate to a directory on the drive to which you will be exporting or
simply one with plenty of free space.
This option specifies the timecode value you want the system to use as the
default starting timecode for each new sequence.
79

Table 3-2
General Settings Options (Continued)
Option
Audio File Format
Locked Audio
Description
Choose the file format for the audio:
• (OMF) WAVE, compatible with Windows applications
• (OMF) AIFF-C, compatible with many third-party applications,
including Pro Tools ®
Choose the AIFF-C format for all audio media when you need to transfer
audio media files directly to a Pro Tools or AudioVision ® system for audio
sweetening.
Some DV devices (cameras, transcoders, decks) check the Locked Audio
setting before recording or transferring.
Devices that use Locked Audio keep the audio clock locked precisely to the
video clock. With Locked Audio, exactly the same number of audio
samples and video frames are recorded or transmitted in each cycle of the
phase relationship.
Devices that do not use Locked Audio allow some imprecision in the audio
sample rate, with a variation of up to +/– 25 audio samples per frame.
NewsCutter XP uses Locked Audio exclusively. Locked Audio works with
all devices. However, because some devices check the Locked Audio
setting before transferring or recording, you should select the Locked
Audio setting expected by your device.
c
The NewsCutter XP system does not prevent you from using
non-Avid drives, but their reliability cannot be guaranteed.
Interface Settings
You can set general options and appearance options in the Interface
dialog box. General Interface settings determine the level of basic
information displayed in the interface. Interface Appearance settings
give you controls for customizing the colors and button style of the
NewsCutter XP user interface.
80

General Interface Settings
The following illustration shows the General tab of the Interface dialog
box.
81

Table 3-3 describes the options in the General tab of the Interface
dialog box.
Table 3-3
Interface Settings Options (General Tab)
Option
Show Labels in Tool Palette
Show ToolTips
Delay n seconds before showing
Windows ® Standard Alt Key
Behavior
Description
When you select this option, the system displays text labels with
the icons in the Tool palette. This is the default option.
To tear off the Tool palette, click anywhere in the palette, press
and hold the mouse button, and drag the palette to the location
you want.
When you select this option, the system displays labels for
buttons and icons when you position the mouse pointer over
them. This is the default option.
You can also turn ToolTips on and off from the Help menu.
If you select Show ToolTips, you can delay the label display by
entering a value in this text box. A delay allows you to move the
mouse pointer across the interface without displaying the labels
on items between the starting point and the destination of the
mouse pointer.
This option switches between standard Windows Alt key
behavior and Avid system Alt key behavior. When you select this
option, pressing and holding the Alt key together with another
key works as a keyboard shortcut for certain Windows actions
(for example, opening menus).
When you deselect this option, pressing and releasing the Alt
key and then pressing another key works as the Windows
keyboard shortcut, while pressing and holding the Alt key
together with another key works as a keyboard shortcut for
certain Avid functions. This is the default option.
For more information on Windows shortcuts, see your Windows
documentation.
For more information on Avid shortcuts, see the NewsCutter XP
Quick Reference, or choose Shortcuts from the Help menu.
82

Table 3-3
Interface Settings Options (General Tab) (Continued)
Option
Automatic Num Lock Activation
Description
When you select this option, NewsCutter XP automatically sets
the numeric keypad in numeric mode the next time you start the
application. If you deselect this option, the Num Lock key on the
keyboard controls the mode of the numeric keypad.
With either selection, you can use the Num Lock key to change
the mode of the numeric keypad.
83

Appearance Interface Settings
The following illustration shows the Appearance tab of the Interface
dialog box.
Table 3-4 describes the options in the Appearance tab of the Interface
dialog box.
84

Table 3-4
Interface Settings Options (Appearance Tab)
Option Selection Description
Color
Background
Button
Button Contents
Button Highlight
Button Spotlight
Text
Timeline Background
Timeline V Tracks
Timeline A Tracks
Timeline TC Tracks
Project Background
Bin Default Background
Controls the color of the given interface
component. See “Changing Interface
Component Colors” on page 86.
Shading Depth 5% – 50%, in 5%
increments
Controls the three-dimensional “rounding” of
buttons and toolbars. See “Changing Shading
Depth” on page 91.
Monitor Button Separation
Timeline Button Separation
Maximum
Moderate
None
Maximum
Moderate
None
Controls the spacing of the Monitor buttons.
See “Changing Button Separation” on
page 92.
Controls the spacing of the Timeline buttons.
See “Changing Button Separation” on
page 92.
85

Table 3-4
Interface Settings Options (Appearance Tab)
Option Selection Description
Button Style
Oval
Octagonal
Rounded
Square
Swoosh
Antique
Controls the shape and style of the Timeline
buttons. See “Changing Button Style” on
page 94.
Changing Interface Component Colors
You change the color of interface components by using a color grid.
Table 3-5 describes the interface components that you can customize.
Table 3-5
Customizable Interface Components
Component
Description
Background
Button
Button Contents
Button Highlight
Button Spotlight
Text
The color of toolbars and dialog boxes behind the text. The default is gray.
n
If you select a background color but no button color, buttons take on the
background color.
The color of a button behind the button contents, when the button is not
selected. The default is gray.
The color of text or symbols, such as icons or check marks, in the buttons. The
default is black.
The color of selected buttons, which is different from that of deselected
buttons.
The background color of a button when you pass the mouse pointer over it.
The color of text in dialog boxes, toolbars, and ToolTips. The default is black.
86

Table 3-5
Customizable Interface Components
Component
Timeline Background
Timeline V Tracks
Timeline A Tracks
Timeline TC Tracks
Project Background
Bin Default Background
Description
The color of the Timeline top toolbar and the Timeline bottom toolbar. The
default is gray.
The background color for the V (video), A (audio), or TC (timecode) tracks in
the Timeline. The default is gray.
n
This setting takes precedence over the Fast Menu track color.
The background color of the Project window.
The color of a bin behind the bin contents. New bins first appear with the
selected color as the background color. You can override the default
background color by choosing Set Bin Background from the Edit menu.
To set the color of an interface component:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Interface.
The Interface dialog box appears.
3. Click the Appearance tab.
87

Check box
Color boxes
Interface
component list
4. Click in the color box next to the interface component you want to
customize.
A color selection grid appears.
88

Color selection
grid
5. Move the mouse pointer over the color selection grid, and release
the mouse over the color to which you want to set your interface
component.
The color selection grid disappears. The color you selected
appears in the color box. A check mark appears in the check box to
show that you want your new color attribute for this selection to
take effect.
n
If
you deselect an interface component by clicking the check box, the color you
specify in the color selection grid does not take effect. The color of the interface
component reverts to its default value.
89

6. Do one of the following:
n
If
t
Click Apply to apply the changes you selected.
you click Cancel after you click Apply, interface components retain the
selections you applied.
t
t
Click OK to close the dialog box and put the new settings into
effect.
Click Cancel to close the dialog box. The changes you selected
but did not apply do not take effect.
Interface Appearance Templates
NewsCutter XP provides you with several interface appearance
templates that have preset background and button colors. The
templates are the following:
• Arctic
• Brick
• Camouflage
• Gold
• Midnight
• Neon
• Rainforest
• Spartan
To use an interface appearance template:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click one of the named Interface settings.
The look of your system interface changes.
90

To return to the default interface:
t
Click the unnamed Interface setting.
Changing Shading Depth
Shading depth controls the three-dimensional “rounding” of the
buttons and toolbars.
To set the shading depth:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Interface.
The Interface dialog box appears.
3. Click the Appearance tab.
4. Click the Shading Depth button.
The Shading Depth pop-up menu appears.
5. Choose a depth.
6. Do one of the following:
t
Click Apply to apply the change you selected.
91

n
If
you click Cancel after you click Apply, Shading Depth retains the selection
you applied.
t
t
Click OK to close the dialog box and put the new setting into
effect.
Click Cancel to close the dialog box. The change you selected
but did not apply does not take effect.
The following examples show Shading Depth selections of 5%
and 50%.
Shading Depth 5% Shading Depth 50%
Changing Button Separation
Button separation controls whether certain buttons appear as single or
grouped buttons.
To change the separation of Monitor or Timeline buttons:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Interface.
The Interface dialog box appears.
92

3. Click the Appearance tab.
4. Click the Monitor Button Separation button or the Timeline Button
Separation button.
The Button Separation pop-up menu appears.
5. Choose a separation.
6. Do one of the following:
n
If
t
Click Apply to apply the change you selected.
you click Cancel after you click Apply, Button Separation retains the
selection you applied.
t
t
Click OK to close the dialog box and put the new setting into
effect.
Click Cancel to close the dialog box. The change you selected
but did not apply does not take effect.
93

The following examples show several Timeline buttons with each
button separation selection applied.
Maximum button separation
Moderate button separation
No button separation
Changing Button Style
Button style controls the shape of buttons in the interface.
To change the button style:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Interface.
The Interface dialog box appears.
3. Click the Appearance tab.
4. Click the Button Style button.
The Button Style pop-up menu appears.
94

5. Choose a style.
6. Do one of the following:
n
If
t
Click Apply to apply the change you selected.
you click Cancel after you click Apply, Button Style retains the selection
you applied.
t
t
Click OK to close the dialog box and put the new setting into
effect.
Click Cancel to close the dialog box. The change you selected
but did not apply does not take effect.
95

The following examples show the different button styles available.
Oval button style
Octagonal button style
Rounded button style
Square button style
Swoosh button style
Antique button style
Displaying Project Settings
You can display the Settings scroll list of the Project window in
different groups, depending on what you need to view. Table 3-6
describes the different Settings menu options.
96

Table 3-6
Option
All Settings
Base Settings
Bin Views
Settings Menu Options
Description
Displays all settings available in the
NewsCutter XP system
Displays Project, User, and Site settings only; no
views are displayed
Displays Bin views
Timeline Views
Title Styles
Import Settings
Export Settings
Workspaces
Workspace Linked
Displays Timeline views
Displays all the templates you created for the Title
tool
Displays all the Import settings
Displays all the Export settings
Displays all workspaces
Displays only linked workspaces
Changing the Settings Scroll List Display
To change the Settings scroll list display of the Project window:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Choose a settings display group from the Fast menu or from the
Settings menu.
97

Settings
menu
The Settings menu displays the settings group selected and the
Settings scroll list displays only the settings in that group.
About the Settings Scroll List
Table 3-7 briefly describes each item in the Settings scroll list. The
table also lists where you can find additional information on a
particular item and indicates whether the item has an associated
dialog box (or window) that you can access from the Settings scroll
list. See “Using the Settings Scroll List” on page 74.
98

Table 3-7
Settings Scroll List
Setting
Name
Description
For More
Information
Access to
Dialog Box?
Audio
Sets the default audio pan; contains
audio scrub options and audio setup
parameters.
See “Adjusting
Default Pan Settings”
on page 467 and
“Adjusting Digital
Scrub Parameters” on
page 465.
Yes
Audio Project Sets parameters for audio setup. See “Preparing for
Audio Input” on
page 196.
Yes
Bin
Sets the Auto-Save preferences for
bins.
See “Bin Settings” on
page 76.
Yes
Bin View
Selects and formats the information
displayed in bins.
See “About Bin
Views” on page 273.
Yes
Deck Configuration Configures channels and decks into
the system.
See “Configuring
Decks” on page 173.
Yes
Deck Preferences
Sets preferences that affect all decks
configured into the system.
See “Setting Deck
Preferences” on
page 180.
Yes
Export Sets parameters for file export. See “Creating a New
Export Setting” on
page 598.
Yes
General
Defines default values such as the
default starting timecode and the
audio file format for your project.
See “General
Settings” on page 79.
Yes
Import Sets parameters for file import. See “Creating and
Using Import
Settings” on page 245.
Yes
99

Table 3-7
Settings Scroll List (Continued)
Setting
Name
Description
For More
Information
Access to
Dialog Box?
Interface
Defines the appearance and function
of certain interface elements.
See “Interface
Settings” on page 80.
Yes
Keyboard
Displays the default keys on the
keyboard.
See “About the
Keyboard” on
page 353.
Yes
Media Creation
Sets parameters for video resolution
and selects the drives for recording,
creating titles, importing, and
performing audio and video
mixdown.
See “Setting Media
Creation Resolutions
and Selecting Drives”
on page 208.
Yes
NRCS
Defines the name of the Newsroom
Computer System server and the
default user name. Also sets Message
of the Day and Mail options for the
NRCS tool.
See “Configuring the
NRCS Tool” on
page 670.
No; choose
NRCS Tool
from the Tools
menu.
OMM
Sets the default asset manager location
and preference for logging in to your
asset manager when you open a
project.
See “Using Open
Media Management
(OMM)” on page 261.
Yes
Record
Defines how the NewsCutter XP
system records and batch records in
specific situations.
See “Choosing Record
Settings” on page 163.
Yes
Render
Controls the size of imported graphics
and rendered effects to ensure that the
graphic or effect will be playable.
See the Avid
NewsCutter XP Effects
Guide.
Yes
Timeline Contains the latest Timeline settings. See “Accessing the
Timeline Settings” on
page 406.
Yes
100

Table 3-7
Settings Scroll List (Continued)
Setting
Name
Description
For More
Information
Access to
Dialog Box?
Timeline View
If you save your Timeline settings,
Timeline View appears in the Settings
scroll list to facilitate copying settings.
See “Customizing
Timeline Views” on
page 405.
No; select
saved setting
files from
within the
Timeline.
Trim
Customizes the Trim mode
environment.
See “Customizing
Trim Mode” on
page 441.
Yes
Video Display
Enables digital camera video input;
enables support of cameras with video
input; sets the mode and source for
desktop video; sets parameters for
desktop video display; enables the
Client monitor.
See “Playing Video to
the Client Monitor”
on page 356.
Yes
Workspace
Enables you to associate settings and
windows with a workspace.
See “Linking User
Settings and
Workspaces” on
page 113.
Yes
Working with Settings
You can view and modify most of your current settings by
double-clicking them in the Settings scroll list of the Project window
and by selecting new options. You can duplicate, rename, copy, and
move settings among files or systems.
Selecting Another User
Because User settings are not project or site specific, you can choose to
change to another set of User settings within the Project window.
101

To select another user:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
User menu
2. Click and hold the user name to display the User menu.
3. Select another name from the list.
Modifying Settings
You cannot modify two types of settings:
• Settings that require the presence of standalone peripherals
• Settings that can be modified only from within the tools in which
they are used, such as Bin view and Timeline view
To modify available settings:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click the name of a setting.
The applicable Settings dialog box appears.
3. Type new values or select new options for the settings.
4. Click OK, Save, Cancel, Apply, or the Close button.
102

Working with Multiple Settings
You can have multiple versions of settings in your Settings scroll list in
the Project window that apply to several users at various stages of
production.
For example, you can have:
• Two Bin settings: one that automatically saves more often when
you are editing intensively, and one that automatically saves less
often when you are doing organizational work in the bins
• Multiple Record settings for recording various types of source
material
• Multiple Deck Preferences settings for various types of recording
or for output
Duplicating Settings
To create a new version of a setting:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click the setting you want to copy. Ctrl+click any additional
settings you want to copy.
3. Choose Duplicate from the Edit menu.
A copy of each setting appears in the Settings scroll list with a
version number in the second column for each Custom setting
name.
4. Name your settings to indicate their functions. For more
information about naming settings, see “Naming Settings” on
page 104.
n
If
the original setting had a second column entry, a version number in the
second column appears with each duplicate’s custom setting name.
103

Naming Settings
You can give settings custom names to differentiate among copies or to
indicate a specific use.
To rename settings:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click the Custom setting name column in the Settings scroll list
(the column to the right of the setting’s name).
Custom setting
name column
3. Type a new name and press Enter.
104

Selecting Among Multiple Settings
With multiple settings, only one setting at a time is active. Settings that
are currently active have a check mark to the left of the setting name.
To change the active setting:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click in the space to the left of the setting you want to select as the
active setting.
A check mark indicates that the setting is active.
Deleting Settings
c
You can delete settings from the Settings scroll list in the Project
window at any time. For example, you might choose to delete one or
more versions of a particular setting, or you might want to delete all
but a few settings to transfer to another Settings window.
You cannot undo a deletion. You can, however, copy settings from
other files. See “Copying Settings Between Settings Files” on
page 106.
To delete a setting:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click a setting to highlight it. Ctrl+click each additional setting
you want to delete.
3. Press the Delete key, or choose Delete from the Edit menu.
The selected settings are removed.
105

Copying Settings Between Settings Files
To copy settings between files:
1. With the Settings scroll list active, open the target settings file in
one of three ways:
t
t
t
Create and open a new settings file by choosing New Setting
File from the File menu.
Open an existing settings file by choosing Open Setting File
from the File menu.
Locate and select the settings file you want in the Avid
Projects or Avid Users folder, and click Open.
2. Click the setting you want to copy in the Settings scroll list of the
Project window. Ctrl+click any additional settings that you want
to copy.
3. Drag the highlighted settings to the open Settings window.
4. Click the Close button.
A message box appears.
5. Click Save.
The copied settings are also saved when you close or save the file or
project.
Moving Settings Between Systems
You can move selected settings between existing settings files or into a
new settings file:
• To use in other projects
• To transfer to other NewsCutter XP systems
• To change one type of setting to another
You can also move selected settings into the Site Settings folder to
establish standard system settings for all new projects and users.
106

Using Site Settings
When the system opens a new project, it first searches the Site Settings
folder and loads any Site settings and other settings placed there. The
system then proceeds to load any Project and User settings not
included in the Site Settings folder. Adding Site settings to the Site
Settings file is useful if you need to establish global settings for all new
users and projects, such as Deck Configuration settings or a specific
start timecode for all sequences.
To load settings into the Site Settings folder:
1. Open a project with the settings you want to establish as Site
settings. If a project does not already exist with the settings you
want, create one and make adjustments to the default settings as
needed.
2. Click the Settings button in the Project window.
The Settings scroll list appears.
3. Choose Open Setting File from the File menu.
The Open dialog box appears.
4. Navigate to the Settings folder, and click Open.
5. Select the Site Settings file, and click Open.
The Site Settings window opens.
6. Click a Project or User setting in the Settings scroll list, or
Ctrl+click multiple settings and drag them into the Site Settings
window.
Copies appear in the Site Settings window.
7. Close the Site Settings window.
A dialog box appears.
8. Click Save.
All new users and projects opened from the Select User and Project
dialog box use these settings as the default settings.
107

Using the Info Display
The Info display in the Project window allows you to view basic
project information, such as the video format, in a view called Profile
(the default view). It also allows you to see information about system
memory and hardware.
Displaying Project Info
To open the Info display:
n
The
t Click the Info button in the Project window.
The video format of the project is displayed in the project Profile.
items listed in this view are for information only and cannot be changed.
To view additional system information:
1. Click the Fast Menu button.
2. Choose Memory or Hardware from the menu.
Viewing Memory
To view system memory for an open project:
1. Click the Info button in the Project window.
The project Profile is displayed.
2. Click the Fast Menu button, and choose Memory from the menu.
The Memory window opens.
108

About the Memory Window
The Memory window displays the following information:
• Objects: The total number of memory handles currently used by
NewsCutter XP. Objects include memory requirements of the
application, such as windows, as well as clips, sequences, and
other items associated with a project.
• Total Physical Memory: The total number of bytes of
random-access memory (RAM).
• Available Physical Memory: The amount of RAM available for
allocation by Windows.
• Total Page File: The total number of bytes that can be stored in the
paging file. The paging file is used as virtual memory by
Windows.
• Available Page File: The total number of bytes available in the
paging files.
• Working Set (min and max): The set of memory pages currently
available to the application in RAM.
You can view additional memory information through the Windows
tools Task Manager and Performance Monitor. You can view
information about system activities, such as driver messages, through
the Windows Event Viewer. For information on these tools, see the
Windows Help.
109

n
You
can improve performance on large projects by reducing the number of
objects. Close unused bins, unmount unneeded media drives, consolidate
finished elements, and eliminate old material from the project. Then quit and
restart the NewsCutter XP application. If performance is still slow, restart
your system.
Accessing the Hardware Tool
The Hardware tool gives a visual representation of usage for each
drive and provides operating system information.
For additional
information on the
Hardware tool, see
“Using the Hardware
Tool” on page 129.
To view hardware for an open project:
1. Click the Info button in the Project window.
The project Profile is displayed.
2. Click the Fast Menu button, and choose Hardware from the menu.
The Hardware tool opens.
Customizing Your Workspace
A workspace is the arrangement and size of tool windows displayed
on your NewsCutter XP system. If you are accustomed to working
with a particular group of windows arranged and sized in a particular
setup, you can assign them to a workspace setting that you can then
recall with a workspace button. For example, during recording you
might want to display the Record tool in specific locations. During
effects editing, you might want to display the Effect Palette and Effect
Editor in a particular location and size. For information on switching
between workspaces, see “Switching Between Workspaces” on
page 114.
110

While in a workspace, you can move tool windows or open and close
tool windows. The next time you select that workspace, the tool
windows appear with either:
• The arrangement from the last time you left the workspace
• The arrangement you set for the workspace, regardless of any
changes you made
n
You
cannot assign certain tool windows to a workspace, such as the Hardware
tool, the Serial (COM) Ports tool, and the Media tool.
You can select your preference in the Workspace Settings dialog box.
For more information, see “Creating a New Workspace Setting” on
page 111.
Creating a New Workspace Setting
To create a new workspace setting:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Scroll to the bottom of the Settings scroll list, and click Workspace.
Workspace is highlighted.
3. Choose Duplicate from the Edit menu.
A new workspace setting appears in the Settings scroll list.
n
If
you are duplicating a previously named workspace setting, a .1 appears at
the end of the new name.
4. Click to the left of the new workspace you want to set.
A check mark appears next to the workspace.
5. Assign a custom name to the new workspace:
111

a. In the column between Workspace and User, click until you
see a text pointer and box. Make sure you click the Custom
setting name column and not the Setting name.
Custom setting
name column
b. Type a name for the new custom workspace, for example,
audio.
c. Press Enter.
6. Open the windows and tools with which you want to associate the
workspace. Resize and move the windows to the location where
you want them to appear in the monitors.
7. Double-click the custom workspace setting.
The Workspace Settings dialog box appears.
112

8. Select or deselect the following options, depending on your
preference for the behavior of the workspace:
• Activate Settings Linked By Name: This setting allows you to
link other settings to the workspace. See “Linking User
Settings and Workspaces” on page 113.
• Continually Update This Workspace: This setting
automatically preserves the workspace in its most recent
arrangement. Future changes to the arrangement of the tool
windows are saved.
• Manually Update This Workspace: This setting saves the
workspace in its current arrangement when you click Save
Workspace Now (which appears only after you select
Manually Update This Workspace). Future changes to the
arrangement of the tool windows are disregarded.
9. Click OK.
Linking User Settings and Workspaces
User settings can be linked to a workspace. You can create a
customized workspace and set up specific options in any Settings
dialog box, and link them by name.
For example, you can create an Audio workspace that opens the
Audio Mix tool and Audio tool. This workspace can also open a
113

customized Timeline (with enlarged audio tracks and Automation
Gain displays). Then, you can link this workspace to a Settings dialog
box with customized options selected. You do this by creating a setting
and giving it the same name in the Project window as the name of the
workspace.
To link User settings and a workspace:
1. Create a new workspace setting. See “Creating a New Workspace
Setting” on page 111.
2. Give the workspace a custom name.
3. Click a setting from the Settings scroll list that you want to link to
the new workspace. For example, click Record. Adjust the Record
setting to what you want.
4. Give this Record setting the same name you gave the workspace
previously.
5. Double-click another setting, for example, Interface. Select the
new options, for example, Show ToolTips, and click OK.
6. Give this setting the same name you gave the workspace
previously.
7. Double-click the workspace you just created.
The Workspace Settings dialog box appears.
8. Click Activate Settings Linked By Name.
9. Click OK.
All the settings and the new workspace you created will be
activated when you activate this workspace.
Switching Between Workspaces
To switch from one workspace to another:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
114

2. Click to the left of the workspace setting you want to use.
A check mark appears next to the workspace.
Deleting a Workspace
To delete a workspace:
1. Select the workspace you want to delete from the Settings scroll
list of the Project window.
The workspace is highlighted.
n
Make
sure a check mark does not appear next to the workspace you want to
delete. You cannot delete the active workspace.
2. Press the Delete key.
The selected workspace is removed from the Settings scroll list.
115

Navigating in Dialog Boxes and Menus
You can use the keys listed in Table 3-8 to navigate in many dialog
boxes and menus and to select and deselect options.
Table 3-8
Key
Navigation Keys
Function
Page Up, Page Down
Tab
Right Arrow, Left Arrow,
space bar
Up Arrow, Down Arrow
Moves from tabbed page to tabbed page within a
dialog box
Moves from check box to check box or option
button to option button within a tabbed page in a
dialog box
Selects or deselects a check box or option button in
a dialog box
Moves up or down through a menu
116

CHAPTER 4
Using Basic Tools
The Tools menu on the NewsCutter XP menu bar provides quick
access to a collection of essential tools for use in your projects. This
chapter provides information about several basic tools that you can
use at any time during your project.
• Using the Tools Menu
• Using the Deck Controller
• Using the Command Palette
• Using the Avid Calculator
• Using the Console
• Using the Hardware Tool
Using the Tools Menu
You can open any of the most frequently used system tools from the
Tools menu.
To open a tool:
t
Choose its name from the Tools menu.
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Using the Deck Controller
The deck controller provides direct serial or V-LAN ® VLXi ® control of
an Avid-compatible video deck at any time during editing. This
feature allows you to cue and screen footage from source tapes in
various edit modes or when recording a digital cut.
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Timecode indicator
Logging controls
Close button
Timecode
display
Deck controls
Timecode display
Delete Mark IN
Delete Mark OUT
Deck Selection
pop-up menu
Source Tape
Display button
Eject
Mark IN
Mark OUT
Clear Memory button
Go To Memory button
Each deck controller includes the following elements:
• The Timecode display provides information about the control
status of the video deck, as follows:
- If the deck is properly connected and power is on, the deck
controller displays timecode when a tape is mounted.
- If a deck is not properly connected to the system or power is
off when you open the controller, the indicator displays the
message, No Deck.
- If you turn the deck power off with the deck controller already
open, the indicator displays the message, Power Off.
- If you switch the deck control to Local on the VTR, the
indicator displays the message, Local.
n
The
Timecode indicator flashes green during playback or recording to indicate
that the system is receiving valid timecode from the source tape. If the
indicator remains unlit, the system is not receiving timecode.
• The deck controls and the J-K-L keys provide a standard range of
playback capabilities, including fast forward and rewind, stop and
play, step back and step forward, pause, and eject.
• The Deck Selection pop-up menu allows you to specify a deck
with deck control parameters that you can customize in the Deck
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Settings dialog box. For more information, see “Deck Settings
Options” on page 177.
• The deck controller allows you to associate a tape name with the
controller by clicking the Source Tape Display button and selecting
a tape in the Select Tape dialog box. For more information, see
“Selecting a Tape” on page 185.
• Logging controls allow you to log IN and OUT points while
cueing your tape.
• Marks you set with the deck controller are temporary and allow
you to return to timecode locations entered in the window while
screening and cueing a tape. If the Record tool is open, however,
timecodes logged here also appear in the Record tool and can be
entered into an open bin.
To open a deck controller:
t
Choose New Deck Controller from the Tools menu.
The Deck Controller window opens.
Using the Command Palette
The Command palette provides a central location for all user-selectable
buttons that you can map to various locations for ease of use.
User-selectable buttons allow you to perform a wide range of
commands with a single click of the mouse.
The Command palette organizes buttons by editing function. Tabs are
displayed for each editing function and the buttons that perform those
functions are displayed within each tab. The functions are Move, Play,
Edit, Trim, FX, Other, and More.
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You can use the Command palette to:
• Map buttons to the Tool palette or the keyboard. See “Mapping
User-Selectable Buttons” on page 122.
• Map menu commands to various buttons and keys. See “Mapping
Menu Commands” on page 124.
• Directly activate a command. See “Activating Commands from
the Command Palette” on page 125.
n
For
information about each button in the Command palette, right-click a
button and choose What’s This? from the menu.
About Button Mapping
Mapping user-selectable buttons allows you to reconfigure Command
palettes or the keyboard in various combinations to suit different
editing needs. The following are a few examples:
• Subcataloging clips: You can map the Make Subclip button and
other clip management buttons.
Make Subclip Find Bin Add Locator
• Complex layering and effects editing: You can map buttons such
as Motion Effect, Remove Effect, and Fade Effect.
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Motion Effect Remove Effect Fade Effect
For more information
on multiple settings, see
“Working with
Multiple Settings” on
page 103.
When you remap buttons or commands, the system immediately
saves your new configuration in one of the default settings that you
can open from the Project window. You can also save, rename, and
recall multiple versions of any of these settings to serve various
purposes.
The NewsCutter XP application saves button configurations as
follows:
• Changes to the Keyboard palette are saved in the Keyboard
settings.
• Changes to the Tool palette are saved in the Interface settings.
Both of these settings are saved in the User settings.
Mapping User-Selectable Buttons
To map buttons or keys on the keyboard by using the Command
palette:
1. Open a window that has a user-selectable button palette by doing
one of the following:
t
t
Activate the Source/Record monitor or the pop-up monitor,
select the Fast menu, and drag to tear off the Tool palette.
Open the Keyboard palette from the Settings scroll list in the
Project window.
2. Choose Command Palette from the Tools menu.
The Command palette opens.
3. Select Button to Button Reassignment.
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4. Click the tab from which you want to choose a user-selectable
button.
5. Drag the button from the Command palette to a button location in
the Tool palette or the Keyboard palette (whichever one you
opened previously).
Using the Blank Button
The Blank button allows you to replace a defined button with an
undefined button. If you do not need or use a specific button within a
Tool palette, you can replace the button with a Blank button.
To access the Blank button:
1. Choose Command Palette from the Tools menu.
2. Click the Other tab.
For information on mapping the Blank button to a new location, see
“Mapping User-Selectable Buttons” on page 122.
Mapping the Modifier Key
You can add modifier keys to functions already associated with keys
and buttons. The Other tab of the Command palette contains the Add
Alt key button.
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For example, if you map the Add Alt Key button to the Mark IN key
(I key), the function of the I key changes to Go to IN Point (which is
equivalent to pressing the Alt and I keys). For a list of other functions
that use modifier keys, see the Avid NewsCutter XP Quick Reference.
n
After
you modify a key or button with the modifier key buttons, you can use
the default function of the key or button by pressing the appropriate modifier
key and the modified key, or by pressing the modifier key and clicking the
modified button.
Mapping Menu Commands
You can map menu commands displayed in the menus on the
NewsCutter XP application menu bar directly to buttons in the Tool
palette or to the Keyboard palette. This is especially useful if you
frequently use the keyboard or the Tool palette during editing. In some
cases, you can avoid using the menus altogether.
n
Before
you can map some commands, you must first establish the condition
that enables the command. For example, before you can map the Render
In/Out command from the Clip menu, you must first place IN and OUT
points in the Timeline so that the menu command appears.
To map menu commands:
1. Open a window that has user-selectable buttons by doing one of
the following:
t
t
Tear off the Tool palette by clicking the Fast Menu button on
the Source/Record monitor or the pop-up monitor and
dragging the palette.
Open the Keyboard palette from the Settings scroll list in the
Project window.
2. Choose Command Palette from the Tools menu.
The Command palette opens.
3. Select Menu to Button Reassignment.
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4. Click a target button in the Keyboard palette or Tool palette.
The pointer changes to a small white menu.
5. Choose the menu command you want to map to the target button.
For example, choose Effect Editor from the Tools menu.
The initials for the menu command appear on the target button.
Effect Editor menu
command mapped
to a key
Activating Commands from the Command Palette
You can perform a command function directly from the Command
palette. For example, in the Move tab, you can click the Go to Next
Locator button to move the position indicator to the next locator.
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To activate a command from the Command palette:
1. Choose Command Palette from the Tools menu.
The Command palette opens.
2. Select Active Palette.
3. Click the tab from which you want to choose a command function.
4. Click the button in the tab for the function you want to perform.
Using the Avid Calculator
The Avid Calculator helps you calculate video and film durations, and
convert timecode and film key numbers to different formats. For
example, you can:
• Convert timecode durations between 30-frames-per-second (fps)
and 25-fps projects.
• Convert durations to total frame count.
To use the Avid Calculator:
1. Choose Calculator from the Tools menu.
The Avid Calculator opens.
Format pop-up
menu
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2. Choose a format from the Format pop-up menu.
3. Make calculations in one of the following ways:
n
You
t
t
t
Use the top row of numbers on the keyboard to enter numbers
and functions in the Avid Calculator.
Press the Num Lock key, and then enter numbers and
functions with the numeric keypad.
Use the numbers on the Calculator.
do not need to enter leading zeros, colons, or semicolons for timecode.
To convert your totals at any time to another format:
t
Choose a different frame code or key number format from the
Format pop-up menu.
Using the Console
The Console provides a number of features, including:
• Current system information, including your system ID number
• A log of error messages
• Detailed information about sequences in the Timeline or about
objects in a bin
c
• Information after you record or import
Do not use the programming features of the Console without
guidance from Avid professionals. Contact your Avid Reseller. (In
North America, you can contact Avid Customer Support.)
127

Displaying System Information
To display current system information:
1. Choose Console from the Tools menu.
The Console window opens.
2. Scroll to the top of the Console window to view your system
information and ID.
This feature is especially useful for finding the system ID when you
need to contact your Avid Reseller or Avid Customer Support.
Reviewing a Log of Errors
To review errors logged to the Console:
1. When an error occurs and a message box appears, close the
message box and choose Console from the Tools menu.
2. Scroll through the Console to find a log of the error to use when
you contact your Avid Reseller or Avid Customer Support.
Getting Information with the Console Window
The Console window provides quick access to bin information such as
total duration of selected clips or total items in a bin, including hidden
128

items. You can also use the Console to display information about a
shot, segment, or sequence in the Timeline.
To get information with the Console window:
1. Choose Console from the Tools menu.
The Console window opens.
2. Select the item about which you want information:
t
t
In the Timeline, move the position indicator to the chosen clip
or segment.
In the bin, select an object or Ctrl+click multiple objects.
3. Choose Get Bin Info or Get Position Info from the File menu.
Information about the clip appears in the Console window.
Using the Hardware Tool
The Hardware tool provides the following information about the
system’s hardware configuration:
• The Drives tab lists each online drive. The shaded portion of the
bar next to each drive shows the total size of the drive and the
amount of storage space currently filled.
• The System tab lists the operating system, its version and build,
and the physical memory.
Checking the Hardware Configuration
To check the hardware configuration of your NewsCutter XP system,
do one of the following:
t
t
Choose Hardware from the Tools menu.
Click the Info button in the Project window, click the Fast Menu
button, and choose Hardware from the menu.
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The Hardware tool opens.
The Hardware tool contains the following information:
• Each online drive is listed on the left side of the Drives tab. The
name of each drive and its total size are listed below each Drive
icon. The shaded portion of the bar graph to the right of each drive
shows the amount of storage space currently filled. The number in
the bar graph indicates the amount of available storage space for
each drive.
• The name of the operating system, version number, service pack,
and build number and version number appear on the System tab.
The total physical memory is also listed in the same location.
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CHAPTER 5
Logging
When you log with a deck or import shot log files, you provide the
NewsCutter XP system with frame-accurate clip information used to
record the source footage. The logs you create form the foundation for
organizing, tracking, storing, retrieving, and generating lists of edit
information throughout your project. Techniques for preparing log
information prior to recording are covered in the following sections:
• Logging Tips
• Preparing Logs for Import
• Importing Shot Log Files
• Converting Log Files with Avid Log Exchange
• Logging Directly to a Bin
• Exporting Shot Log Files
Logging Tips
The following sections provide important guidelines for preroll,
timecode formats, and naming of tapes when logging prior to
recording.
131

Logging Preroll
Be sure to leave adequate preroll with continuous timecode prior to IN
points when logging your tapes. The recommended minimum preroll
is 2 or 3 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic
playback, and 6 seconds for DV playback.
To set the default preroll for tape playback:
1. Open the Deck Settings dialog box by doing one of the following:
t
t
t
Open the Deck Configuration dialog box from the Settings
scroll list, and click Add Deck.
If a deck already exists, open the Deck Configuration dialog
box from the Settings scroll list, and double-click the deck
name.
Open the Record tool, and choose Adjust Deck from the Deck
Selection pop-up menu.
2. Choose a preroll time from the Preroll pop-up menu.
Preroll setting
132

Logging Timecode
Within an NTSC project, check the timecode format of each tape
(drop-frame versus non-drop-frame timecode) when you are logging
without a tape in the deck.
n
Drop-frame
timecode and non-drop-frame timecode exist only in NTSC
projects.
To log drop-frame timecode:
t
When there is no tape in the deck, choose Deck Preferences from
the Settings scroll list, and choose Drop-Frame from the Log As
pop-up menu. When you are bringing in a bin created outside of
NewsCutter XP, use semicolons (;) between the hours, minutes,
seconds, and frames.
To log non-drop-frame timecode:
t
When there is no tape in the deck, choose Deck Preferences from
the Settings scroll list, and choose Non-drop Frame from the Log
As pop-up menu. When you are bringing in a bin created outside
of NewsCutter XP, use colons (:) between the hours, minutes,
seconds, and frames.
Naming Tapes
When you type tape names in the Record tool, consider the following:
• It is important that you devise a naming scheme for your tapes.
For example, tapes with similar names can be easily sorted and
viewed together in a bin. However, it might be difficult to
distinguish among tapes with similar names when you try to
locate a specific tape quickly. Name tapes based upon the amount
and complexity of your source material.
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• Tape names must be alphanumeric characters (A–Z, 0–9), with no
spaces before the name. They can include uppercase and
lowercase letters. The maximum length of a name is 32 characters.
• It is possible to have a single tape listed as several different tapes if
you alter the case of the letters. This can cause significant
problems in keeping track of clips. Choose a case convention and
maintain it throughout a project.
• If you are planning to generate an edit decision list (EDL) for
import into an edit controller for online editing, double-check the
controller’s specifications beforehand. Some edit controllers will
truncate source tape names to as few as six characters, while
others will eliminate characters and truncate to three numbers.
Double-Checking the Logs
When importing shot logs for video, the NewsCutter XP system
compares the video duration to the video out minus the video in.
If the NewsCutter XP system detects a discrepancy, it reports the error
and does not bring the clip into the bin.
To ensure that clips are not discarded on import:
t
Double-check the logs for discrepancies in duration and marks.
Adding a Memory Mark
You can add a memory mark to a particular location on a tape. The
Mark Memory button in the Record tool allows you to add one mark
per tape. The Go to Memory button allows you to move through the
tape to the marked location. You can clear the memory mark by using
the Clear Memory button.
The memory mark is not stored on the tape. When you remove the
tape from the deck, the mark is cleared.
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Go to Memory button
Clear Memory button
Mark Memory button
Preparing Logs for Import
For Avid Log Exchange
information, see
Appendix C.
NewsCutter XP provides many useful tools to help you prepare
frame-accurate log information for import to the bin from any number
of sources. This process might involve using a word processor or
standard text editor to create and import logs, including those using
the Avid Log Exchange (ALE) format.
Creating Avid Logs
You can prepare an Avid log on any type of IBM ® compatible or
Macintosh ® computer by using a word processing application or a text
editor. To ensure accuracy, you must follow the Avid log specifications.
You can use any text editor to create Avid logs. However, you must
save the file as a text document (ASCII format).
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Your Windows system ships with a text editor called WordPad.
WordPad can handle large files, and it allows you to save the files as
text documents.
To start WordPad:
t
Click the Start button, point to Programs, point to Accessories, and
then click WordPad.
To create Avid logs by using a word processor:
1. Enter shot log information according to the specifications.
c
2. Save your file as a text file in the Save As dialog box.
NewsCutter XP accepts only text files (ASCII format).
When you are logging manually, document the following information:
• Identify the source tape for each shot.
• Document each clip’s name, start timecode, and end timecode.
This is the minimum information required to record successfully. You
can also add other information such as comments. You can make a
separate log file for each videotape, or you can log clips from several
different videotapes into one log.
Importing Shot Log Files
You can import any log created or converted to meet Avid log
specifications. You can also combine or merge events while importing
a log so that fewer master tapes require recording. The system imports
any additional information logged with each clip.
To save this display after importing the log:
t
Save the bin.
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To import shot log files into a bin:
1. Open a bin, click anywhere in an open bin to select it, or create a
new bin for the shot log import.
2. Choose Import from the File menu.
The Select Files to Import dialog box appears.
Up One Level button
Files of Type
pop-up menu
Options button
3. Do one of the following:
t
t
Choose Shot Log from the Files of Type pop-up menu.
The system displays file types that belong to the chosen
category only.
Choose All Files from the Files of Type pop-up menu.
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The system displays all files in a chosen folder, regardless of
file type. Use this option if you want to batch import multiple
file types.
n
When
batch importing multiple files and file types, you should establish
global Import settings in advance. See “Creating and Using Import
Settings” on page 245.
4. Click Options to open the Import Settings dialog box if you want
to select options for combining events on import from the Import
settings.
5. Click the Shot Log tab. For more information about shot log
options, see Table 8-3.
6. After selecting the appropriate options, click OK to return to the
Select Files to Import dialog box.
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7. Use the Up One Level button to locate the folder containing the
source file.
8. Select the file.
9. Click Open.
When the system finishes importing the file, the clips appear in the
selected bin.
Converting Log Files with Avid Log Exchange
You can use the Avid Log Exchange (ALE) utility included with your
system to quickly convert shot log files created by other sources. You
can then import the files directly into bins, as described in “Importing
Shot Log Files” on page 136.
The ALE utility allows you to:
• Modify the text in a log file.
• Convert log files to the ALE file.
• Convert an ALE file to either an ATN or FLX file.
Any options you set in the ALE utility are saved each time you exit the
ALE utility.
When you are converting an ATN file that contains multiple sections
to an ALE file, multiple ALE files are created. The Avid Log Exchange
window displays only the first ALE file created. The succeeding ALE
files are given the same file name with incremental numbering. For
example, the file Nations1.atn is converted to Nations1.ale,
Nations1_2.ale, Nations1_3.ale, and so on. The converted output files
are stored in the folder containing the original input file.
139

Converting a Log File to an ALE File
To convert a log file to an ALE file:
1. Click the Start button, and then point to Programs.
2. Point to Avid, point to Utilities, and then click ALE.
The Avid Log Exchange window opens.
3. Choose Open from the File menu.
The Open dialog box appears.
4. Double-click the file you want to convert.
5. Depending on the type of file you are opening, one of the
following occurs:
• If the file type is recognized by the ALE utility, the file appears
in the Avid Log Exchange window.
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• If the file does not contain the Windows line-ending format,
then the Line Endings dialog box appears.
6. Do one of the following:
t
t
Click Display & Save to open the file in the Avid Log
Exchange window and change the file to the Windows format.
Click Display Only to open the file in the Avid Log Exchange
window but not save the file.
141

t
Click Ignore to display the file as is without changes.
The file appears in the Avid Log Exchange window.
For specific information
on the various file types
shown here, see
Appendix C.
If the file type is not recognized, the Choose File Type dialog
box appears. Select the type of file you are converting, and
click OK.
The file appears in the Avid Log Exchange window.
7. Use the Options menu to select the tracks to include in the Tracks
column of the log. The default track selections are Log V, Log A1,
and Log A2.
After you import the log into an Avid bin, the system records all
tracks shown in this column when batch recording.
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8. Choose Clean from the Options menu if you want Avid Log
Exchange to clean the ALE output file to eliminate overlapping
timecodes for clips. By default, Clean is selected.
When you choose Clean, the utility removes the end timecode
from any clip that overlaps the start of the next clip.
9. If you chose Clean, you can also choose Relaxed from the Options
menu to prevent deleting events that come earlier in the transfer.
Relaxed is not set by default.
For example, if you transfer film footage with a timecode of
2:00:00:00 and then add some clips at the end with a timecode of
1:00:00:00, Relaxed prevents the Clean function from deleting the
clips. This occurs when you shoot footage across the midnight
hour and the first half of the film has 24 hours and the second half
has 0 hours.
10. Choose ALE from the Convert menu.
The default output selection is the Avid Log Exchange (ALE)
format. This is the required format for import into an Avid bin.
The Avid Log Exchange window displays the converted ALE file.
The converted file has the same file name as the original file,
except the file name extension matches the converted file format.
143

11. (Option) Choose the original file from the Window menu if you
want to convert the file again, using different options.
12. Choose Close from the File menu.
If you made changes in the editor, a message box appears.
144

13. Click Yes.
The converted file is stored in the same folder as the original log
file.
Using Drag-and-Drop Conversion
Use this shortcut to convert any type of file into an ALE file.
n
Before
you use the drag-and-drop conversion, check the options in the ALE
utility. The current options are used when you perform the drag-and-drop
conversion.
To convert a log file by using drag-and-drop conversion:
1. Create a shortcut for the ALE utility.
2. Open the folder that contains the files you want to convert,
positioning the folder so the shortcut icon for the ALE utility is
visible.
3. Select the files you want to convert.
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ALE shortcut icon
4. Drag the selected files to the shortcut icon for the ALE utility, and
release the mouse button.
5. Depending on the type of files you are converting, one of the
following occurs:
• If the file type is recognized by the ALE utility, a message box
appears, indicating the conversion was successful.
• If the file type is not recognized, the Choose File Type dialog
box appears. Select the type of the file you are converting, and
click OK.
146

A message box appears, indicating the conversion was
successful.
• If the file type is an ALE file, the ALE Convert Type dialog box
appears. Select a file type for the converted output file, and
click OK.
A message box appears, indicating the conversion was
successful.
6. Click OK to close the message box.
The converted files have the same file names as the original files,
except the file name extension matches the converted file format.
For example, the .ale file name extension is added to the new file
names for the Avid format. The converted files are stored in the
folder containing the original log files.
147

Logging Directly to a Bin
You can log clips directly to a bin by using the Record tool in one of
two ways described in this section:
For complete
information on working
with bin columns and
clip information, see
“Using Text View” on
page 290.
• Log directly to a bin with an Avid-controlled deck for
semiautomated data entry.
• Log manually during or after viewing of footage offline with a
non-Avid-controlled deck or other source.
Logging with an Avid-Controlled Camera or Deck
When you log with a DV camera or compatible video deck controlled
from within NewsCutter XP, you can automate part of the logging
process by using buttons to enter frame-accurate timecode
information from the camera or deck. This method is more accurate
than manual entry because timecodes are transferred directly from
tape to the bin.
To log clips to a bin by using the Record tool:
1. Make sure the camera or deck is properly connected, and turn on
power to the video deck.
2. Open the bin in which you want to store the clips.
3. Choose Record from the Tools menu.
The Record tool opens.
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Record/Log Mode button
Mark IN
button
Channel
Selection buttons
Deck Selection
pop-up menu
4. To choose a deck or device, choose Autoconfigure or Adjust Deck
from the Deck Selection pop-up menu, and then load your tape
into the deck.
The Select Tape dialog box appears.
149

5. Do one of the following:
Mark IN
Mark OUT
Log button
Go to IN
Go to OUT
t
t
t
Click Cancel to stop the process at any time.
Select “Show other projects” to display the tape names and
associated project names for all bins that have been opened in
the current session.
Click “Scan for tapes” to scan the system and display tape
names and associated project names for all media files that are
currently online (volumes that are currently mounted on the
system).
6. Click the Record/Log Mode button in the Record tool until the
LOG icon appears.
7. Click the Source Tape Display button.
A dialog box appears.
8. Click Yes to open the Select Tape dialog box.
9. Double-click the name of the tape in the dialog box, or click New
and type the name of the tape. Click OK.
A message that the system is waiting for you to mark an IN point
is displayed in the message bar. The Log button displays a Mark
IN point.
10. Mark either an IN point or an OUT point for the clip you want to
log, using one of the following methods:
t
t
t
Use the deck controls in the Record tool to cue your source
tape to the start or end point, and click the Mark IN or the
Mark OUT button.
Click the Mark IN button in the Record tool to enter the mark.
(The Log button replaces the Mark IN button in the Record
tool after you enter a Mark IN point.)
If the footage starts at a known IN point or ends at a known
OUT point, type the timecode in the text box next to the Mark
IN or Mark OUT button, click the Go to IN or the Go to OUT
button to scan the tape forward to the mark, or press Enter to
enter it.
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After you set the mark, the icon in the Log button changes to the
corresponding OUT or IN mark, and a pencil appears on the
button.
11. To finish logging the clip, do one of the following:
c
t
t
Mark the remaining IN or OUT point on-the-fly by using the
Mark IN and Mark OUT buttons.
Type a timecode for the clip’s IN, OUT, or duration in the
timecode text boxes next to the corresponding icon, and press
Enter.
The system automatically calculates the appropriate timecode for
the remaining IN point, OUT point, or duration, and enters the
clip into the bin. The clip name, which is chosen and automatically
numbered by the system, is highlighted and ready to be changed.
You must enter at least two of the three timecode marks (IN point,
OUT point, or duration) to complete the log entry.
12. Before clicking any of the buttons in the Record tool, type a new
name for the clip.
n
You
should change the clip name immediately because it is very easy to forget
the contents of each clip among the dozens that you log. You can, if necessary,
accept the clip name and proceed with the logging process, and then change
the clip names in the bin later.
13. Select the tracks that you want to log, using the Channel Selection
buttons.
14. Click the Log button.
The clip is logged to the bin.
15. Repeat these steps until you have logged all your clips.
While viewing the footage, you can continuously update your marks
on-the-fly by clicking the Mark IN or the Mark OUT button repeatedly
before entering the second mark.
151

Logging with a Non-Avid-Controlled Camera or Deck
You can use the Record tool to log clips directly to a bin from a source
that is not Avid-controlled. For example, you can log clips from a
camera or deck that is not connected to the system or from
handwritten or printed log information for a tape that was previously
logged but is not currently available.
n
When
logging with the Record tool, you should leave the deck empty. If a tape
remains in the deck, the system determines drop-frame or non-drop-frame
from that tape, whether or not it matches your tape’s timecode format.
To log with a non-Avid-controlled camera or deck:
1. If there is a camera or deck connected to the system, eject the tape
from the deck.
2. Double-click Deck Preferences in the Settings scroll list of the
Project window to open the Deck Preferences dialog box.
3. For NTSC projects, choose Non-Drop-Frame or Drop-Frame from
the “When no tape in deck log as” pop-up menu.
4. Click OK to close the dialog box.
5. Open the bin where you want to store the clips.
6. Choose Record from the Tools menu.
The Record tool opens.
152

Record/Log Mode button
Mark IN
button
Channel
Selection
buttons
Message
bar
Mark IN text
box
Timecode
display
Deck controls
Deck Selection
pop-up menu
Clear OUT
button
Mark OUT
text box
Source Tape Display button Mark OUT button Mark IN button
7. Click the Record/Log Mode button in the Record tool until the
LOG icon appears.
8. Click the Source Tape Display button.
A dialog box appears.
9. Click Yes to open the Select Tape dialog box.
10. Double-click the name of the tape in the dialog box, or click New
and type the name of the tape. Click OK.
11. Select the tracks that you want to log, using the Channel Selection
buttons.
12. Type the start and end timecodes in the Mark IN and Mark OUT
text boxes.
13. Click the Log button.
The clip is logged to the bin.
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Modifying Clip Information Before Recording
The following conditions apply to modifying clip information:
• When you modify a clip’s information, related objects are
automatically updated to reflect the new data. For example, if you
change the name of a clip, the updated name appears in the
sequences that use the clip.
• Some data cannot be modified after recording because changes
would prevent you from playing back and editing the material
successfully.
• Sequence information cannot be changed even though it appears
in your bin. The only way to modify sequence information is to
edit the sequence itself. You can, however, change the name and
start time for the master timecode track.
You can modify some data directly for master clips, subclips, and
other objects stored in a bin.
About the Modify Command
The Modify command gives you specialized control over groups of
clip information. For example, you can use the Modify command to
change the name of source tapes for some or all of your clips, to
change the timecode format from drop-frame to non-drop-frame, or to
increment or decrement the start and end timecodes by a specified
length of time for one or several clips at once.
You can apply changes with the Modify command to master clips
only; subclips and sequences cannot be altered in this way. In addition,
you can perform only modifications that alter the end timecodes or the
tracks before recording.
154

Using the Modify Command
To modify selected clips:
1. Open the bin.
2. Click a clip icon to select it. Ctrl+click each additional clip you
want to modify.
Selected
clip is
highlighted.
3. Choose Modify from the Bin menu.
The Modify dialog box appears.
Pop-up
menu
4. Choose an option, such as Set Timecode By Field, from the pop-up
menu.
155

Depending on the modification you select, different options
appear in the dialog box that allow you to establish the specific
modification, as shown in Table 5-1.
5. After choosing the type of modification, select an option or type
information in the text boxes (for example, timecode values) when
they appear.
6. Click OK.
The modification takes effect.
Options for Modifying Bin Information
Table 5-1 lists options available from the pop-up menu in the Modify
dialog box.
Table 5-1
Options for Modifying Bin Information
Type of Modification Options Description
Set Timecode
Drop/Non-drop
Drop, Non-drop
Changes the timecode format between
drop-frame and non-drop-frame. Setting
must match the timecode format of the tape.
Set Timecode By Field Start or End Changes either the start or end timecode.
Only start timecode can be altered after
recording.
Hour, Minutes, Seconds,
Frames
Allows you to enter custom timecode.
Increment Timecode Start or End Changes either the start or end timecode.
Incrementing the start timecode
automatically modifies the end timecode by
the same amount. Only start timecode can be
incremented after recording.
Timecode entry field
Allows you to enter custom incremental
timecode.
156

Table 5-1
Options for Modifying Bin Information (Continued)
Type of Modification Options Description
Decrement Timecode Start or End Changes either the start or end timecode.
Decrementing the start timecode
automatically modifies the end timecode by
the same amount. Only start timecode can be
decremented after recording.
Timecode entry field
Set Tracks V, A1, A2, A3, A4, A5, A6,
A7, A8 track selector
Allows you to enter new decremental
timecode.
Changes the clip’s configuration of tracks.
Set Source None Opens the Select Tape dialog box. Selects
another source tape name for the clips.
Should match the original source tape name.
Modifying in the Bin
You can modify the start and end timecodes in the bin before a clip is
recorded.
To modify clip information in the bin:
1. Set the bin to display Start and End. For more information about
setting bin headings, see “Showing and Hiding Columns” on
page 293.
2. Select the clip you want to modify.
3. Type the timecode numbers you want.
157

Exporting Shot Log Files
You can export a shot log file from the NewsCutter XP system in either
Tab Delimited or Avid Log Exchange format for making adjustments
in a text editor or for importing to another system.
To export a shot log based on clip information in a bin:
1. Open the bin containing the clips you want to export, and switch
to Text view.
2. Click a clip icon to select it. Ctrl+click each additional clip you
want to export.
3. Choose Export from the File menu.
The Export As dialog box appears.
4. Do one of the following:
t
If you have previously created an Export setting for exporting
shot log files, choose the setting from the Export Setting
pop-up menu. Then go to step 11.
For information on creating Export settings, see “Customizing
Export Settings” on page 597.
t If you want to create a new Export setting, go to step 5.
5. Click Options.
The Export Settings dialog box appears.
6. Choose either Avid Log Exchange or Tab Delimited as the file type
from the Export As pop-up menu.
7. Click Save As.
The Save Export Setting dialog box appears.
8. Type a name in the Setting Name text box.
The export setting name is added to the list of formats available
from the Export dialog box.
9. Click OK.
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10. (Option) Change the file name, but keep the default file name
extension.
11. Select the destination folder for the file, and click Save.
The file is exported and appears at the chosen destination.
To export an entire bin:
1. Ctrl+click selected clips to deselect them, so that nothing is
selected in the bin.
2. Choose Export from the File menu.
The Export Bin As dialog box appears.
3. Choose the appropriate option from the Export Bin As pop-up
menu, and click OK.
A shot log of only the master clips in the bin is created.
159

CHAPTER 6
Preparing to Record
Recording is the process of creating digital media from videotape or
audio input. Before you begin the recording process in Chapter 7, you
need to prepare for it as described in the following sections:
• Understanding Digital Video (DV)
• What Is OHCI?
• Selecting Settings
• Configuring Decks
• Setting Up the Record Tool
• Preparing for Audio Input
• Compression Resolutions and Storage Requirements
Before recording, see the Avid NewsCutter XP Setup Guide to ensure
you have properly connected your recording equipment such as a
camera or deck.
Understanding Digital Video (DV)
DV refers to digital video that is transferred through equipment
conforming to IEEE Standard 1394. This equipment (cameras, decks,
160

cables, connectors, and processing boards) is sometimes referred to as
FireWire ® or i.LINK .
DV connections let you transfer digital data (both video and audio)
directly from a DV camera to a digital nonlinear editing system with
no conversion losses. DV technology simplifies the process of bringing
footage from your camera into your NewsCutter XP system, and gives
you high-quality video at low lost.
What Is IEEE Standard 1394?
IEEE 1394 is an internationally standardized, low-cost digital interface
that integrates entertainment, communication, and computing
electronics into consumer multimedia. IEEE 1394 is a hardware and
software standard for transporting data at 100, 200, or 300 megabits
per second (Mb/s). Because it’s a digital interface, there is no need to
convert digital data into analog, resulting in a loss of data integrity.
What Is DV?
Digital video (DV) is an international standard created by a
consortium of ten companies to serve as a consumer digital video
format. NewsCutter XP uses DV 25 resolution.
DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch
tape to record very high quality digital video. The video is sampled at
the same rate as D-1, D-5, or Digital Betacam ® video (720 pixels per
scanline). The color information in DV 25 is sampled at the D-1 rate
4:1:1 in 525-line (NTSC) and 4:2:0 in 625-line (PAL) formats.
161

What Is OHCI?
The Open Host Controller Interface (OHCI) specification gives the
operating system a standardized way of interacting with the 1394 bus.
An IEEE 1394 interface that conforms to this specification can provide
a connection between a Windows computer and a DV camcorder that
will operate in a standard way, using driver software that is included
with the latest versions of Windows.
n
If
you are using a 1394 board to connect a digital device, you need to assign
the CustomDV.sys driver supplied by Avid to your device. See the Avid
NewsCutter XP Setup Guide.
Selecting Settings
A number of settings have a direct bearing on the recording process.
Before you record, review the following options:
• Using General Settings
• Choosing Record Settings
Using General Settings
General settings include options for NTSC tape formats and drive
filtering.
162

c
For more information about General settings, see “General Settings”
on page 79.
The NewsCutter XP system will not prevent you from using
non-Avid drives, but their reliability cannot be guaranteed.
Choosing Record Settings
Record settings include essential options for recording, batch
recording, autorecording, and recording to multiple media files.
To open the Record Settings dialog box:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Record.
The Record Settings dialog box appears.
163

General Record Settings
The following illustration shows the General tab of the Record Settings
dialog box.
Table 6-1 describes the options available in the General tab of the
Record Settings dialog box.
164

Table 6-1
Record Settings (General Tab)
Option
Stop deck after record, Pause
deck after record
Force unique clip names
Activate bin window after
record
Space bar stops record
Use control track instead of
timecode for preroll
Record across timecode breaks
Capture a single video frame
only
Ask before discarding a
canceled clip
Description
Select one of these options either to stop the deck or to pause the deck
after recording.
Select this option if you want NewsCutter XP to automatically assign
a clip name based on the bin’s name and to make sure this name, or
another name you choose, is not already used by any other object in
the bin.
Select this option if you want NewsCutter XP to change the focus
from the Record tool to a bin window after recording is complete. This
allows you to immediately start working in the bin.
Select this option if you want to use the space bar to create clip names
during the recording process. When you press the space bar during a
record operation, the system stops recording, creates a clip from the
recorded material, and places the clip in the active bin.
When this option is selected, the system does not use timecode to
perform 1 to 6 seconds of preroll before recording. Instead, it uses the
control track to time the preroll and records all footage after the
timecode break.
This option is useful when you are batch recording across timecode
breaks or when you are manually recording one clip at a time.
When this option is selected, NewsCutter XP begins recording a new
master clip at each timecode break. Select this option when you are
performing unattended batch recording or autorecording. Deselect
this option if you plan to record the entire tape as a single clip by
recording to multiple media files.
When this option is selected, NewsCutter XP records a single frame of
video from your clip. When you click the Record button,
NewsCutter XP captures the currently displayed frame.
After you click the Trash icon, this option causes the system to query
whether to discard the cancelled clip, keep it, or try again.
165

Table 6-1
Record Settings (General Tab) (Continued)
Option
Ask for name when a new tape
is seen
Description
Causes the system to query you for a name when it detects a new tape.
Batch Record Settings
The following illustration shows the Batch tab of the Record Settings
dialog box.
Table 6-2 describes the options available in the Batch tab of the Record
Settings dialog box.
166

Table 6-2
Record Settings (Batch Tab)
Option
Optimize for disk space
Optimize for batch speed
Switch to emptiest drive if
current drive is full
Rewind tape when finished
Eject tape when finished
Log errors to the console and
continue recording
Description
When this option is selected, the system records only the exact amount
of material in the master clips plus any additional handles. The tape
will pause and pre-roll independently for each master clip that is batch
recorded.
When this option is selected, the system speeds up batch recording by
allowing the deck to continue to roll forward between adjoining clips.
To qualify for this operation, the two adjoining clips must meet the
following criteria:
• There must be 5 seconds or less between the OUT point of the first
clip and the IN point of the second clip.
• The two clips must have the same video resolution and the same
audio rate.
n
If
you select this option, the system might occasionally record more
than is required.
When this option is selected, the system switches to the target media
storage drive with the most available space when the current target
drive becomes full during batch recording. The system switches before
starting to record the clip, based on the number of minutes in the clip.
For complete instructions, see “Batch Recording Clips” on page 235.
If you do not select this option, recording stops when a drive becomes
full.
When this option is selected, the system automatically rewind tapes
after batch recording is finished.
When this option is selected, the tape ejects as soon as the last shot
from that tape has been used. This adds to efficiency since you can do
other tasks while the tape is being used and yet still be alerted at the
moment the tape is no longer needed.
When you select this option, NewsCutter XP continues recording if an
error occurs during the record process.
167

Table 6-2
Record Settings (Batch Tab) (Continued)
Option
Record the tracks logged for
each clip
Use the video compression
logged for each clip
Description
When you select this option, NewsCutter XP records the tracks logged
for each clip.
When you select this option, NewsCutter XP uses the video
compression logged for each clip.
Edit Record Settings
The following illustration shows the Edit tab of the Record Settings
dialog box.
168

Table 6-3 describes the options available in the Edit tab of the Record
Settings dialog box.
Table 6-3
Record Settings (Edit Tab)
Option
Enable edit to timeline (splice,
overwrite)
Handles
Enable voice-over
Preroll
Postroll
Description
Select this option to display the Splice-in Edit and Overwrite Edit
buttons in the Record tool.
Indicate the amount of footage you want to record before and after the
IN and OUT points of the clips (when recording to the Timeline only).
Select this option to display the Voice-Over button in the Record tool.
Indicate the amount of preroll and postroll you want to record before
and after the voice-over.
Media Files Record Settings
The following illustration shows the Media Files tab of the Record
Settings dialog box.
169

Table 6-4 describes the options available in the Media Files tab of the
Record Settings dialog box.
Table 6-4
Record Settings (Media Files tab)
Record to a single file, 2 GB limit
Record to multiple files
When this option is selected, recording stops when the media
recorded has taken up 2 gigabytes (GB) of storage space on the
media drive.
When this option is selected, you can create longer clips whose
media files would otherwise exceed the NewsCutter XP system’s
file-size limitation of 2 GB.
170

Table 6-4
Record Settings (Media Files tab) (Continued)
Maximum (default) recording time:
n minutes
When this option is selected, the system preallocates space on the
drive partitions to accommodate the specified number of minutes.
(The preallocation can take a long time.)
The system records for only the specified number of minutes; be
careful not to underestimate. The default is 30 minutes.
During record, clip is updated in
Asset Manager
Switch to emptiest drive when
When this option, also known as chunking, is selected, the media
is sent in segments so that workgroup users can begin accessing
and using the media as soon as possible. For more information,
see the Avid Unity MediaManager User’s Guide.
n
Do
not select this option unless you are part of a workgroup
environment.
When this option is selected, the system switches to another
storage drive when the specified amount of time remains.
Setting Media Creation Resolutions and Selecting Drives
The Media Creation dialog box allows you to set the video resolution
and to select drives for recording, creating titles, importing, and
performing audio and video mixdowns.
n
You
can also choose a video resolution and select drives directly in the Record
tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio
Mixdown dialog box, and the Video Mixdown dialog box.
To choose a video resolution and drives in the Media Creation
dialog box:
1. Double-click Media Creation in the Settings scroll list of the Project
window or choose Media Creation from the Tools menu.
The Media Creation dialog box appears.
171

2. Click the tab for the area in which you want to work.
3. Choose a video resolution from the Video Resolution pop-up
menu.
The Video Resolution pop-up menu contains a list of the available
resolutions.
n
Clicking
Apply to All sets your chosen video resolution for all four tabs. Your
settings are not saved until you click OK.
4. Choose a video drive and an audio drive. To choose the same
drive for both audio and video, click the Single/Dual Drives
Mode button. If you are working with the Record tab, you can
select a drive group. For more information on selecting a drive
group, see “Recording to Multiple Media Files” on page 192.
n
Because
there is no audio associated with titles, you can choose only a video
drive in the Titles tab of the Media Creation dialog box.
5. Click OK to save your settings.
172

Configuring Decks
Deck Configuration settings allow you to establish deck control
parameters for a single deck or for multiple decks. As with all settings,
you can create multiple versions, allowing you to select among them
for frequent changes in hardware configurations.
Deck Configuration settings and global deck preferences appear as
separate items in the Settings scroll list of the Project window.
Deck control settings
n
You
must manually configure the appropriate hardware connections before
Deck Configuration settings can take effect. For more information, see the
Avid NewsCutter XP Setup Guide.
To configure a deck or multiple decks:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Deck Configuration.
173

The Deck Configuration dialog box appears.
3. If you are configuring your system for the first time, click Add
Channel to add a new channel box on the left side of the Deck
Configuration dialog box and automatically open a Channel
dialog box.
4. Choose FireWire from the Channel Type pop-up menu, if you are
connecting a deck by means of a FireWire connection.
5. Choose the port to which you are connecting the deck from the
Port pop-up menu.
n
If
you are not sure which port to choose, check the 9-pin serial port connectors
on the back of the system. If the ports are not labeled, see the hardware
documentation supplied with your system.
174

6. Click OK to close the Channel dialog box.
A dialog box appears asking if you want to automatically
configure the channel now.
7. Click Yes if you want to automatically configure the channel.
A new channel appears in the display area of the Deck
Configuration dialog box, along with the autoconfigured deck.
Channels appear on the left side.
Decks appear on the right side.
n
You
can reopen the Channel settings to change the options at any time by
double-clicking the channel box.
8. If you did not autoconfigure the deck, click the channel box to
select it.
9. Click Add Deck to open the Deck Settings dialog box.
n
With
a deck already connected to the system, you can click Auto-configure to
bypass the Deck Settings dialog box and automatically configure a deck with
the default settings.
175

n
Not
all DV devices respond to the Auto-configure command. Due to this
limitation, Auto-configure will select only the generic devices. When a digital
camera is attached to your system, choose the proper device from the Deck
Type pop-up menu. When a deck with a transcoder is attached, choose the
applicable deck from the Deck Type pop-up menu.
.
10. Select settings based on your device. For information on Deck
settings, see “Deck Settings Options” on page 177.
11. Click OK to close the Deck Settings dialog box and return to the
Deck Configuration dialog box.
n
You
can reopen the Deck Settings dialog box to change the options at any time
by double-clicking the deck box in the Deck Configuration dialog box.
12. Repeat steps 2 to 11 for each additional channel or deck you want
to configure.
13. (Option) Select “Verify configuration against actual decks” if you
want the system to check the deck configuration against the
devices physically connected to the system.
176

The system checks the deck configuration after you click Apply in
the Deck Configuration dialog box and when you start
NewsCutter XP. A message warns you if the configuration does
not match the deck.
14. Type a name in the Configuration name text box to name the deck
configuration. The new deck configuration will appear in the
Settings scroll list of the Project window.
15. Click Apply to complete the configurations and close the Deck
Configuration dialog box.
16. If necessary, double-click Deck Preferences in the Settings scroll
list of the Project window to adjust global deck preferences. For
more information, see Table 6-6 on page 181.
Deck Settings Options
To open the Deck Settings dialog box, do one of the following:
t
t
t
Click Add Deck in the Deck Configuration dialog box.
Choose Adjust Deck from the Deck Selection pop-up menu in the
Deck Controls area of the Record tool.
Double-click the deck box in the Deck Configuration dialog box.
The Deck Settings dialog box appears.
177

Model pop-up
menu
Manufacturer pop-up menu
Table 6-5 describes the Deck Settings options.
Table 6-5
Deck Settings Options
Option Suboption Description
Name
Description
Deck Type
Address
Type your custom name for the tape deck. The default name matches
the deck type.
Enter notes about the deck.
Choose your manufacturer and model from the menus. If your deck
does not appear in the list, choose Generic from the Manufacturer
pop-up menu and choose one of the following from the Model
pop-up menu:
• Generic Edit-Deck-NTSC
• Generic Play-Deck-NTSC
• Generic Record-Deck-NTSC
For VLXi use only (see your VLXi documentation). If you are using
direct serial port deck control, this option is unavailable.
178

Table 6-5
Deck Settings Options (Continued)
Option Suboption Description
Preroll
Fast Cue
Specifies how many seconds the tape rolls before a record or digital
cut starts. The default is based on the type of videotape recorder
(VTR).
Speeds up long searches if your decks can read timecode in fast
forward or rewind mode. Otherwise, this option is not useful.
Switch to ff/rew
(seconds)
Switch to search
(seconds)
When this option is selected, the system switches to fast forward or
rewind if the target timecode is beyond the specified number of
seconds from your current location on the tape.
By default, the deck switches to fast forward or rewind to reach a
target timecode that is more than 60 seconds away.
If your deck shuttles very quickly, you can increase this number so
that the system uses fast cue only for long searches.
When this option is selected, the system switches out of fast forward
or rewind when it is within the specified number of seconds of the
target timecode. By default, the system switches to search mode
when it is 60 seconds from the target timecode.
Deleting Deck Configurations
To delete a deck configuration:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Deck Configuration.
The Deck Configuration dialog box appears.
179

Delete
button
3. Click the names of the currently configured channel and deck in
the display area. The entire display area should have a red border.
4. Click Delete.
5. Click Apply to complete the changes and close the dialog box.
Setting Deck Preferences
Deck preferences are global settings for basic deck control. These
settings apply to all decks connected to your system, regardless of
your deck configuration. You can open the Deck Preferences dialog
box from the Settings scroll list of the Project window.
180

Table 6-6 explains the Deck Preferences options.
Table 6-6
Deck Preferences Options
Option
When the deck contains no
tape Log As
Allow assemble edit for
digital cut
Stop key pauses deck
Shuttle holds speed
Description
Choose the timecode format (Drop Frame or Non-drop Frame) for logging
clips when no tape is in the deck. When a tape is in the deck, the system
automatically uses the existing timecode format on the tape.
When this option is selected, you can use the assemble-edit features in the
Digital Cut tool along with the assemble-editing capabilities of your record
deck. Select this option to record frame-accurate digital cuts quickly and
without striping entire tapes in advance. For more information about
digital cuts and assemble editing, see Chapter 17.
This option defines the function of the Stop key (space bar) on the
keyboard. Select this option to map the space bar to the Pause button on the
deck. Deselect this option to map the space bar to the Stop button.
If the videotape heads are down in “Stop key pauses deck” mode, pressing
the space bar brings up the heads and pauses the deck.
The Stop button in the Record tool always stops the decks.
When this option is selected, the Shuttle button continues shuttling at a
constant speed instead of stopping when you release it.
181

Table 6-6
Deck Preferences Options (Continued)
Option
Stop any paused decks
when quitting
Poll deck during
digital cut
Description
When this option is selected, any paused decks are stopped when you quit
the NewsCutter XP application. Selecting this option saves wear on the
deck heads.
This option is selected by default. When it is selected, NewsCutter XP
checks the deck for the current timecode and displays it in the timecode
window of the deck controller. If you see degraded image quality on your
digital cut (particularly visible as noise during black), deselect this option
and record the digital cut again. With the option deselected, the timecode
display in the deck controller will not be updated for the duration of the
digital cut.
Setting Up the Record Tool
The Record tool provides controls for cueing, marking, and logging
footage, and specifies recording parameters such as source and target
locations.
182

Opening the Record Tool
To open the Record tool:
t
Choose Record from the Tools menu.
Deck Selection
pop-up menu
Selecting a Deck
The Deck Selection pop-up menu in the Record tool contains a list of
decks or cameras that were connected to the system, powered up, and
initialized when you entered Record mode. The first deck or camera in
the list is selected by default, unless all decks or cameras are offline.
183

To activate playback from an available deck or camera, do one of the
following:
n
Not
t
t
Choose the name of a previously configured deck or camera from
the menu.
Choose Auto-configure to automatically establish the default deck
settings for a VTR that is currently connected to the system.
all DV devices respond to the Auto-configure command. Due to this
limitation, Auto-configure selects only the generic devices. When a digital
camera is attached to your system, choose the proper device from the Deck
Selection pop-up menu. When a deck with a transcoder is attached, choose the
applicable deck from the Deck Selection pop-up menu.
If you forgot to turn on or connect a deck or camera prior to entering
Record mode:
1. Make sure that the deck is connected and the power is turned on.
2. Choose Check Decks to reestablish deck control.
Selecting Audio Input
To select audio input:
t
Choose one of the following from the Audio pop-up menu:
- Aux
- Video
- CD Player
- Line In
- Microphone
- Phone Line
- OHCI or 1394
184

n
These
options vary depending on your system. If you have an OHCI board,
OHCI appears in the menu. If you have a Canopus board, 1394 appears.
Selecting a Tape
To select a source tape:
1. Load a tape into your deck.
The Select Tape dialog box appears.
2. In an NTSC project, play the tape briefly so that the system can
detect the timecode format of the tape (drop-frame or
non-drop-frame). Otherwise, the system maintains the timecode
format set in the Deck Preferences dialog box, regardless of the
format on the tape, and you might receive a message indicating a
wrong tape.
n
Drop-frame
timecode appears in the timecode indicator with semicolons
between hours, minutes, seconds, and frames. Non-drop-frame timecode
appears with colons. (Drop-frame timecode and non-drop-frame timecode
exist only in NTSC projects.)
185

For information on tape
naming conventions,
see “Naming Tapes” on
page 133.
3. Provide the system with a tape name in one of the following ways:
t
t
Select the name of the tape from the list displayed in the Select
Tape dialog box, and click OK.
Click New if the tape is not in the list. Type the new name in
the dialog box, and click OK.
Selecting Source Tracks
You can select the tracks to record from the source tape.
To select only those tracks that you want to record:
t
Click the Channel Selection buttons in the Record tool.
The TC (timecode) track is selected by default.
Channel
Selection
buttons
186

n
If
you are not seeing the source video or hearing source audio in Record mode,
click the Channel Selection buttons to make sure the correct tracks have been
selected.
To select or deselect all tracks at once:
t
Press and hold the Alt key, and click any Channel Selection button.
Methods for Setting the Video and Audio Input
The Video and Audio pop-up menus show you the current input
settings for the Video Input tool and the Audio Project Settings dialog
box. The pop-up menus also provide a convenient way to change the
settings if necessary. The choices are as follows:
• Video input: Composite, Component, S-video, and Serial Digital
• Audio input: Analog, AES/EBU, S/PDIF, Microphone,
Microphone with Phantom Power
For more information, see “Preparing for Audio Input” on page 196.
n
If
you change the settings, the settings in the Video Input tool or in the Audio
Project Settings dialog box change automatically.
187

Choosing a Resolution in the Record Tool
Choose a video resolution from the Resolution (Res) pop-up menu in
the Record tool.
Bin pop-up
menu
Resolution
pop-up menu
Choosing a Target Bin
You select a target bin as the destination for the master clips created
when you record on-the-fly. You can also select a target bin containing
the logged clips you will use to batch record your media.
To choose a target bin, do one of the following:
t
Choose an open bin from the Bin pop-up menu in the Record tool
(only open bins appear in the Bin pop-up menu).
188

t
t
Activate a previously created bin by choosing Open Bin from the
File menu; then locate and open the bin in the Open Bin dialog
box.
Create a new bin by choosing New Bin from the File menu and
then naming and opening the new bin in the New Bin dialog box.
Selecting the Target Drives
To target drives for the recorded media:
1. Make sure you are in Record mode. If the Record tool is in Log
mode, click the Record/Log Mode button to return to Record
mode (that is, the REC icon appears.)
2. Decide whether to record audio and video to a single drive or to
separate drives.
3. Choose the specific drives from the pop-up menus.
Targeting a Single Drive
By default, the Record tool targets a single media drive for recording
the audio and video for each clip. Use this option when playback
performance is generally not an issue.
To target a single drive:
1. Choose Record from the Tools menu.
2. Click the Single/Dual Drives Mode button in the Record tool until
it displays the Single-Drive icon.
189

Target Drive pop-up
menu
Single/Dual Drives
Mode button
Time
remaining
3. Choose a drive from the Target Drive pop-up menu.
The name shown in bold in the menu has the most storage available.
The time remaining is calculated based on your resolution selection.
Targeting Separate Drives for Audio and Video
Targeting separate drives for audio and video tracks can improve
performance because the system is not required to address all the
information in separate locations on a single drive. You can also record
for the longest continuous amount of time because the system stores
material on two drives rather than one.
190

To target separate drives for audio and video:
1. Choose Record from the Tools menu.
2. Click the Single/Dual Drives Mode button in the Record tool until
it displays the Dual-Drives icon.
Target Drive
pop-up menu
Single/Dual Drives
Mode button
Timeremaining
3. Choose separate drives for audio and video from each Target
Drive pop-up menu.
The names shown in bold in the menus have the most storage
available. The time remaining on each selected drive is calculated
based on your resolution selection.
191

Interpreting the Time Remaining Display
You can interpret the numbers in the time remaining display in the
Record tool based on the following factors:
• Each recorded clip is limited by the NewsCutter XP system to a
maximum file size of 2 GB. Any clip whose size exceeds 2 GB will
have more than one media file associated with it.
• When adequate space exists on the chosen drive, the time
remaining displayed in the Record tool is based on 2 GB per clip at
the chosen resolution. This number reappears for each clip
recorded, as long as there is adequate drive space.
• When you choose another resolution, the time remaining display
adjusts accordingly.
• When the storage space on the chosen drive is less than 2 GB, the
time remaining begins to decrease for each clip recorded until the
drive is full.
Recording to Multiple Media Files
You can record video and audio to multiple media files across multiple
drives, with the following advantages:
• You can create longer clips whose media files would otherwise
exceed the file size limitation of 2 GB.
• You can group all drives with the multiple file options, enabling
the system to record long clips continuously; for example, satellite
feeds.
• The system makes more efficient use of drive space, particularly
when recording long clips.
To record video or audio to multiple media files:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
192

2. Double-click Record.
The Record Settings dialog box appears.
3. Click the Media Files tab.
4. Select “Record to multiple files.”
c
5. Accept the default or type a different time limit in the Maximum
(default) recording time text box.
If you think that any of your recorded clips might exceed
30 minutes, make sure you enter a higher estimate in this text box;
otherwise, the system stops recording at 30 minutes.
6. Click OK to close the dialog box and apply the options.
7. Choose Record from the Tools menu.
The Record tool opens.
Target Drive
pop-up menu
193

8. To record to multiple files across drives, choose Change Group
from the Target Drive pop-up menu.
The Drive Group dialog box appears.
9. Ctrl+click multiple drives to include in the recording session, or
click All to select all drives.
n
If
you click Clear, all selections are removed. You must select at least one drive
before you can click OK to exit the dialog box.
10. Click OK to close the dialog box and apply the changes.
c
11. Proceed with recording.
For media file management purposes, any clip whose media exceeds
the 2-GB limit will have more than one media file associated with it.
When you view the Timeline for the clip loaded in the
Source/Record or pop-up monitor, you will also notice edit breaks
based on the separate media files. The breaks do not appear in the
Timeline for the sequence in the Source/Record monitor.
194

Recording Across Timecode Breaks
For a complete
description of
procedures for locating
and changing settings,
see “Using the Settings
Scroll List” on page 74.
To record across timecode breaks:
t
Select “Record across timecode breaks” from the General tab of the
Record Settings dialog box. See “General Record Settings” on
page 164.
To record all the footage following a timecode break:
t
Select “Use control track instead of timecode for preroll.”
Preroll option
n
If
you don’t select this option, the system uses approximately 1 to 6 seconds of
unbroken timecode following the break to perform the preroll before recording
begins.
This option is especially useful when you are batch recording across
timecode breaks, but you can also select this option when you are
manually recording one clip at a time.
195

Preparing for Audio Input
The NewsCutter XP system supports direct input of four channels of
audio only when a digital camera or a digital deck is connected via
FireWire and the audio sample rate is set to 32 kHz. If a digital camera
or digital deck is not connected and the audio sample rate is not set to
32 kHz, NewsCutter XP supports input of two channels of audio.
Source track assignments are mapped directly to audio tracks in the
recorded clips.
Choosing the Audio File Format
AIFF-C and WAVE audio media files can be mixed within a project.
The system default is OMF ® (WAVE) audio.
n
Choose
the AIFF-C format for all audio media when you need to transfer
media files directly to a Pro Tools system for audio sweetening.
Audio is written in the chosen file format when you:
• Record audio tracks in Record mode.
• Create tone media by using the Audio tool.
• Mix down audio tracks by using Audio Mixdown.
• Import files by using the Import dialog box.
• Apply an AudioSuite plug-in that creates new source audio.
If you switch the audio format in the middle of a project, all new audio
media files are written in the new format with the following
exceptions:
• Media files written when rendering audio effects: The system
uses the file type of the A-side (outgoing audio) media for a
transition. For example, if the A-side of an audio dissolve is in
OMFI (AIFF-C) format and the B-side (incoming) is in OMFI
(WAVE) format, the rendered file is OMFI (AIFF-C).
196

• Audio media files written when using the Consolidate feature:
Media files that are copied or created during a consolidate
procedure retain their original file types.
To choose the audio file format:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click General.
The General Settings dialog box appears.
3. Choose either OMF (AIFF-C) or OMF (WAVE) from the Audio File
Format pop-up menu.
4. Click OK to apply the settings and close the General Settings
dialog box.
197

Adjusting Audio Project Settings
You can use the Audio Project Settings dialog box to save the
track-to-channel output mappings. Use the Audio tool to create the
mapping between tracks in the Timeline and output channels.
To open the Audio Project Settings dialog box:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Audio Projects.
The Audio Project Settings dialog box appears.
Some items in the dialog box are informational and cannot be changed
from within the Audio tool. The options that can be changed are listed
in Table 6-7.
198

Table 6-7
Adjustable Audio Project Settings
Setting Options Description
Sample Rate
32 kHz
44.1 kHz
48 kHz
Allows you to choose audio rate settings for the entire
system for playing and recording. The default sample
rate for DV is 48 kHz.
The broadcast standard for most high-end video
postproduction houses is 48 kHz. Choose the rate
based on the requirements of your facility.
For information on changing the sample rate for
individual sequences and audio clips, see “Changing
the Sample Rate” on page 539.
Input Source • Aux
• Video
• CD Player
• Line In
• Microphone
• Phone Line
• OHCI or 1394
HW Calibration
Render Sample
Rate Conversion
Quality
High and Slow
Balanced
Low and Fast
Allows you to choose the type of input.
n
These options vary depending on your system.
Allows you to select a default audio calibration to
match your audio I/O peripheral hardware
calibration.
Allows you to set the conversion quality of all
non-real-time sample rate conversions.
199

Table 6-7
Adjustable Audio Project Settings (Continued)
Setting Options Description
Convert Sample
Rates When
Playing
Setting
Always
Never
Allows you to choose whether or not to perform the
conversion rate.
If you choose Never, the segments not set at the
sample rate chosen in the Audio Project Settings
dialog box play as silence.
If you choose Always, the system attempts to perform
a sample rate conversion on-the-fly. Although the
resulting audio quality might not be useful for a
finished project, it can be useful during an editing
session since it prevents audio from playing back with
silence.
For information on changing the sample rate for
individual sequences and audio clips, see “Changing
the Sample Rate” on page 539.
Allows you to name this Audio Project setting.
Using the Audio Tool
Use the Audio tool primarily for mixing and monitoring audio. The
Audio tool, along with your hardware’s audio parameters, allows you
to do the following in preparation for input:
• Check and manage your audio hardware setup.
• Set audio levels before recording.
In addition, controls in the Audio tool allow you to calibrate, set levels,
and generate customized calibration tones for output to the speakers
or a record device. For information about other options in the Audio
tool, see “Calibrating for Audio Output” on page 555.
200

To open the Audio tool, do one of the following:
t
Choose Audio Tool from the Tools menu.
Audio Tool
button
t
Click the Audio Tool button in the Record tool.
The Audio tool opens and displays meters for two or eight channels,
depending on the configuration of your system.
Show/Hide Output Control button
Show/Hide Setup Control button
Show/Hide Input Control
button
Reset Peak button
In/Out toggle buttons
Peak Hold Menu
button
Digital scale (fixed)
Volume unit scale
(adjustable)
The Audio tool has the following components:
• The Show/Hide Input Control button displays a microphone and
a single slider control for raising or lowering global audio input.
• The Show/Hide Output Control button displays a panel that
contains a single slider control for raising or lowering global audio
output.
• The Show/Hide Setup Control button displays a panel of audio
output options for mixing tracks and ignoring audio effects and
volume settings. See “Adjusting Output on Two-Channel Audio
Systems” on page 557.
201

• The Reset Peak button resets the current maximum peak
measurements. It also stops the playback of the internal
calibration tone.
• The In/Out toggle buttons switch the meter displays for each
channel between input levels from a source device and output
levels to the speakers and record devices. I indicates Input, and O
indicates Output.
• The Peak Hold Menu button displays a pop-up menu that allows
you to choose options for customizing the meter displays and for
setting and playing back the internal calibration tone.
• The digital scale to the left of the meters displays a fixed range of
values from 0 to –90 decibels (dB), according to common digital
peak meter standards.
• The volume unit (VU) scale (analog) to the right of the meters
displays a range of values that you can conform to the headroom
parameters of your source audio.
• The meters dynamically track audio levels for each channel as
follows:
- Meters show green below the target reference level (default
reference level is –20 dB on the digital scale).
- Meters show yellow for the normal headroom range, above
the reference level to approximately –3 dB.
- Meters show red for peaks approaching overload, between
–3 dB and 0 (zero) dB.
- Thin green lines at the bottom indicate signals below the
display range.
202

Resizing the Audio Tool
To resize the Audio tool:
t
Click the lower right corner, and drag it to the preferred size.
Adjusting the Reference Level
The VU scale to the right of the meters in the Audio tool is a sliding
scale relative to the fixed digital scale displayed on the left. You can
adjust the volume unit scale up or down based on the headroom
parameters of your playback devices.
To customize the VU scale:
1. Click the Peak Hold Menu button and choose Set Reference Level
from the Peak Hold (PH) pop-up menu.
The Set Reference Level dialog box appears.
2. Type the new value for the reference level (–12, for example), and
click OK.
3. Choose Calibrate from the Peak Hold pop-up menu.
The VU scale slides to match the new reference level, which is
displayed on the digital scale.
n
If
the reference level doesn’t match the hardware calibration setting, the 0 VU
entry displays in red on the Audio tool.
Adjusting Audio Input Levels
To adjust audio input levels with the Audio tool:
1. Click the In/Out toggle buttons in the Audio tool for the channels
you are using for input.
The Audio tool displays an I for Input.
203

In/Out toggle buttons
2. Play back the source audio (for example, from a digital camera or
videotape). If the recording includes reference tone, cue to the tone
and play it back.
3. Click the Show/Hide Input Control button (the microphone icon)
in the Audio tool to display the Volume Unit (VU) meter.
Input button
Input Level slider
204

n
Line
levels record very loud when the default of +20 dB Gain is used. To avoid
this, select the +20 dB Gain check box in the Audio tool, above the Input Level
slider.
4. (Option) If you are using a transcoder for analog input, do one of
the following:
t
t
With reference tone playing, adjust the output on the playback
device audio meters to read 0 VU, and then adjust the Audio
tool Input Control volume meter so that it also displays 0 VU.
If the playback device does not allow adjustments, play your
material and adjust the Audio tool Input Control volume
meter so that it displays 0 VU.
Creating Tone Media
To create tone media:
1. Choose Create Tone Media from the Peak Hold pop-up menu.
Peak Hold pop-up menu
205

The Create Tone Media dialog box appears.
2. Set the appropriate calibration tone parameters in the dialog box.
You can also use the default output tone of –20 dB (digital scale)
with a 1000-Hz signal.
3. Choose a target bin for the tone master clip and a target drive for
the tone media from the pop-up menus.
4. Click OK.
After a few seconds, a master clip appears in the target bin. The
default name reflects the options you chose. You can rename the clip
by typing a new name.
Using the Console to Check Audio Levels
Once you have played back audio through the Audio tool, you can use
the Console window to view a list of precise information about the
peak levels.
To check peak levels in the Console window:
1. Choose Audio Tool from the Tools menu.
The Audio tool opens.
206

Reset Peak
button
2. Click the Reset Peak button to clear the system’s record of the
most recent maximum peaks.
3. Play a sequence or portion of the sequence.
4. After playing back the audio, open the Console window by
choosing Console from the Tools menu.
5. In the Console command line, type DumpMaxPeaks.
Console command line
6. Press Enter.
A list of peak values appears in the Console window.
207

Compression Resolutions and Storage
Requirements
When the NewsCutter XP system records and stores video, it employs
compression techniques that affect the size of the resulting files and
the resolution of the images they contain.
The following sections describe the different resolutions and list their
specifications:
• Screen Resolution
• Digital Video Resolutions
• Setting Media Creation Resolutions and Selecting Drives
• Data Rate Calculations
Screen Resolution
The screen resolution for NewsCutter XP is 720 x 480 non-square
pixels covering all the active video. This also includes 10 lines of
blanking or vertical interval timecode (VITC) per frame (5 lines per
field).
Digital Video Resolutions
NewsCutter XP uses the DV 25 4:1:1 digital format.
Setting Media Creation Resolutions and Selecting Drives
The Media Creation dialog box allows you to select drives for
recording, creating titles, importing, performing audio and video
mixdowns, and creating motion effects. Because media is very large,
you can also remove your system and application drives from the list
208

of storage locations so you store your media on other drives with
ample space.
n
You
can also select drives directly in the Record tool, the Save Title dialog box,
the Select Files to Import dialog box, the Audio Mixdown dialog box, and the
Video Mixdown dialog box.
To choose drives in the Media Creation dialog box:
1. Double-click Media Creation in the Settings scroll list of the Project
window or choose Media Creation from the Tools menu.
The Media Creation dialog box appears.
2. Click the Drive Filtering tab.
You can remove from the list of available drives the drive where
your operating system is located and the drive where NewsCutter
XP is located. This allows you to choose to store media only on
drives with sufficient space.
3. Select a drive to filter out:
t
t
Select Filter Out System Volume to remove as a storage choice
the drive on which the operating system resides.
Select Filter Out Launch Volume to remove as a storage choice
the drive on which NewsCutter XP resides.
209

The drive or drives you select do not appear in the other Media
Creation tabs as possible locations where you can store media.
They also do not appear in other drive selection menus in the
application except for the Import, Export, and Relink dialog boxes.
4. Click the tab for the area in which you want to work.
Media
pop-up
menu
5. Choose a video drive and an audio drive. To choose the same
drive for both audio and video, click the Single/Dual Drives
Mode button until only a single drive pop-up menu appears.
n
The
n
Because
drive that appears in boldface type has the most available space.
6. (Option) If you are working with the Record tab, you can select a
drive group. Choose Change Group from the bottom of the Media
pop-up menu. For more information on selecting a drive group,
see “Recording to Multiple Media Files” on page 192.
there is no audio associated with titles, you can choose only a video
drive in the Titles tab of the Media Creation dialog box.
7. To apply your drive selection to all the Media Creation tabs and
the rest of the application, click Apply to All.
210

This sets your chosen video and audio drives for all the Media
Creation tabs. It also sets them for any place in the application
where you choose drives.
n
Your
settings are not saved until you click OK.
8. Click OK to save your settings.
Data Rate Calculations
Use Table 6-8 through Table 6-11 to determine how many minutes of
audio and video you can store on your Avid drive. (These numbers are
approximate.)
n
Calculations
include a 10 percent system overhead factor.
Table 6-8
Drive Storage Capacities (Minutes)
for NTSC Video
Resolution 9 GB 18 GB 36 GB 72 GB
DV 25 Single-stream 40 80 160 320
DV 25 Dual-stream 20 40 80 160
Table 6-9
Drive Storage Capacities (Minutes)
for PAL Video
Resolution 9 GB 18 GB 36 GB 72 GB
DV 25 Single-stream 50 100 200 400
DV 25 Dual-stream 25 50 100 200
211

Table 6-10
Data Rate Storage Calculations for NTSC Video
Resolution
Megabytes
per Second
Megabytes
per Minute
Minutes
per Gigabyte
DV 25 data rates
Single-stream,
four-channel audio
Dual-stream,
four-channel audio
Single-stream,
four-channel audio
Dual-stream,
four-channel audio
4.0 240 4.3
8.0 480 2.1
7.75 465 2.2
15.5 930 1.1
Table 6-11
Data Rate Storage Calculations for PAL Video
Resolution
Megabytes
per Second
Megabytes
per Minute
Minutes
per Gigabyte
DV 25 data rates
Single-stream,
four-channel audio
Dual-stream,
four-channel audio
Single-stream,
four-channel audio
Dual-stream,
four-channel audio
3.2 192 5.3
6.4 384 2.7
6.2 372 2.7
12.4 744 1.4
212

CHAPTER 7
Recording
When you record, you convert source material from videotape to
master clips that contain reference information. You also create
associated media files that contain the digital audio and video. Once
you prepare the record tools, as described in Chapter 6, you can record
the source material in one of several ways, as described in the
following sections:
• Before You Begin
• Adding Clip Names and Comments On-the-Fly
• Adding Locators On-the-Fly
• Recording and Logging at the Same Time
• Recording Audio from a Music CD
• Recording to the Timeline
• Batch Recording from Logged Clips
• Rerecording Your Material
• Other Recording Functions
213

Before You Begin
Depending on your immediate needs and chosen recording method,
use the following guidelines for working through this chapter:
• If you want to add clip names and comments on-the-fly while you
record, see “Adding Clip Names and Comments On-the-Fly” on
page 215.
• If you have no logs and would like to begin recording right away,
see “Recording and Logging at the Same Time” on page 216.
• If you want to record video to multiple media files across multiple
drives, see “Recording to Multiple Media Files” on page 192.
• If you have logs already entered in a bin and would like to
automate the recording process with playback from an
Avid-controlled deck, see “Batch Recording from Logged Clips”
on page 233.
• If you are rerecording deleted media or have imported a sequence
that lacks the associated media files, see “Rerecording Your
Material” on page 237.
• If you have not already prepared a structure of bins for your
project, as described in “Managing Folders and Bins” on page 68,
consider the following tips before recording:
- You can create one bin for each source tape. This method
avoids slowing the system with large bins, associates each bin
with a source tape for better organization, and simplifies
rerecording.
- You can name the bin after the tape so that when you
autorecord or record on-the-fly without noting a tape name,
the system will automatically name each clip after the bin
(tape) and number them sequentially for easy reference.
214

Adding Clip Names and Comments On-the-Fly
The annotate feature allows you to type clip names and comments
during the recording of a clip. The information is saved in the clip
Name and Comments columns in the bin. You can add comments
about the clip such as color correction or editing directions.
To add clip names and comments on-the-fly:
1. Start typing the clip name at any time during the recording of a
clip.
The Annotate window opens, allowing you to see the text as you
type.
2. After typing the clip name, press the Tab key and begin typing
comments.
You cannot edit the text until after the recording is complete, but you
can backspace and retype the information.
Adding Locators On-the-Fly
Locators mark a single frame within a clip or sequence so that you can
attach a note or find the frame at a later time. This section describes a
shortcut method of adding locators on-the-fly while recording. When
the Record tool is active, eight colored locators are mapped to eight
Function keys on the keyboard: F3, F5–F9, F11–F12. The locators
override any other functions mapped to these keys.
To add a locator to a frame while recording:
t
Watch the playback of the footage in the monitor and press one of
the locator keys when you see the appropriate shot or frame.
For more information about locators, see “Using Locators” on
page 368.
215

Recording and Logging at the Same Time
When you record without entering log information in a bin ahead of
time, the system creates clips and associated media files while you
record. Recording in this manner involves manually cueing source
footage with an Avid-controlled deck by using the deck controls in the
Record tool or the Deck Controller window.
There are several ways to record and log at the same time:
• Recording from an IN point to an OUT point. This method lets
you specify the exact timecode location to begin and end
recording. You can also specify only an IN point or an OUT point
and enter the other mark on-the-fly. These procedures are
described in “Recording from One Point to Another” on
page 217.
• Recording on-the-fly. This method is easier than setting marks,
but it is less precise. It involves using the deck controls in the
Record tool or the Deck Controller window to cue, play, and stop
the source footage manually while recording. These procedures
are described in “Recording On-the-Fly” on page 219.
• Autorecording. This method requires the least amount of
supervision and effort but usually calls for more recording time
and drive storage space. It involves playing each source tape from
a cue point near the beginning and letting the system record the
entire tape, automatically naming and entering each clip into the
bin. These procedures are described in “Autorecording” on
page 223.
Two additional techniques you can use when recording and logging at
the same time are described in “Recording from a
Non-Avid-Controlled Deck” on page 225 and “Recording with
Time-of-Day Timecode” on page 228.
216

Recording from One Point to Another
Recording from an IN point to an OUT point allows you to specify
exactly where to begin and end recording. You can specify only an IN
point or an OUT point, and the system enters the other mark
on-the-fly.
Use this method in the following circumstances:
• If logs exist in written or printout form but not in the proper
format for quick import into the system
• If the IN and OUT points are rough and need to be
double-checked for accuracy
• If you are familiar enough with the source material to estimate the
timecode for the IN point, the OUT point, or both, quickly and
accurately
Recording from an IN Point to an OUT Point
To record from an IN point to an OUT point:
Mark IN
Mark OUT
Record button
1. Cue the tape to the start of the clip you want to record, and mark
an IN point.
2. Cue the tape and mark the OUT point, or set the OUT point
on-the-fly when you stop recording.
3. Click the Record button in the Record tool.
4. The Record tool automatically rewinds the tape to the preroll
point before the IN point of the clip, and the tape begins to play.
The box to the right of the Record button flashes bright red, and
the message bar displays the message that the system is recording.
5. While the system is recording, you can type a clip name or enter
comments about the clip.
When the tape reaches the clip’s OUT point or you click the
Record button again, recording stops, and the system creates a
new clip in the bin.
217

Setting Both Marks
To record by specifying an IN point and an OUT point:
1. Make sure you have selected the proper Record settings as
described in “Selecting Settings” on page 162 and have set up the
Record and Audio tools, as described in Chapter 6.
Mark IN
Mark OUT
Go to IN
2. Set either an IN point or an OUT point for the clip you want to
record, using one of the following methods:
t
t
Use the deck controls in the Record tool or the Deck Controller
window. Cue your source tape to where you want to start or
end the clip, and click the Mark IN or the Mark OUT button.
If the material starts at a known IN point or ends at a known
OUT point, you can type the timecode in the display area next
to the mark. Press Enter to enter the mark.
To double-check the accuracy of the IN or OUT point, click the Go
to IN button. The system cues the tape and pauses the deck at the
mark. You can play the tape and reset the mark, if necessary.
3. To finish logging the clip, use either of the following methods:
t
t
Set the corresponding IN or OUT point.
Type a timecode for the clip’s duration in the display area next
to the Duration mark (below the OUT point) in the format
HH:MM:SS:FF.
The system automatically calculates the appropriate timecode for
the corresponding IN point, OUT point, or duration.
4. Click the Record button in the Record tool.
The Record tool automatically rewinds the tape to the preroll
point before the IN point of the clip, and the tape begins to play.
The box to the right of the Record button flashes bright red, and
the message bar displays the message that the system is recording.
5. While the system is recording, you can type a clip name. To enter
comments about the clip, press the Tab key after typing a clip
name and enter comments in the comment box. The information
218

that you type does not appear on the screen until you have
completed recording. (After you log clips, you can modify
information to correct input errors or to add information.)
When the tape reaches the clip’s OUT point or you click the
Record button again, recording stops, and the system creates a
new clip in the bin.
Setting Only One Mark
To set only one mark and enter the other mark on-the-fly, do one of
the following:
t
t
Mark an IN point, and click the Record button to begin recording.
Click the Record button again to stop recording on-the-fly and
mark an OUT point.
This method is useful if you do not need a precise OUT point. You
save time because you do not have to shuttle to locate the OUT
point before recording.
Set an OUT point only, and then move to a position on the tape
that is a few seconds before where you want to start recording.
Play the tape, and then immediately click the Record button to
begin recording on-the-fly. When the tape reaches the clip’s OUT
point, recording stops.
This method is useful if you do not need a precise IN point but do
need to stop at a precise OUT point; for example, just before a
timecode break.
Recording On-the-Fly
Use the recording on-the-fly method in any of the following
circumstances:
• If you are eager to begin editing immediately and no adequate
logs exist for importing to the system or setting marks
219

• If you are recording from a source deck that cannot be controlled
by the Record tool or a VLXi unit
• If your source tape does not have timecode
• If you are recording from a digital source such as a CD-ROM or
DV camera
• If you are recording from a live source, such as a studio feed or an
in-house router
n
There
is a slight delay of several frames after you manually select a spot to
start and to stop recording. Therefore, use this method when you don’t need
precise beginning and end points in your clip.
In some circumstances, the recorded material might exceed the logical
file size of the NewsCutter XP application. For example, the maximum
size of a media file cannot exceed the size of a 2-GB partition. A 2-GB
file at a high resolution consists of approximately 10 to 18 minutes of
footage. In this case, consider recording the clip in shorter overlapping
pieces, breaking it at points that are likely to be removed during
editing.
220

To record on-the-fly:
1. Click the Record/Log Mode button in the Record tool until the
REC icon appears. The Record tool is ready to record.
Trash button
Record/Log Mode button
Record button
Clip Name and
Comment triangular
opener
Name
Comment
Deck controls
2. (Option) Click the Clip Name and Comment triangular opener in
the Record tool to display the Name and Cmnt (Comment) text
boxes, if you plan to enter clip names or comments during
recording.
3. Use the deck controls in the Record tool or the Deck Controller
window to locate the position on the tape where you want to start
recording.
221

Fast forward button
Play button
Step backward 1 frame button
Rewind button
Stop button
Pause button
Single-frame step forward
Eject button
4. Play the deck and when it gets up to speed, click the Record
button.
n
Make
n
If
sure you have cleared any previous marks so that the deck does not
begin cueing to the previous location.
you are recording with shared volume segmentation (“chunking”) enabled,
see the Avid Unity MediaManager User’s Guide for details on the
recording procedure.
5. While the system is recording, you can type a clip name in the
Name text box. Press the Tab key after typing a clip name to enter
comments about the clip.
6. Click the Pause button at any time to pause play. You can also
abort the record procedure by clicking the Trash button in the
Record tool. The clip will be discarded.
7. To stop recording and enter the OUT point of the clip, click the
Record button, or press the Esc key.
The system creates a new clip in the bin.
n
There
is a slight delay of several frames after you manually select a spot to
start and to stop recording. Therefore, use this procedure when you don’t need
precise beginning and end points in your clip.
222

Autorecording
Autorecording can save you time by allowing you to bypass both the
logging process and the time it takes to cue each clip. However, this
process requires the most storage space, and more time is spent while
the system is actually recording entire tapes.
When you autorecord, you mount and cue your tape to a starting
point and start the autorecording process through the Record tool.
When you have long, continuous clips (for example, footage from a
live event), the recorded material for a single clip might exceed the
2-GB limit for file sizes in NewsCutter XP. In this case, you must select
“Record to multiple files” in the Media Files tab of the Record Settings
dialog box.
Follow the Autorecord procedure to allow the system to complete the
recording process unattended for an entire tape.
To autorecord:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Record.
The Record Settings dialog box appears.
3. Do either of the following:
t
t
4. Click OK.
Click the General tab, and select “Record across timecode
breaks.”
Click the Media Files tab, and select “Record to multiple files.”
5. In the Record tool, click the name of the camera or deck and
choose Adjust Deck from the pop-up menu.
The Deck Configuration dialog box appears.
223

6. Double-click the deck box for the video deck from which you are
recording.
The Deck Settings dialog box appears.
224

7. Deselect Fast Cue, and set the preroll to approximately 4 seconds.
8. Click OK to close the Deck Settings dialog box.
9. Click Apply to close the Deck Configuration dialog box.
10. Create one bin for each source tape. This keeps bins to a
manageable size and automatically names all clips from each tape
after the names of their respective bins.
11. Name each bin after the source tape. By default, all clips are
named after the tape and are numbered incrementally beginning
with .01.
12. Choose Record from the Tools menu, and open the bin for the first
tape.
13. Load the source tape, and cue past any false starts.
Mark OUT
14. (Option) If you want the system to stop recording at a chosen
point on the tape, cue the tape to a chosen OUT point and click the
Mark OUT button in the Record tool.
15. Play the tape, and wait 4 seconds before clicking the Record
button.
The system automatically records the entire tape.
Recording from a Non-Avid-Controlled Deck
To record with manual deck control on a deck that cannot be
controlled directly by the system:
1. Open the Record tool and prepare to record, as described in
Chapter 6.
2. Choose the audio input:
t
t
Choose Analog when inputting from a stereo mixer or a
CD-ROM player.
Choose Microphone when inputting from a microphone.
225

t
Choose 1394 when inputting directly from a camera,
transcoder, or deck.
3. Click the Toggle Source button in the Record tool to disable the
deck controls.
Toggle Source button
The Deck Offline icon appears, and the Tape Name display
remains. The Select Tape dialog box appears.
n
The
TC button also disappears. The footage will be recorded with time-of-day
timecode generated by the system.
226

New Tape
Name button
List of tapes
Show Tapes option
4. Select “Show other projects” to display the tape names and
associated project names for all bins that have been opened in the
current session.
n
Because
the media file database does not open when you start your
NewsCutter XP system, tape names of all online media files do not appear
automatically.
If the tape name for which you are searching does not appear in the Select Tape
dialog box, click the Scan for tapes button. Tape and project names are listed.
227

New Tape
Name
button
List of tapes
Show Tapes option
For guidelines on
naming tapes, see
“Logging Tips” on
page 131.
5. Provide a tape name in one of the following ways:
t
t
Select a tape name from the list. Tape names and associated
projects are listed in two columns.
Click New if the tape is not in the list, and type a new tape
name in the text box that appears at the bottom of the Tape
Name list.
You can stop the process at any time by clicking Cancel.
6. Click OK. The tape name is displayed in the Record tool.
7. Play the tape manually, and click the Record button to stop and
start the recording of each clip.
Recording with Time-of-Day Timecode
When you record with an Avid-controlled deck, you can record your
footage with time-of-day timecode rather than source timecode.
228

To record with time-of-day timecode:
1. Open the Record tool and prepare to record, as described in
Chapter 6.
2. When selecting tracks, deselect the TC button.
3. Record by using the procedure described in “Recording
On-the-Fly” on page 219.
Recording Audio from a Music CD
NewsCutter XP allows you to record selected tracks from a music CD,
using the Record tool. Once the audio is recorded, you can then edit
the audio clip to an audio track in your sequence.
To record audio from a music CD:
1. Insert the music CD in the computer’s CD-ROM drive.
2. Start the CD player application, and select the track you want to
record.
3. Minimize the CD player application.
4. Choose Record from the Tools menu.
The Record tool opens.
229

Record button
Toggle Source button set to No Deck control
Audio
pop-up
menu
Selected
Bin pop-up
menu
Source
Tape
Display
button
5. Click the Toggle Source button until the No Deck control icon
appears.
6. Choose CD Player from the Audio pop-up menu.
7. Click the Source Tape Display button.
The Select Tape dialog box appears.
8. Click New in the Select Tape dialog box.
9. Name the tape, and then select the tape.
10. Click OK.
11. Click the Record button.
NewsCutter XP records the audio to the selected bin.
12. Click the Record button again or press the Esc key to stop the
recording.
The audio file appears in the bin. When you are finished recording
music from the CD, quit the CD player application.
230

Recording to the Timeline
You can record footage directly from tape into a sequence loaded in
the Timeline in one step, bypassing several steps such as organizing
and reviewing clips, marking edit points, and performing edits.
To record to the Timeline:
1. Prepare to record as described in Chapter 6.
2. Select options in the Record Settings dialog box:
a. Click the Settings button in the Project window.
The Settings scroll list appears.
b. Double-click Record.
The Record Settings dialog box appears.
c. Click the Edit tab.
d. Select “Enable edit to timeline.”
e. Set the handle length (the amount of footage you want to
record before and after the IN and OUT points of the clips).
f. Click OK.
3. Load a sequence into the Source/Record monitor.
4. (Option) Patch tracks you are recording (source tracks) to the
tracks in your sequence (record tracks). See “Patching When
Recording to the Timeline” on page 232.
5. Mark an IN point in the sequence, or move the position indicator
to the location where you want the edit to take place.
6. Mark the source material that you want to record by using the
Record tool logging controls. For information on setting marks in
the Record tool, see “Recording and Logging at the Same Time”
on page 216.
231

7. (Option) You can mark an OUT point based on the following:
- If you are recording to the middle of a sequence in the
Timeline, mark both IN and OUT points for frame accuracy of
overwrite. With splice-in, you need only an IN point.
- If you are recording onto the end of a sequence, you can mark
just an IN point and then mark the OUT point later on-the-fly.
8. Click the Splice-in button or the Overwrite button in the Record
tool to choose the type of edit.
9. Click the Record button to begin recording.
10. If you did not mark the OUT point in advance, click the Record
button again when the footage reaches the appropriate frame.
n
If
n
Only
you already marked an OUT point, recording will stop automatically.
When recording ends, the clip appears in place in the sequence,
and a master clip appears in the bin.
two audio tracks are recorded to the Timeline even if the media you are
recording has four audio tracks. You can select four tracks, but only tracks A1
and A2 are recorded.
Patching When Recording to the Timeline
By default, the tracks you have selected for recording (V1, A1, A2, and
so on) are edited to the corresponding tracks in the Timeline. You can
now patch the recorded footage to any track in the Timeline.
To patch tracks when recording to the Timeline:
1. In the Record tool, click and hold the Channel Selection button for
the track (video or audio) that you want to patch.
2. From the pop-up menu, choose the track to which you want to
patch the recorded footage.
232

For example, if you want to record video footage to track V2, click and
hold the red V button in the Record tool and choose V2 from the
pop-up menu. The Track Selector panel in the Timeline displays the
resulting patch.
Choose the track
to patch.
The result is
displayed in
the Timeline.
n
You
can also patch tracks in the Timeline in the same way that you patch
tracks when editing from a pop-up monitor. See “Patching Tracks” on
page 434.
Batch Recording from Logged Clips
Once you have imported a log or manually logged a group of clips to a
bin, you can automate the record process by using the batch recording
capabilities of NewsCutter XP. If you want to batch record, source
tapes must have timecode that matches the timecode for the selected
clips.
You can also use the batch record process to rerecord existing clips.
The rerecording process is described in “Rerecording Your Material”
on page 237.
233

n
To
batch import media without timecode, see “Reimporting Files” on
page 265.
Preparing to Batch Record
Preparing for batch recording involves an option of resizing the
Record tool and establishing settings that allow you to batch record
with minimal system supervision.
Resizing the Record Tool
Because your clips are already logged in the bin, you can simplify the
interface during batch recording by hiding the deck controller and
logging controls in the Record tool.
To resize the Record tool during batch recording:
t
Click the triangular opener to the left of the deck controls area.
Preparing Settings for Unattended Batch Recording
Unattended batch recording allows you to record a large number of
clips with a minimum of system supervision by selecting Record
settings that avoid pauses in the record process.
To prepare for unattended batch recording:
t
Select the following options in the Record Settings dialog box:
- Switch to emptiest drive if current drive is full (in the Batch
tab)
- Record across timecode breaks (in the General tab)
234

Batch Recording Clips
To batch record clips:
1. Make sure you selected the correct Record settings and set up the
Record tool, as described in Chapter 6.
2. Open the bin that stores the clips you want to record.
3. Select the clips to batch record:
t
t
Choose Select All from the Edit menu to select all the clips.
Ctrl+click to select specific clips.
4. Choose Batch Record from the Bin menu.
The Batch Record dialog box appears.
n
If
the clips that you want to batch record are not highlighted in the active bin,
Batch Record appears dimmed in the Bin menu.
5. Select options in the dialog box:
t
If the bin contains some clips that are already recorded and
you do not want to rerecord those clips, select “Offline media
235

only.” If this option is not selected and some of the selected
clips have media files, the system deletes the media files and
rerecords new media files.
For more information
on handle lengths when
rerecording, see
“Rerecording
Sequences” on
page 238.
n
If
t
t
If your selections include a sequence for batch recording, the
dialog box prompts you for handle-length information. The
system creates new master clips based on the length of edited
clips in the sequence.
If you need to extend the handles before the beginning and
after the end of the selected master clips, select “Extend
handles beyond master clip edges.” When you are performing
a batch record, this option prevents recording across a
discontinuous timecode error. For example, if the starting
timecode for a master clip is 1:00:10:00 and the resulting
master clip after a decompose with handles causes the new
master clip to begin at 1:00:09:00, a batch record will fail if
there are any timecode discontinuities between 1:00:09:00 and
1:00:10:00.
you are batch recording the original source master clips used in the
sequence, the sequence is updated automatically. Therefore, you might want
to deselect the sequence during this procedure.
6. Click OK.
If you have not loaded a tape, the system prompts you to insert
the first tape.
7. Insert the tape into the video deck, and click Mounted.
A dialog box appears.
8. Click OK to confirm the tape and deck entries and to begin the
recording process. The system records each clip from the tape, in
start timecode order.
9. If the system needs another source tape, the system prompts you
for the tape. At this point, you have several options:
t
Insert the new tape, and click Mounted to continue the
recording process.
236

n
To
t
t
t
Click “Skip this clip” to skip just the first clip from the tape
and continue recording the remaining clips.
Click “Skip this tape” to skip all the clips from the mounted
tape. The system then prompts you for the next tape.
Click Abort to end the batch recording process. You can also
stop recording at any time by clicking the Trash button in the
Record tool.
skip specific clips in the process of batch recording a particular tape, you
must abort each clip manually by clicking the Trash button and then clicking
the next clip in the Abort window to continue.
When the system has finished batch recording, a message box notifies
you that the process is complete.
Rerecording Your Material
Rerecording is the process of capturing previously recorded source
footage based on existing clips and sequences. Rerecording uses the
batch record process and does not require extra logging time because
the clip information for items such as source tracks, timecodes, and
resolutions already exists in the bin.
There are several situations in which you might want to rerecord:
• You can rerecord a sequence after you transfer it to another
system.
• You can rerecord low-resolution clips at a higher resolution setting
after they have been edited into a sequence.
• You can quickly rerecord selected clips if you make an error while
recording the first time (for example, if you forget to check audio
levels or set the wrong resolution).
• You can rerecord clips if you accidentally delete media files.
237

c
Rerecording requires your original source footage. Do not delete the
media files if the source footage is no longer available, unless you
will not need the material again.
Rerecording Master Clips and Subclips
The procedure for rerecording master clips and subclips is identical to
the process for batch recording logged clips. See “Batch Recording
from Logged Clips” on page 233.
Although the procedure is the same, the result is slightly different, as
follows:
• Master clips are linked to entire media files and serve as sources
for subclips and sequences. Therefore, when you rerecord a master
clip, changes in levels affect all subclips and sequences created
from the master clip.
• Subclips are smaller sections of master clips. When you rerecord a
subclip, the system creates a new master clip that is linked to new
media files and reflects the shortened length of material.
Therefore, rerecording subclips streamlines the record process.
Also, rerecording breaks the link from the subclip to the original
master clip. If you edit the subclip into a sequence, however, the
sequence will reflect any changes in the newly recorded subclip.
Rerecording Sequences
Rerecording a sequence creates new master clips and associated media
files based on the length of each clip edited into the sequence. It breaks
any links to the original source clips, and only the sequence and its
new master clips are linked to the newly recorded media files.
When you rerecord the sequence, the record process creates media
files for each clip in the sequence. You cannot make changes after the
media files are created without repeating the entire procedure.
238

Saving Two Versions of a Sequence When Rerecording
To save the original version of your sequence before rerecording, you
can create a duplicate. For example, use this method if you create a
sequence at a low resolution to save storage space and want to
rerecord the sequence at a higher resolution while retaining the first
version.
To make a duplicate of the sequence:
1. Select the sequence in the bin, and choose Duplicate from the Edit
menu.
2. (Option) Create a new bin by choosing New Bin from the File
menu, and move the duplicate sequence to the bin.
This second step is optional, but it saves you from the confusion of
mingling new sequences and master clips with existing ones.
Rerecording the Sequence
When you rerecord the sequence, the recording process creates media
files for each clip in the sequence.
To rerecord a sequence:
1. Open or activate the bin containing the sequence or clips.
2. Select the sequences or the clips you want to rerecord:
t
t
Choose Select All from the Edit menu to select all the clips in
the bin.
Ctrl+click to select specific clips.
3. Choose Batch Record from the Bin menu.
The Batch Record dialog box appears.
4. Click the Handle Length text box, and type the number of
additional frames you want to record at the head frames and tail
frames of the new master clips.
239

n
The
Handle Length text box appears only if a sequence is selected for batch
recording.
5. Click OK. If you have not loaded a tape, the system prompts you
to insert the first tape.
6. Insert the tape into the video deck, and click Mounted.
A dialog box appears.
7. Click OK to confirm the tape and deck entries and begin the
recording process. The system records each clip from the tape, in
start timecode order.
If another source tape is needed, the system prompts for the tape.
At this point, you have several options:
t
t
t
t
Insert the new tape, and click Mounted to continue the
recording process.
Click “Skip this clip” to skip just the first clip from the tape
and continue recording the remaining clips.
Click “Skip this tape” to skip all the clips from the mounted
tape. The system then prompts you for the next tape.
Click Abort to end the batch process. You can also stop
recording at any time by clicking the Trash button in the
Record tool.
Other Recording Functions
The following functions are also available when recording:
• Controlling Decks from the Keyboard
• Naming a New Tape from the Keyboard
• Ejecting Tapes with a Button or Key
• Returning to the Previous Place in the Select Tape Dialog Box
240

Controlling Decks from the Keyboard
You can use the J-K-L keys to control a deck from the Record tool,
Digital Cut tool, and Deck Controller window.
The J-K-L keys work the same as they do in the Source/Record
monitor, as shown in the following table.
Press
K
L
J
K+L
J+K
To
Stop the deck.
Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.
Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal
speed.
Shuttle the deck at 0.25x normal speed.
Shuttle the deck at –0.25x normal speed.
The following restrictions apply:
• The Record tool, Digital Cut tool, or Deck Controller window
must be selected for the keys to be active.
• Single-field stepping is not supported.
• If you remap the function of the J-K-L keys, you are no longer able
to control decks with those keys.
241

Naming a New Tape from the Keyboard
You can name a new tape without taking your hands off the keyboard.
To create a new tape name by using a keystroke in Record mode:
1. Choose Record from the Tools menu.
The Record tool opens.
2. Put a tape in the deck, or click the Source Tape Display button.
The Select Tape dialog box appears.
3. Press Ctrl+N.
A new tape name text box appears.
4. Type the new tape name.
5. Press Enter to register the tape name.
6. Press Enter or click OK to close the Select Tape dialog box.
Ejecting Tapes with a Button or Key
By clicking the Eject button and ejecting a tape, the fact that the tape
must be changed can be brought to the attention of any tape operator
in a remote machine room.
To eject tapes by using a button:
1. Choose Command Palette from the Tools menu.
2. Click the Play tab.
3. Select Active palette.
4. Click the Eject button.
n
You
can map the Eject button to any button on the Tool palette or any key on
the Keyboard palette. See “Mapping User-Selectable Buttons” on
page 122.
242

Returning to the Previous Place in the Select Tape
Dialog Box
When working with many tapes, you need to be able to return quickly
to your location when you last selected a tape. If you leave the Select
Tape dialog box and reenter it, you return to where you were in the list
of tape names the last time; this should help you find the next tape you
need.
243

CHAPTER 8
Importing Files
When you import files, the system converts them into objects in a bin.
You can manipulate and edit these objects as you would any other clip
or sequence. Any corresponding media files are stored on a target
drive that you specify. You can import files by using the procedures in
the following sections:
• Preparing to Import Files
• Creating and Using Import Settings
• Importing Files
• Using the Drag-and-Drop Method to Import Files
• Using Open Media Management (OMM)
• Reimporting Files
Preparing to Import Files
Before you begin the import process, make sure the system and the
files are ready for import as follows:
• To read about issues and tips for mixed-resolution projects, see
“Creating and Using Import Settings” on page 245.
244

• For graphics file and OMFI (Open Media Framework ®
Interchange) file import, prepare the files in advance according to
specifications described in Appendix B.
• For a complete description of all options in the Import Settings
dialog box, see Table 8-1 on page 248.
Creating and Using Import Settings
You can create one or more sets of import parameters and save them as
an Import setting. For example, you can create one setting for
importing QuickTime files and another for importing files from
AudioVision. This feature is especially useful when you use the
drag-and-drop method to import multiple files (see “Using the
Drag-and-Drop Method to Import Files” on page 260).
The default Import setting and any additional Import settings you
create appear in the Settings scroll list (see “Using the Settings Scroll
List” on page 74). After you select a setting in the Settings scroll list,
the parameters remain the default settings for all imported files, unless
you change them during import.
To create a new Import setting:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click Import.
3. Choose Duplicate from the Edit menu.
4. Name the setting:
a. Click the Custom setting name column (between the setting
name and the setting type identifier).
b. Type a name.
c. Press Enter.
245

Custom setting
name column
5. Adjust the options for the setting as described in the following
procedure.
To adjust the parameters in an Import Settings dialog box:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click an Import setting.
The Import Settings dialog box appears. The following illustration
shows the default settings for the Image tab of the Import Settings
dialog box.
246

3. Select the appropriate options according to the descriptions in
Table 8-1.
4. Click OK.
247

Table 8-1
Import Settings Options (Image Tab)
Option Suboption Description
Aspect Ratio,
Pixel Aspect
601, non-square Select this option to import images with the dimensions used
by the NewsCutter XP system: 720 x 480 (NTSC) or 720 x 576
(PAL). Also use this option for 720 x 540 images, or for other
images that fit the 4:3 aspect ratio. You can use this option to
maintain field data when you import two-field media that
follows exact NTSC or PAL dimensions.
The system converts the existing pixel dimensions, if necessary,
so that the image fills the screen.
If the aspect ratio of the original frames does not match the 4:3
aspect ratio used by the NewsCutter XP system, the imported
frames might appear distorted.
For best full-screen resolution of files created in a square-pixel
environment, use 648 x 480 (NTSC) or 768 x 576 (PAL). To create
a single resolution for both NTSC and PAL, use 720 x 540.
n
This option is selected by default.
Maintain,
non-square
Select this option for an image that was created in a
non-square-pixel environment but does not match exact NTSC
or PAL dimensions. Maintain, non-square will preserve up to
480 (NTSC) or 576 (PAL) lines and will either remove additional
lines or pad with video black if there are fewer lines.
This option might be most useful with NewsCutter XP when
you use material that has been created for non-DV products
with a standard NTSC size of 720 x 486. In this situation, the top
four lines and the bottom two lines are cropped.
Maintain, non-square never scales or resizes.
248

Table 8-1
Import Settings Options (Image Tab) (Continued)
Option Suboption Description
Maintain, square
Select this option for an image that was created in a
square-pixel environment, such as a graphics application. Use
this option primarily for icons, logos, and other graphics that
cannot be resized and are not intended to fill the entire screen.
The NewsCutter XP system maintains the source file pixel
aspect ratio for the imported frames, translating the
square-pixel aspect ratio to the digital video non-square-pixel
environment.
The system fills the rest of the screen with video black. If the
image has an alpha channel, this black will be keyed out in the
alpha channel.
Do not use this option if you are importing:
• Images in the 720 x 480 (NTSC) or 720 x 576 (PAL)
non-square-pixel dimensions
• A full-screen square-pixel image that has already been
stretched to non-square-pixel dimensions
249

Table 8-1
Import Settings Options (Image Tab) (Continued)
Option Suboption Description
Maintain and
Resize, square
Select this option for an image that was created in square-pixel
terms.
The system fits the longest dimension to the screen size and fills
in the missing pixels in the shorter dimension with video black,
creating a border. If the image has an alpha channel, this black
will be keyed out in the alpha channel.
For example, a 540 x 300 image would have its longer
dimension resized to 720, and the shorter dimension resized in
proportion (to 400). The remaining “short side” pixels are
replaced with black.
For best full-screen resolution of files created in a square-pixel
environment, use 648 x 480 (NTSC) or 768 x 576 (PAL). To create
a single resolution for both NTSC and PAL, use
720 x 540.
Do not use this option if you are importing:
• Images in the 720 x 480 (NTSC) or 720 x 576 (PAL)
non-square-pixel dimensions
• A full-screen square-pixel image that has already been
stretched to non-square-pixel dimensions
File Field
Order
This section allows you to select the field dominance of the
media you are importing.
When the field dominance of the imported media matches the
field dominance of the project format, no special processing is
required. For more information, see “Field Ordering in
Graphics Imports and Exports” on page 748.
This setting does not apply to OMFI imports when the import
resolution matches the OMFI file.
Non-interlaced
This option allows you to import still images to all formats
without concern for the temporal ordering of the fields.
n
This option is selected by default.
250

Table 8-1
Import Settings Options (Image Tab) (Continued)
Option Suboption Description
Odd (Upper Field
First)
Select this option for odd-field dominance during import. The
first line in the image belongs to the odd field.
Even (Lower
Field First)
Select this option for even-field dominance during import. The
first line in the image belongs to the even field.
Color Levels RGB Select this option if the imported graphics file uses RGB
graphics levels. Most computer-generated graphics use RGB
graphics levels. The RGB color values are remapped to ITU-R
601 (formerly CCIR 601) video color values appropriate for the
NewsCutter XP system.
RGB, dithered
Select this option if the imported graphics file uses complex
color effects, such as a gradation, and you are importing at a
high resolution (2:1). Do not use this option to reimport an
image that has already been imported with dithering.
601 Select this option if the imported graphics file uses video levels
based on the ITU-R 601 (formerly CCIR 601) standard. These
graphics include Avid color bars or images that include
superblack (zero black) for keying purposes.
Alpha Use Existing Select this option to import the image, using the existing alpha
channel information.
Invert Existing
Ignore
Select this option to reverse the black and white elements of the
alpha channel if they differ from the matte key requirements of
the system: a white background, a black foreground, and a gray
transparency blend between the two.
Select this option to import an image that contains alpha
channel transparency information as one opaque graphic. The
imported graphic appears as a single master clip in the bin.
n
If an image contains an embedded alpha channel but the system
does not support alpha channel import for the file type, select
this option to import the image successfully. For information
on alpha channel support, see “Graphics File Import
Specifications” on page 738.
251

Table 8-1
Import Settings Options (Image Tab) (Continued)
Option Suboption Description
Single Frame
Import
Autodetect
Sequential Files
Duration n
seconds
Select this option to specify the duration of the single frame
created from the import. The default is 10 seconds. This option
does not apply to importing sequential image files because each
file represents one frame of the clip; therefore, the total number
of files determines the total duration.
Importing an image with alpha channel creates a matte key
effect as a single frame, with no associated media file.
Importing as a single frame takes less time and requires less
storage than importing as a media file. However, a single frame
has limited real-time playback capabilities, particularly at high
resolutions. This occurs because the system loads the frame into
memory and handles it in real time, rather than playing it back
from a disk.
Select this option if you are importing sequential files and you
want the system to recognize that a sequence of connected files
is present and to automatically import the whole sequence.
When this option is deselected, the system does not
automatically import a whole sequence of files that have
sequential extensions. You can then select any single file for
import.
You can import sequential files for any of the supported
still-image formats. For information on preparing a sequence of
image files, see “Animation Files” on page 743.
You can now choose this setting whenever you import a frame, clip, or
sequence. For more information, see “Importing Files” on page 256
and “Using the Drag-and-Drop Method to Import Files” on
page 260.
The following illustration shows the default settings for the OMFI tab
of the Import Settings dialog box.
252

Table 8-2 describes the options available in the OMFI tab of the Import
Settings dialog box.
Table 8-2
Import Setting Options (OMFI Tab)
Option
Use the source file’s resolution.
Use the current import resolution.
Description
Select this option to maintain the source file’s
resolution. The system disregards the resolution
setting in the Select Files to Import dialog box as
well as resolution set in the Import tab of the
Media Creation dialog box.
Select this option to use the current import
resolution setting. The system disregards the
source file resolution.
253

Table 8-2
Import Setting Options (OMFI Tab) (Continued)
Option
Ask me to set the resolution for each file that is
different from the current import resolution
setting.
Description
Select this option to have the system display a
query about resolution selection for each imported
file when the resolution of the source file is
different from the current import resolution
setting.
The following illustration shows default settings for the Shot Log tab
of the Import Settings dialog box.
254

Table 8-3 describes the options available in the Shot Log tab of the
Import Settings dialog box.
Table 8-3
Import Setting Options (Shot Log Tab)
Option
Maintain events as logged.
Description
Select this option to maintain all events as
originally logged.
Combine events based on scene and automatically
create subclips.
Select this option to combine all the events for a
scene into a single master clip and then link the
master clip to subclips that represent the original
events for that scene. To use this option, you must
have scene numbers logged in a scene column in
the bin.
Combine events based on camera roll and
automatically create subclips.
Merge events with known sources and
automatically create subclips.
Select this option to combine all the events from a
camera roll into a single master clip and then link
the master clip to subclips that represent the
original events for that camera roll. To use this
option, you must have camera roll numbers
logged in a camera roll column in the bin for a film
project.
Select this option to create subclips for events that
are merged or relinked to their source clips upon
import. Use this option if you have already
entered master clips in a bin for each camera roll
or master scene, and have subsequently logged all
the events related to those clips for import.
n
You must select the clips that you want to merge
before selecting this option.
255

Table 8-3
Import Setting Options (Shot Log Tab) (Continued)
Option
Merge events with known master clips.
Description
Select this option to merge information in the shot
log onto selected master clips based on the
matching tape name. Use this option if you have
already logged (or recorded) master clips in a bin
for each take.
n
You must select the clips that you want to merge
before selecting this option.
Importing Files
You can access files for import from any folder or drive source
mounted on the desktop, such as a floppy disk, fixed drive, removable
drive, or network server. You can import more than one file at a time,
including files of multiple types.
Consider copying all graphics files to a single folder on the internal
hard drive before you import the files. Using this folder helps you
manage graphics from multiple sources and streamlines the
reimporting process because all graphics will point to the same
original path.
For information on
using the
drag-and-drop method,
see “Using the
Drag-and-Drop
Method to Import
Files” on page 260.
To import files:
1. If you have created one or more Import settings, select the Import
setting that you want to use from the Settings scroll list (see
“Creating and Using Import Settings” on page 245).
2. Open the bin in which you want to store the imported files. Click
anywhere in the bin to select it.
3. Choose Import from the File menu.
The Select Files to Import dialog box appears.
256

n
For
more information about the files displayed in the Select Files to Import
dialog box, click the Details button.
Look In pop-up menu
Details button
File browser
File to import
Files of Type
pop-up menu
Options button
Resolution pop-up menu
Media Drive pop-up menu
4. Choose an import file type from the Files of Type pop-up menu to
display only files of the chosen file type in the file browser:
• Choose either Graphic or Audio to import one of more than 30
supported graphics and audio file types. For more
information on the various file types and their import
specifications, see Appendix B.
• Choose AAF to import files that have been saved in the AAF
format, which can include composition information, or
metadata, that provides the instructions needed to combine
and modify the media portions of the AAF file to produce a
complete multimedia program.
257

• Choose OMFI to import files that have been saved in the
OMFI file format, such as sequences transferred from an
effects or digital audio workstation.
• Choose Sequential Files to import a sequence of files. The first
file in the sequence appears. To automatically select the entire
sequence of files, you must select Autodetect Sequential Files
in the Import Settings dialog box.
• Choose Shot Log to import Avid Log Exchange (.ALE) files
containing clip information to a bin. For more information
about Avid log specifications, see Appendix C.
By default, the system displays only file types that belong to the
chosen category in the file browser section of the dialog box.
5. (Option) Choose All Files from the Files of Type pop-up menu to
display all files in a chosen folder, regardless of file type. Use this
option if you want to batch import from multiple file types.
6. Click Options to adjust the Import settings.
The Import Settings dialog box appears, which allows you to edit
various parameters. The following illustration shows the choices
for a graphics file.
258

n
For
a complete description of all options in the Import Settings dialog box, see
Table 8-1.
7. Select the options you want. Click OK to save the settings.
8. Close the Import Settings dialog box, and return to the Select Files
to Import dialog box.
9. Use the Up One Level button to locate the folder containing the
source files.
10. Click the Single/Dual Drives button, and select a destination drive
for the imported file from the pop-up menu.
11. Select files or deselect files from the file browser section by doing
one of the following:
t
To add a single file, Ctrl+click the file name in the file browser
section.
259

n
If
t
t
To add a group of files, click the first file in a group, and then
Shift+click the last file in a group.
To deselect a single file from the file browser section,
Ctrl+click a highlighted file name.
you are importing a sequential series of image files, you must select
Autodetect Sequential Files in the Import Settings dialog box. Then add only
the first file in the series to the file browser section.
12. Click Open.
When the system finishes importing the files, the clips appear in
the selected bin.
Using the Drag-and-Drop Method to Import Files
To import one or more files by using the drag-and-drop method:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Select the setting you want to use for import. Select either the
default Import setting or one you have created.
To view or modify the parameters, double-click the setting. For
more information, see “Creating and Using Import Settings” on
page 245.
3. Open the bin in which you want to store the imported files.
4. From the desktop, open the folder that contains the files you want
to import. You might have to resize the NewsCutter XP
application to access the desktop.
5. Click the file you want to import, and drag the file to the bin. To
select multiple files, Ctrl+click the files, and drag them to the bin.
260

Using Open Media Management (OMM)
n
OMM
is available only if you have the Avid Unity system.
Open Media Management (OMM ) is an Avid initiative to create a
standard programming interface for integrating asset management
systems with Avid editing systems. Avid has partnered with leading
asset management companies to implement the OMM standard.
OMM allows you to exchange video and audio clips with an asset
management application.
An asset manager is a powerful tool that gives you the ability to share
media and composition files between Avid applications. It also has a
powerful search capability to locate specific clips, and it archives large
numbers of clips to be used in the future.
OMM uses the OMF (Open Media Framework) data models but does
not express the data model as a file. Instead, OMM simplifies
workflow by using standard Internet protocols to create a rich,
network-based collaboration facility.
Your NewsCutter XP system can exchange information with any asset
manager that uses the OMM protocol.
Preparing to Use OMM
You need to create three types of settings before you can use OMM to
copy clips:
• OMM settings
• Import settings
• Export settings
After you create these settings, you can transfer clips simply by using
the drag-and-drop method.
261

OMM Settings
You must set up an asset management location to let NewsCutter XP
know where your asset manager site is located. You set up the asset
management location in the OMM Settings dialog box, which you
access from the Settings scroll list of the Project window.
For complete
information on using
settings, see “Using the
Settings Scroll List” on
page 74.
If you have access to more than one asset manager, you can create and
name a setting for each location in the same way that you create other
duplicate settings (for example, see “Creating and Using Import
Settings” on page 245).
Creating an OMM Setting
To create an OMM setting:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click OMM.
The OMM Settings dialog box appears.
262

3. In the Preferred Asset Manager text box, type the Uniform
Resource Locator (URL) where the preferred asset manager is
located:
- For networks:
http://assetmanagerlocation/hostinfo.xml
- For local workstations:
file:///c:mydir/filename.xml
4. Select “Login to Asset Manager at launch” if you want to log in to
your asset manager when you open your project.
5. Click OK.
The asset manager location setting is created and marked as the
default.
To log in directly to the asset manager:
t
Click OK and Login.
263

c
When you select an OMM setting, the NewsCutter XP system uses
this location for all OMM imports and exports. If you use the
drag-and-drop method to move clips to a different OMM location,
the exported clip will go to the location specified in the OMM
setting.
Using OMM to Import Clips
Importing clips by using OMM allows you to copy or “check out” a
clip (with or without its associated media) from the asset manager
application that you have chosen. At this time, you can import only a
master clip. You cannot import an entire sequence.
To import clips, you need to use the drag-and-drop method to copy
files from the asset manager browser to a bin.
To import a clip by using OMM:
1. In the Settings scroll list of the Project window, click an OMM
setting and an Import setting (see “Preparing to Use OMM” on
page 261).
2. Open the NewsCutter XP bin in which you want to store the
imported clip.
3. Start your browser, and locate your asset manager.
4. In the asset manager window, click the clip you want to import
and drag it to the bin. Ctrl+click to select multiple clips.
The imported clip appears in the bin, and you can edit it into your
sequence.
For instructions on using OMM to export clips, see “About Avid
Codecs” on page 635.
264

Reimporting Files
c
If you are working with master clips or sequences that contain
imported material, you can use the Batch Import command to
reimport the imported files. For example, you might want to create
new media files when the media files are lost or accidentally deleted.
Reimporting requires your original source file. Do not delete the
media files for imported files if the source files are no longer
available unless you will not need the material again.
The Batch Import command allows you to reimport the imported files
while automatically linking the new imported material with the
original master clips and sequences. When you play your sequence
after reimporting the files, the new imported material plays in your
sequence.
When you reimport a media file, the entire media file, including all
tracks, is reimported. For example, if only the video track of an
imported file that contains both video and audio was edited into the
sequence, the reimport process will import both the video and audio
from the source file.
n
OMFI
files can contain only one master clip when you reimport them.
The Batch Import Dialog Box
The Batch Import dialog box allows you to select a source file for each
master clip that you selected in a bin. NewsCutter XP finds the source
file automatically if the source file is located in the same folder as the
last time you imported the file. The Batch Import dialog box appears
when you select a master clip, a group of master clips, or a sequence,
and choose Batch Import from the Bin menu.
265

Selected Clips
section
Video
Resolution
pop-up menu
Import Target
section
Import
Options
section
Selected Clips Section
The Selected Clips section shows the clips you selected for import. The
caption at the top of the section summarizes the total number of clips
shown and how many of them were found and therefore are available
to be imported. Clips displayed in black were found and will be
imported. Clips displayed in red were not found in their original
location. The Set File Location button finds the source files for clips
266

that were not found. See “Starting the Reimport Process” on
page 268.
If you select one or more clips and click Skip This Clip, the clips are
removed from the list and are not imported.
Import Target Section
The Import Target section of the Batch Import dialog box contains
global settings that affect all the files you are importing.
• Video Resolution pop-up menu: Allows you to choose a video
resolution.
• Video Drive and Audio Drive pop-up menus: Allow you to
choose destination drives for the media files.
Import Options Section
The Import Options section of the Batch Import dialog box contains
global settings that affect all the files you are importing.
• Use source compression for OMFI: When selected, the resolution
for OMFI files compressed with native resolution types (4:1s, 3:1,
1:1) is used. This allows for fast import of these files. When
deselected, the resolution in the Video Resolution pop-up menu is
used as the resolution for import.
• Override clip settings with current settings: Allows you to
change the Import settings for all imported files. By default, each
file imports using the Import settings for the last time it was
imported.
n
If
you change the Import settings by using the Import Options section, the
new settings will apply to all the files you are importing.
267

Starting the Reimport Process
n
Before
beginning the reimport process, consider mounting any removable
media drives that held the original graphics.
To reimport imported files:
1. Open the bin, and select the imported master clips and sequences
that you want to reimport.
2. Choose Batch Import from the Bin menu.
A message box appears.
3. Select one of the following:
t
t
Offline only: Reimports only the selected imported master
clips that are missing their media files.
All clips: Reimports all the selected imported master clips; for
example, if you need to change the video resolution of the
imported master clips.
The Batch Import dialog box appears.
4. Click Skip This Clip to remove a clip from the list. It will not be
imported.
5. Locate the sources for files that weren’t found by doing the
following:
a. Select a clip or clips displayed in red in the Selected Clips
section.
b. Click Set File Location.
The Locate File dialog box appears.
c. Navigate to the location of the source file.
268

If you select more than one clip displayed in red, the system
attempts to find the rest of the clips first in the same folder as
the first clip and then, if not found there, in folders that
maintain the same relationship with the first clip’s folder.
When the clips are found, they are displayed in black.
6. Choose a video resolution for all the reimported files from the
Video Resolution pop-up menu.
7. Choose a destination drive or drives for all the media files from
the Video Drive and Audio Drive pop-up menus.
You can separate video and audio onto different drives.
8. (Option) By default, the file is imported using the Import settings
from the last time it was imported. You can change the Import
settings for all clips being imported by doing the following in the
Import Options section:
a. Select “Override clip settings with current settings.”
b. Click Current Settings to open the Import Settings dialog box.
c. Select the appropriate options.
d. Click OK to close the Import Settings dialog box.
9. Click Import.
The file is imported.
269

CHAPTER 9
Organizing with Bins
The NewsCutter XP system provides powerful database tools for
organizing and managing your recorded material. You can work with
bins using three different views. You can rename, sort, sift, duplicate,
and delete clips and sequences. You can also print single-clip frames or
whole bins. These topics are covered in the following sections:
• Before You Begin
• About Bin Views
• Basic Bin Procedures
• Using Text View
• Using Frame View
• Using Script View
• Printing Bins
• Gathering Format Elements
Before You Begin
There are several procedures you might want to perform before
organizing your project because they affect the display of information
in bins or the way the clips play back during screening:
270

• If you want to center the pan between left and right speakers for
some or all of the clips in a bin, see “Adjusting Default Pan
Settings” on page 467.
• If you want to customize the types of objects (clips, subclips, and
so on) displayed in a bin, see “Setting the Bin Display” on
page 271.
Setting the Bin Display
You can use the Set Bin Display dialog box to display clips referenced
by a sequence, even if the clips were not previously in the bin. Place a
sequence in a new bin, and follow this procedure.
To set the bin display:
1. Choose Set Bin Display from the Bin menu.
The Set Bin Display dialog box appears.
271

Table 9-1 briefly describes the icons listed in the Set Bin Display
dialog box.
Table 9-1
Object Icon
Object Icon Descriptions
Object Description
Master Clips
Subclips
Sequences
Sources
Effects
Motion Effects
Rendered Effects
A clip that references audio and video media files
formed from recorded footage or imported files
A clip that references a selected portion of a master
clip
A clip that represents an edited program, partial or
complete, that you create from other clips
A clip that references the original videotape source
footage for master clips
A clip that references an unrendered effect that
you create
A file in the bin that references effect media files
generated when you create motion effects
A clip that references an effect media file
generated when you render an effect
2. Select the object types that you want to see: master clips, subclips,
sequences, and so on.
3. The option “Show clips created by user” is selected by default.
Deselect this option only if you want to hide all objects except
those created by the system.
4. Select the option “Show reference clips” to automatically display
objects that are referenced by sequences in the bin, whether those
clips were previously in the bin or not.
5. Click OK.
272

The bin displays objects according to your specifications.
About Bin Views
There are different display views for working with clips in a bin: Text
view, Frame view, and Script view.
Text View
In Text view, clips are displayed in a database text format, using
columns and rows, with icons representing the various objects.
Column
headings
Object icons
Fast Menu
button
Text View button
For information on
specific Text view
features, see “Using
Text View” on
page 290.
To enter Text view:
t
Click the Text View button (labeled T) in the lower left corner of
the bin.
273

Frame View
In Frame view, each clip is represented by a single picture frame, with
the name of the clip. You can play back the footage in each frame and
change the size of frames. You can also rearrange the frames in any
order within the bin.
Clip frame
Clip name
Frame View button
For information on
specific Frame view
features, see “Using
Frame View” on
page 303.
To enter Frame view:
t
Click the Frame View button (labeled F) in the lower left corner of
the bin.
274

Script View
In Script view, the system combines the features of Text view with
Frame view and adds space for typing notes or script. The frames are
displayed vertically on the left side of your screen with a script text
box to the right of each clip. Clip information is displayed above the
text box.
Script text box
Clip frame
Clip comments
Clip information
Script View button
275

For information on
specific Script view
features, see “Using
Script View” on
page 307.
To enter Script view:
t
Click the Script View button (labeled S) in the lower left corner of
the bin.
Custom Bin Views
To the right of the Text View button is the Bin View pop-up menu
(Text view only) for selecting different Bin views. Bins have three
default views that are automatically loaded: Custom, Film, and
Statistics.
Text View button
Bin View pop-up menu
Customizing Bin Views in Text View
You can create and save customized Bin views that you can easily
access from the Bin View pop-up menu. You can customize the Bin
view by adding, hiding, or rearranging Bin columns. The only
required column heading is the clip name, which is displayed by
default.
276

There are several ways to customize views of the bin:
• Alter the arrangement of existing columns in the standard
Statistics view to suit your needs, without adding or hiding
columns. These arrangements will be recalled each time you
choose Statistics view.
• Add or hide columns of information to create customized
Statistics or Film views. These are saved as additional view
settings in numerical order, for example Statistics.1, Statistics.2,
unless you choose another name.
To customize views of the bin, you can add, hide, copy, or rearrange
standard or customized columns in any combination to create your
own custom views. You can name and save them to suit your needs.
When you create a new Bin view, the system saves the settings for this
view so that you can later access and alter, copy, or delete these
settings. New Bin View settings appear in the Settings scroll list of the
Project window.
Saving a Custom Bin View
Any time you add, hide, or delete a column, the Bin view name
changes to italic with the file name extension .n to indicate that it no
longer matches the original view. If you select a new Bin View setting
while the current setting is untitled or italic, the system discards the
current setting.
n
If
you do not save the view after adding or deleting headings, it is discarded.
To save a Bin view:
1. Open a bin and click the Text View button (T).
2. Add or hide columns according to preference. For more
information about showing or hiding columns, see “Showing and
Hiding Columns” on page 293.
The Bin view name changes to italic.
277

3. Choose Save As from the Bin View pop-up menu.
The View Name dialog box appears.
4. Type a name for the custom view, and click OK.
Bin Fast Menu
All Bin menu commands are also available in the Bin Fast menu,
located in the lower left corner of every bin. The Fast menu is
convenient when you are working with several open bins and need to
access Bin menu commands quickly.
To open the Bin Fast menu:
t
Click the Fast Menu button in the lower left corner of the bin.
Basic Bin Procedures
There are some basic procedures that you can use in either Text view
or Frame view for manipulating clips in the bin. They include
selecting, deleting, duplicating, moving, copying, and sifting clips and
sequences.
When you are working with bins, an asterisk (*) appears before the bin
name in the bin’s title bar. This asterisk indicates that the changes to
the bin have not been saved. Once you save the bin, the asterisk is
removed.
278

n
To
view a complete list of the bins in your project, see “Using the Bins
Display” on page 57.
Setting the Bin Font
To set the font displayed in bins:
1. Choose Set Font from the Edit menu.
The Set Font dialog box appears.
2. Choose one of the available fonts from the Font pop-up menu.
n
Any
font loaded in the Fonts folder appears in the list. For information on
adding fonts to your system, see your Windows documentation.
3. Type another point size for the font in the Size text box.
4. Click OK. The new font appears in all Bin views.
Selecting Clips and Sequences
To select clips or sequences in a bin, do one of the following:
t
t
t
Click the clip or sequence icon (Text view).
Click the picture area of the clip or sequence (Frame view).
Select multiple clips or sequences by Ctrl+clicking.
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To reverse your selection:
t
Choose Reverse Selection from the Bin menu.
The items that you previously selected are deselected, and those
that were previously deselected are selected.
Duplicating Clips and Sequences
When you duplicate a clip or sequence, the system creates a separate
clip linked to the same media files. You can move, rename, and
manipulate this clip without affecting the original clip.
To duplicate a clip or sequence:
1. Select the clip or sequence that you want to duplicate, or Ctrl+click
multiple clips.
2. Choose Duplicate from the Edit menu.
A copy of the clip or sequence appears in the bin, with the original
clip or sequence name followed by the file name extension
.Copy.n, where n is the number of duplicates created from the
original clip or sequence.
Duplicated
Clip
Clip
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Moving Clips and Sequences
You can move clips and sequences to other bins to group and organize
various types of material based on project needs.
To move clips or sequences from one bin to another:
1. Create or open another bin. Give the bin a name that represents its
purpose or contents.
2. Position or resize the original bin and the new bin so that you can
see both of them at the same time.
3. Select the clip or sequence that you want to move, or Ctrl+click
multiple clips or sequences.
4. Drag the clips or sequences to the new bin.
n
If
the destination bin’s display has been set to show reference clips, the
referenced object types do not appear until you save the bin.
Copying Clips and Sequences
When you copy clips, you essentially clone the same clip in another
bin. In other words, any change you make to the copy will affect the
original as well. You cannot copy clips to the same bin, and you cannot
return a clip copy to the same bin where the original resides.
When you press the Alt key and drag a clip to make a copy, the system
does not add the file name extension .Copy.n to the clip or sequence as
it does when duplicating.
When you copy clips from one bin to another, the custom columns that
you created in the first bin are also copied to the second bin. The
custom columns appear in the order in which you created them.
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To copy clips from one bin to another bin:
1. Position the bins so that you can see both of them at the same time.
You might need to resize the bins to do this.
2. In the original bin, click the clip or sequence that you want to copy,
or Ctrl+click multiple clips or sequences.
3. Press and hold the Alt key, drag the clips or sequences to the
destination bin, and release the mouse button.
Deleting Clips and Sequences
To delete clips or sequences from a bin:
1. Select the clips and sequences that you want to delete.
2. Choose Delete from the Edit menu, or press the Delete key.
The Delete dialog box appears, showing information about the
selected items.
3. Select the items for deletion.
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4. (Option) Delete the associated media files for master clips and
effect clips. You can select both clips and media files for deletion,
or you can select only the media files if you want to retain the clips
for rerecording later.
5. Click OK.
If you choose to delete media files, a message box appears.
6. Click Delete.
Assigning Colors to Bin Objects
You can assign colors to clips, subclips, sequences, and effect clips to
help you manage and organize the bin objects. Colors assigned to bin
objects are referred to as source colors.
Adding a Color Column to a Bin
To add a Color column to a bin:
1. With a bin in Text view, choose Headings from the Bin menu.
The Bin Column Selection dialog box appears.
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2. Select Color.
3. Click OK.
The Color column appears in the bin.
n
By
default, a new column appears as the last column in the bin. To move the
Color column, select the Color column heading and drag it to the left.
Assigning a Source Color
To assign a color to a clip, subclip, sequence, or effect clip in a bin:
1. With a bin in Text view, select the bin objects to which you want to
assign a color.
2. Choose Set Clip Color from the Edit menu, and choose a color
from the submenu.
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The color appears in the Color column.
n
You
can also assign a color by clicking in the Color column and choosing a
color from the pop-up menu.
Assigning a Custom Source Color
To assign a custom color to a clip, subclip, sequence, or effect clip in
a bin:
1. With a bin in Text view, select the bin objects to which you want to
assign a color.
2. Choose Set Clip Color from the Edit menu, and choose Pick from
the submenu.
The Windows Color dialog box appears.
3. Select a color and click OK.
The custom color appears in the Color column and on the clip
icon.
n
After
you assign a custom color, the color appears as Other in the Set Clip
Color submenu.
Limiting Color Choices
When assigning colors to bin objects, you can limit the color choices to
only the colors currently used in the bin.
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To limit the colors available when assigning colors to bin objects:
1. With a bin in Text view, select the bin objects to which you want to
assign a color.
2. Alt+click in the Color column in the bin.
A menu of all the colors you are using in the bin appears. Any
custom colors you assigned are labeled Other.
3. Choose one of the colors.
The color appears in the Color column and on the clip icon.
Sorting by Color
To sort bin objects by color:
1. Click the Color column heading in the bin.
2. Choose Sort from the Bin Fast menu.
The objects in the bin are sorted by color.
n
Colors
are sorted by hue, saturation, and value.
Sifting by Color
To sift bin objects by color:
1. Choose Custom Sift from the Bin Fast menu.
2. Type the name of the color in the text box.
3. Choose Color as your sift parameter.
4. Click OK.
The objects in the bin are sifted by the color you specified.
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Sifting Clips and Sequences
When you sift clips, the bin displays only those clips that meet a
specific set of criteria. For example, you can do a custom sift to display
only those clips containing the word “close-up” in the heading
column. The dialog box provides you with six different levels of
criteria.
To sift clips and sequences:
1. Choose Custom Sift from the Bin menu.
The Custom Sift dialog box appears.
Text to Find text box
Column or Range to Search
pop-up menu
Criterion
pop-up
menu
2. Click the Criterion pop-up menu, and choose one of the sifting
options.
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3. Click the first Text to Find text box, and type the text that you want
to use as a sift criterion. When sifting by color, type the exact name
of the color by using uppercase and lowercase letters, in the text
box.
4. Click the Column or Range to Search pop-up menu, and choose a
column heading to which you want to apply the criterion.
5. Type additional sift criteria, and make additional column
selections, as necessary.
6. Click OK.
Only the clips that meet your criteria remain in the bin, with the
word “sifted” added to the bin name.
After you have sifted the clips in a bin, you can display the bin in a
sifted or an unsifted state as follows:
To view the entire bin:
t
Choose Show Unsifted from the Bin menu.
To view the sifted bin:
t
Choose Show Sifted from the Bin menu.
The word “sifted” appears in parentheses after the bin name when
you are viewing a sifted state.
Selecting Offline Items in a Bin
Offline items are clips, subclips, or sequences that are missing some or
all of their original media files or that have never been recorded.
To identify offline items:
t
Choose Select Offline Items from the Bin menu or the Bin Fast
menu.
The bin highlights all items that are missing media files.
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Selecting Media Relatives for an Object
When you identify the media relatives of a selected clip or sequence, the
system highlights all other clips linked to the selected clip, such as
subclips or other sequences.
To identify media relatives:
1. Open the bin that contains the chosen clip or sequence.
2. Open any other bins that might contain the media relatives that
you want to find.
3. Resize and position the bins so that you can see their contents. Text
view is best for viewing as many objects as possible.
4. Select the chosen clip or sequence, and choose Select Media
Relatives from the Bin menu or the Bin Fast menu.
The system highlights all related objects in all open bins.
Highlighted media relatives
289

n
You
can also use the Media tool to look at the recorded video and audio data
files stored on your media drives.
Displaying Audio File Information
When recording audio in the field with a Zaxcom Diva or an Aaton
InDaw recorder, information can be logged about the audio, such as:
• Shoot date
• Timecode
• Scene
• Take information
• Production notes
After you import the audio file to an Avid system, you can display this
information in the bins. If no Tape ID is available from the audio file,
the Shoot date is displayed in the TapeID column.
Using Text View
Text view provides the most complete view of clip information. It uses
database columns that you can rearrange and customize to suit your
needs.
To enter Text view:
t
Click the Text View button (labeled T) in the lower left corner of
the bin.
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Text View button
Arranging Bin Columns
This section provides procedures for adding, hiding, moving,
duplicating, and deleting columns from a bin.
Moving and Rearranging Columns
To move a text column in a bin:
1. Click the heading of the column that you want to move.
The entire column is highlighted.
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2. Drag the column to the position you want, and release the mouse
button.
The column appears in the new position, and columns to the right
are moved to make room.
Aligning Bin Columns
When you align bin columns, the system maintains the same order of
columns from left to right but spaces them according to the length of
their contents. This is especially useful for removing spaces left after
you move or rearrange columns.
To align bin columns:
t
Choose Align to Grid from the Bin menu.
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Showing and Hiding Columns
You can select individual or multiple headings to be displayed or
hidden in the bin.
To choose column headings:
1. With a bin in Text view, choose Headings from the Bin menu.
The Bin Column Selection dialog box appears.
2. Select the headings you want to add to the bin:
t
t
t
t
Click the name of a heading to select it.
Click a highlighted heading to deselect it.
Click Select All to highlight all the headings in the bin.
Click Deselect All to deselect all the headings in the bin.
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3. Click OK. Only the headings highlighted in the dialog box appear
in the bin or Text view.
Deleting Columns
Deleting a statistical column is the same as hiding the column; you can
restore the column at any time by using the Bin Column Selection
dialog box. When you delete a Custom column, however, you must
re-create the column.
To delete a column:
1. Click the column heading.
2. Choose Delete from the Edit menu, or press the Delete key.
The column disappears from the view, and surrounding columns
close to fill the space.
Duplicating Columns
You can duplicate existing columns containing timecode information
in other compatible columns that you target in a dialog box.
To duplicate a timecode column:
1. Select the column you want to duplicate by clicking its heading.
2. Choose Duplicate from the Edit menu.
The Select dialog box appears.
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3. The dialog box contains column names compatible with the
column you selected in step 1. The column must contain the same
type of data for the copy to occur. Select a column name from the
list, and click OK.
The column of information appears in the column you designated.
Adding Customized Columns to a Bin
You can add your own column headings to describe information about
clips and sequences. For example, you might want to add a column
heading to describe what kind of shot (close-up, wide shot, master
shot, extreme close-up, and so on) is used in a clip.
To add a new custom column:
1. Move any existing column to the right or left to create an empty
area.
2. Click an empty area to the right of the current headings in the
headings box.
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3. Type the column heading you want, and press Enter. Column
headings must contain fewer than 30 characters, including spaces.
Custom
heading
This places the pointer in the data box, beside the first clip in the
bin.
4. Choose Align Columns from the Bin menu after you have entered
the new column heading.
5. Type the information, and press Enter to move to the next line.
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Changing a Custom Column Heading
You can change the heading name of custom columns only. You cannot
change any of the standard statistical or film column headings.
To change the name of a custom column:
1. Press and hold the Alt key, and click the heading to highlight it.
2. Type the new text for the heading, and press Enter.
Managing Clip Information in Text View
There are several ways to manage clip information in Bin columns.
These methods include moving information with columns, modifying
clip data, moving information between whole columns, copying
information between cells, and sorting clip information, as described
in this section.
Moving Within Column Cells
Use the keyboard shortcuts to move from cell to cell in bin columns:
n
To
use these shortcuts, select the cell entry so it appears in black, not the entire
row.
• Tab moves the pointer to the parallel cell in the next column. You
can continue to press the Tab key to scroll through the cells to the
right until the cell in the last column is highlighted. The next time
you press the Tab key, the cell in the first column is highlighted.
• Shift+Tab moves the pointer to the cell in the previous column.
You can continue to press Shift+Tab to scroll through cells to the
left until the cell in the first column is highlighted. The next time
you press Shift+Tab, the cell in the last column is highlighted.
• Enter enters any new information typed in the cell and moves the
pointer down to the cell in the next row. You can continue to press
Enter to scroll down the column until the last cell in the column is
297

highlighted. The next time you press Enter, the first cell in the
column is highlighted.
• Shift+Enter moves the pointer up to the cell in the previous row.
You can continue to press Shift+Enter until the cell in the top row
is highlighted. The next time you press Shift+Enter, the cell in the
last row is highlighted.
Modifying Clip Information
You can change or modify the information in certain columns for your
master clips, subclips, tapes, and other objects stored in the bin. This is
especially useful if some of the data are incorrect or if you need to
conform information for organizational purposes.
The following conditions apply to modifying clip information:
• When you modify a clip’s information, related objects are
automatically updated to reflect the new data. For example, if you
change the name of a clip, the updated name appears in the
sequences that use the clip.
• Some data cannot be modified after recording because changes
would prevent you from playing back and editing the material
successfully.
• Sequence data cannot be changed, even though it appears in your
bin. The only way to modify sequence data is to edit the sequence
itself. You can, however, change the name and start time for the
master timecode track, as described in “Changing the Sequence
Info” on page 386.
You can modify some data directly for master clips, subclips, and
other objects stored in a bin.
Modifying Data Directly
When you modify information in a bin directly, you click a cell and
type the new information. For example, you can type a new name for a
clip or correct the start and end timecodes.
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To modify the clip data directly:
1. Click the Text View button (labeled T) in the lower left corner of
the bin.
2. Click the cell that you want to modify. Select only one item at a
time.
3. Click the cell again to enter text.
If the pointer does not change to an I-beam, you might be
attempting to modify a column that cannot be directly modified.
4. Type the new information, and press Enter.
Modifying Data by Using the Modify Command
The Modify command gives you specialized control over information
in specific headings. For example, you can use the Modify command
to change the name of source tapes or to increment or decrement the
start and end timecodes by a specified length of time for one or several
master clips at once.
You can apply changes with the Modify command to master clips
only; subclips and sequences cannot be altered in this way. In addition,
you can perform only modifications that alter the end timecodes or the
tracks before recording, as described in Table 9-2.
Table 9-2
Option
Modify Command Options
Restrictions
Set Timecode
Drop-Nondrop
Set Timecode By Field
Increment Timecode
Setting must match the timecode format of the
tape.
Only start timecode can be altered after
recording.
Only start timecode can be incremented after
recording.
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Table 9-2
Option
Modify Command Options (Continued)
Restrictions
Decrement Timecode
Set Tracks
Set Source
Only start timecode can be decremented after
recording.
Clip must be unrecorded.
Should match the original source tape name.
To modify selected data by using the Modify command:
1. Open the bin.
2. Click the small film clip icon to the left of the clip, sequence, or
other object you want to modify. Ctrl+click each additional object
you want to modify.
3. Choose Modify from the Bin menu.
The Modify dialog box appears.
Modify options
pop-up menu
4. Choose an option, such as Set Timecode Drop-Nondrop, from the
Modify options pop-up menu.
5. Select an option or type information in the text boxes (timecode
values, for example) when they appear.
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6. Click OK.
The modification takes effect.
Copying Information Between Columns
To copy information between columns:
1. Select the column that you want to copy.
2. Choose Duplicate from the Edit menu.
A dialog box prompts you to target a column for the data.
3. Select the target column for the data, and click OK.
Sorting Clips
Sorting clips arranges them in either numerical or alphabetical order,
based on the data in the column you select as the sorting criteria. You
can sort clips in several different ways, including an ascending sort, a
descending sort, and a multilevel sort.
n
You
can sort clips and sequences in Text view only. If you need to view sorted
clips in Frame or Script view, sort them in Text view first and then return to
Frame or Script view.
Sorting Clips in Ascending Order
To sort clips in ascending order:
1. Click the Text View button (labeled T) in the lower left corner of
the bin.
2. Click the heading of the column that you want to use as the
criterion.
The column is highlighted.
3. Choose Sort from the Bin menu.
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The objects in the bin are sorted in ascending order. For
information on sorting order, see “Sorting Clips in Descending
Order” on page 302.
n
If
the Sort command appears dimmed in the menu, you have not selected a
column.
To reapply the last sort:
t
Choose Sort Again from the Bin menu with no column selected.
This step is especially useful after you have added new clips to a
sorted bin.
Sorting Clips in Descending Order
To sort clips in descending order:
1. Click the Text View button (labeled T) in the lower left corner of
the bin.
2. Click the heading of the column that you want to use as the
criterion.
The column is highlighted.
3. Press and hold the Alt key while you choose Sort Reversed from
the Bin menu.
The objects in the bin are sorted in descending order. For
information on sorting order, see “Sorting Clips in Ascending
Order” on page 301.
Performing Multilevel Sorting with Columns
You can select multiple columns in a bin and perform a multilevel sort
by using the information in the columns.
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To perform a multilevel sort:
t
Rearrange the columns in the bin to establish the primary column.
The column that appears farthest to the left in Text view becomes
the primary criterion for the sorting operation.
Using Frame View
In Frame view, each clip is represented by a single frame, with the
name of the clip displayed below the frame. The system uses the head
frame as the default, but you can play back the footage within any clip
and select any frame to represent the footage. You can make the
pictures larger to see more detail or smaller to see more clips in the
window. You can also rearrange the frames in any order.
Each frame appears on your screen with its assigned name directly
beneath it.
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Clip frame
Clip name
Frame View button
Changing the Bin Background Color
You can customize the background color of the bin behind the frames.
Changes affect one bin at a time. However, changes you make in
Frame view appear in Script view as well. Text view remains black and
white.
To change the bin background color:
1. Activate the bin you want to change, and make sure you are in
Frame view.
2. Choose Set Bin Background from the Edit menu, and select a color
from the palette.
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The bin color changes, based on your selection.
Enlarging or Reducing Frame Size
You must enlarge or reduce all frames in the bin together. You cannot
change the size of an individual frame.
To enlarge the frame size:
t
Choose Enlarge Frame from the Edit menu.
The display size increases each time you choose this option, up to
five times.
To reduce the frame size:
t
Choose Reduce Frame from the Edit menu.
The display size decreases each time you choose this option, up to
five times.
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Rearranging Frames
Frame view allows you to rearrange the display of the frames in the
bin by moving them.
To rearrange frames:
1. Click a single frame, and drag it to its new position.
To rearrange more than one frame at a time, Shift+click or lasso
multiple frames and drag them to a new position in the bin.
2. Click the background area of the bin to deselect the clips.
n
When
you return to Text view, the order of the clips is changed there as well.
Changing the Frame Identifying the Clip
By default, Frame view displays the first frame of each clip in the bin.
You can, however, change the displayed frame.
To change the frame identifying the clip:
1. Select the clip that you want to change.
2. Press and hold the K key (Pause) on the keyboard, and press the L
key (Play Forward) to roll the footage within the frame forward at
slow speed. To move backward through the footage, press and
hold the K key and press the J key (Play Reverse).
3. When you see the frame that you want use, release the keys.
NewsCutter XP saves the displayed frame as part of the bin
configuration.
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Arranging Frames in a Bin
To realign the frames in a bin after you have changed their display, use
one of the following procedures:
To align all frames to an invisible grid:
t
Choose Align to Grid from the Bin menu.
To spread out the frames evenly to fill available space in the bin
window:
t
Choose Fill Window from the Bin menu.
Using Script View
Script view combines the features of Text view with Frame view and
adds space for typing notes or script. The frames are displayed
vertically on the left side of your screen with a text box to the right of
each clip. Clip data matching the column headings in Text view
appears above each text box. You cannot change the size of the frames
displayed in Script view.
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Entering Script View
To enter Script view:
t
Click the Script View button (labeled S) in the lower left corner of
the bin.
Adding Text in Script View
To type text in the script box:
t
Click the script text box, and begin typing.
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This text does not appear in sequences edited from the clips; text
appears only in printouts of the bin in Script view.
You can use basic word processing procedures to highlight, delete, cut,
copy, and paste text between script text boxes.
If the notes or text you type extends beyond the size of the text box,
use the Page Up or Page Down key to scroll through the text.
Rearranging Clips in Script View
To rearrange the order of clips in Script view, do one of the
following:
t
t
Drag each clip up or down to a new location in the bin.
Sort and sift clips in Text view, and then return to Script view to
display selected clips in the sort order you want.
Printing Bins
NewsCutter XP allows you to print entire bins or individual frames in
hardcopy form.
To print entire bins:
1. Make sure your printer is correctly configured. See your printer or
Windows documentation, or contact your system administrator.
2. Select Text view, Frame view, or Script view.
n
To
print a frame in Frame view or Script view, you must use a printer capable
of printing graphics files.
3. Choose Page Setup from the File menu.
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The Page Setup dialog box appears, reflecting specific options for
your printer.
4. Select the appropriate options from the Page Setup dialog box, and
then click OK.
5. Choose Print Bin from the File menu.
The Print dialog box appears, reflecting specific options for the
type of printer you have.
6. Select the print options in the Print dialog box, and then click OK.
The system prints the active bin.
Gathering Format Elements
While organizing your project, you can gather various format
elements into a single bin that you can open and use later during
editing.
Some useful format elements might be:
• Bars and tone
• Head and tail leader
• Repeated titles
• Countdowns
• Graphic elements (repeated animations and so forth)
For information on importing graphic elements and titles, see
“Importing Files” on page 256.
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Preparing Digital Bars and Tone
Your NewsCutter XP system includes a set of test pattern PICT files.
You can choose the type of test pattern you want to use and import it
to the system at any time.
When you are ready to output a digital cut, you can generate tone to
go along with bars by using the Calibration tone features of the Audio
tool. For more information, see “Preparing for Output” on page 552.
Importing Color Bars and Other Test Patterns
To import a test pattern from a PICT file:
1. Open an existing bin, or create a new one for the test pattern.
2. Select the destination bin.
3. Choose Import from the File menu.
The Select Files to Import dialog box appears.
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Look In
pop-up
menu
4. Use the Look In pop-up menu to navigate to the folder containing
the test pattern file. Test pattern files are located in the Program
Files\Avid\Avid NewsCutter XP folder.
5. Click Open.
The clip for the imported file appears in the selected bin.
6. Create a clip of tone media by using the Audio tool. For more
information, see “Creating Tone Media” on page 205.
Consider recording tone at both 44 kHz and 48 kHz for use in
various projects. Match the resolution of the tone to the audio
resolution of the sequence.
7. Create a new sequence with the SMPTE bars, and edit the tone
media clip onto audio tracks 1 and 2.
8. Edit the end of this sequence to an appropriate length (1 minute is
a standard length for sequences).
9. Rename the sequence to indicate its purpose.
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Creating Leader
You can use digital leader in NewsCutter XP to mark the beginning
and ending of tracks and to help you maintain sync. You can create
your own leader for video, as described in this section. Whatever your
choice for specification, be sure to make all your leader clips the same
length, with common sync points.
Creating Video Leader
To create leader for picture tracks:
1. Create a black screen in the Title tool for tail leader or a white
screen for head leader. For information on using the Title tool, see
the Avid NewsCutter XP Effects Guide.
Optionally, you can type a title on the screen that says Tail Leader
or Head Leader.
2. Name this clip Head Leader or Tail Leader when you save the title.
3. Create a subclip from an appropriate length of the clip, according
to your chosen specifications.
4. (Option) Mark a sync frame in the subclip as follows:
a. Load the clip into the Source/Record monitor.
b. Find an appropriate sync point and add a locator.
c. (Option) Double-click the locator in the Source/Record
monitor to add a sync point notation that appears on the
monitor.
Once the leader is prepared, you can splice the leader during editing
onto the tracks that you want to keep in sync. You can use the sync
points for visually aligning tracks.
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Creating Audio Leader
To create tail leader for audio tracks:
1. Load a clip that includes a section of recorded tone into the
Source/Record monitor.
2. Create a subclip from an appropriate section of the clip, according
to your chosen specifications.
3. Name this new subclip Head Leader or Tail Leader.
4. Load this subclip into the Source/Record monitor.
5. Prepare the sound levels for leader without a sync point (no audio
pop) by opening the Audio Mix tool and bringing the audio level
all the way down for the entire clip.
6. For leader that includes a sync point (audio pop), do the
following:
a. Find the appropriate sync point.
b. Step one frame backward and place an add edit before the
sync frame; then step two frames forward and place an add
edit after the sync frame.
c. Move the position indicator before the first add edit, and open
the Audio Mix tool.
d. Bring the audio level all the way down.
e. Move the position indicator after the second add edit, and use
the Audio Mix tool to bring the level all the way down.
For information on adding an edit, see “Adding an Edit” on
page 437.
Once the leader is prepared, you can splice the leader during editing
onto the audio tracks that you want to keep in sync. You can use the
sync points for visually aligning tracks.
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CHAPTER 10
Managing Media Files
When you record footage, the system creates digital media files for the
video and audio tracks on the media drives attached to your system.
In addition to the bin tools that allow you to organize the clips that
reference these media files, your NewsCutter XP system provides
useful tools and features for directly managing media files for storage
and playback efficiency, for backup, and for transfer between systems.
The following sections describe these procedures:
• Using the Media Tool
• Consolidating Media
• Backing Up Media Files
• Finding a Related Media File
• Relinking Media Files
• Unlinking Media Files
• Workgroup Support
Using the Media Tool
The Media tool is your window to the recorded video and audio data
files stored on your media drives. As an important counterpart to the
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ins, the Media tool provides similar database tools for manipulating
digital media files in tandem with your organization of clips and
sequences.
Basic Media Tool Features
The Media tool provides many of the same controls for viewing and
managing information that you use with bins:
• The two display views in the Media tool function like those in
bins: Frame view and Text view.
• You can use the same Frame view options described in “Using
Frame View” on page 303.
• You can use Text view headings and options for columns of clip
and media file data. You can also use procedures such as
customizing the display of columns, moving within columns, and
sorting information, as described in “Using Text View” on
page 290.
• The Media Tool Fast menu gives you quick access to the same
commands available in the Bin Fast menu.
• You can highlight, move, copy, duplicate, delete, sort, and sift clips
in the Media tool. You can also select media relatives, sources, and
unreferenced clips, as described in “Basic Bin Procedures” on
page 278.
• Media tool database and display options are saved as User
settings. When you close the Media tool, the view you are in
(Frame or Text) is saved, and any customizations of columns are
saved.
• You can print Media tool data by using the same procedures for
printing bins, as described in “Printing Bins” on page 309.
The Media tool also has a number of unique features:
• Unlike a bin, the Media tool can display all the tracks recorded for
each clip as separate media files. Therefore, when you view,
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delete, and manipulate files, you have the added option of
specifying individual video and audio tracks.
• Unlike a bin, the Media tool does not display sequences and
subclips. Only master clips, precompute (rendered effect) clips,
and associated media files are available for display.
• The following Bin menu commands do not apply to the Media
tool: Batch Record, Batch Import, Relink, Modify, and
AutoSequence. You must perform these functions from a bin.
Opening the Media Tool
To open the Media tool:
1. Choose Media Tool from the Tools menu.
The Media Tool Display dialog box appears.
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2. Select the display options as follows:
• You can select individual media drives or all drives.
n
The
Media tool loads the media database only for the drives you select. The
more drives you select, the more memory is required for the Media tool to
open.
• You can display files for the current project, for selected
projects, or for all projects.
n
Only
projects with associated online media and the current project appear in
the Project(s) list in the Media Tool Display dialog box.
• You can display master clips, precompute (rendered effect)
clips, or media files, or any combination of the three.
3. Click OK.
The Media tool opens.
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Precompute
clip
Media file
Master Clip
Text View button
Deleting Media Files with the Media Tool
You can use the Media tool to delete selected media files without
harming the related master clips, subclips, and sequences.
n
If
you use the Media tool to delete selected media files, you will no longer have
access to visuals of the deleted material. If you load a clip for which a media
file has been deleted, a blank screen appears with the message “Media
Offline.” If you need to use those clips again, you must rerecord from tape.
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Depending on your needs, you can do one of the following:
t
t
t
Delete selected audio or video tracks, and retain other tracks from
a clip.
Delete entire sets of media files and related clips from within the
Media tool.
Delete all unrelated media upon completion of a project, and
retain only the media required for playback of a finished sequence
as described in “Consolidating Media” on page 322.
To delete selected media files:
1. Choose Media Tool from the Tools menu.
2. In the Media Tool Display dialog box, select the types of files
(master clips, precompute clips, or media files) that you want to
delete.
3. Click OK.
The Media tool opens.
4. Select one or more media files (audio, video, or both) or master
clips whose media files you want to delete.
5. Choose Delete from the Edit menu, or press the Delete key.
The Delete Media dialog box appears.
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6. Select the media files that you want to delete:
• Video media file (V). The master clip linked to that file is
black, and the message “Media Offline” is displayed in the
Source/Record or pop-up monitor. Related subclips and
sequences are affected in the same way.
• Audio media file (A1, A2, A3, A4). The master clip linked to
that file is silent. Subclips and sequences created from the
master clip are affected in the same way.
• Precompute media file (V, A). The section of the sequence
with the effect is black, and the message “Media Offline” is
displayed.
7. Click OK.
A dialog box appears.
8. Click Delete.
The selected media files are deleted.
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Consolidating Media
When you consolidate media files, the system finds the media files or
portions of media files associated with selected clips, subclips, or
sequences. It then makes copies of them and saves the copies on a
target drive that you specify.
n
Because
the Media tool displays only master clips, you cannot consolidate
subclips or sequences with the Media tool. You can consolidate master clips,
subclips, and sequences in the bin.
About the Consolidate Feature
The Consolidate feature allows you to create and save copies of the
sequence’s media files to a selected drive. This makes it relatively
simple to move source files with you when you work on a different
system. Using the Consolidate feature has the advantage of copying
only the amount of media necessary; you save only the sequences and
clips used in the project. For example, it will not copy an entire 1-hour
audio file to consolidate a single 10-second clip.
The Consolidate feature operates differently depending on whether
you are consolidating master clips, subclips, or sequences. There are
also different advantages in each case, as follows:
• Master clips: When you consolidate a master clip, the system
creates exact copies of the media files. If you link the original
master clip to the new files, the system creates a master clip with
the file name extension .old that remains linked to the old files. If
you maintain the link between the original master clip and the old
media files, the system creates a new master clip with the file
name extension .new that is linked to the new files. The new clips
are also numbered incrementally beginning with .01.
Consolidating master clips does not save storage space because
the system copies the same amount of media for each clip.
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Consolidating a Master Clip
Original media files
Link the master clip
to new or old files.
Copy of media files
Master Clip.old.01
Master Clip
Master Clip.new.01
• Subclips: When you consolidate a subclip, the system copies only
the portion of the media files represented in the subclip, and
creates a new master clip that is the duration of the subclip and a
new subclip. The file name extension .new is attached, along with
incremental numbering beginning with .01.
Consolidating a Subclip
Original media files
Subclipped copy of media files
Master Clip
Subclip
Master Clip.new.01
Subclip.new.01
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• Sequences: When you consolidate a sequence, the system copies
only the portions of media files edited into the sequence, and
creates new master clips for each clip in the sequence. The file
name extension .new is attached to the master clips, along with
incremental numbering beginning with .01. The sequence is not
renamed but is automatically relinked to the new media files.
Consolidating a Sequence
Original media files
Edited copy of media files
Clip A Clip B Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01
Original links are broken.
Sequence
New links are established.
n
Because
a consolidated sequence is linked to the new files by default, consider
duplicating the sequence each time you consolidate if you need to maintain
links to the original files.
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Using the Consolidate Command
c
Do not make copies of media files from the desktop while the
NewsCutter XP application is running. Also, do not keep duplicate
copies of media files online; either delete the originals, take the
backups offline, or store the backups in a folder with a different
name.
To consolidate master clips, subclips, or sequences:
For more information
on rendering effects, see
the Avid NewsCutter XP
Effects Guide.
1. If you are consolidating a sequence, duplicate the sequence to
maintain links to the original files, if necessary, and render any
unrendered effects.
2. With the bin open, select the clips or sequence to consolidate.
3. Choose Consolidate from the Bin menu.
The Consolidate dialog box appears.
4. (Option) Select one or more of the following:
- “Video and Audio on same Volume(s)” to store the
consolidated media files on the same target drive. Deselecting
this option allows you to select separate drives for the audio
and video media files.
- “Delete original media files when done” to delete original
media files automatically.
- “Skip media files already on the target disk” to skip files if
some related media files are already located on the target
drive.
- “Relink selected clips to target disk before skipping” to ensure
that all selected clips are linked to media on the target drive.
This option appears when you select “Skip media files already
on the target disk.”
5. Select a target drive from the Target Drive(s) list. To select
additional target drives, Ctrl+click the drive name.
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Make sure that you choose a target drive with enough storage
space for all the consolidated media files and the ability to play
back media. Drive filtering does not apply to the consolidate
process.
6. If you are consolidating subclips or sequences, type a handle
length for the new clips, or leave it at 60 fields to accept the
default. The handle length is the number of safety frames before
and after the chosen media.
7. If you are consolidating a group clip or a sequence that contains
group clips, select the option “Consolidate all clips in a group
edit” to copy media for all the clips in the group.
8. Select “Do Audio Sample Rate Conversion” to convert any sample
rates not set at the rate set in the Audio Project Settings dialog box.
For information on setting the sample rate, see “Adjusting Audio
Project Settings” on page 198.
9. Click OK.
If you are consolidating master clips and did not choose to delete
the original media files, a second dialog box appears and offers
you a choice.
10. Link the original master clips to the new or old media files,
according to preference.
11. Click OK.
Another way to back up media files is to copy them directly onto
another hard drive by using the Windows desktop. You cannot,
however, take advantage of the storage-saving features of the
Consolidate command, and it is more difficult to identify
particular media files when searching directly through folders.
Loading the Media Database
The media database is a catalog of master clips and precomputes
stored on the external media drives. One use of the media database is
to display master clips and precomputes in the Media tool.
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Bins also contain references to some of the media files based on the
contents of the bin. NewsCutter XP does not maintain the entire
database in memory at all times. Instead, it builds up a partial
database for the bins that have been opened in the current session to
preserve as much memory as possible for editing.
If you store the master clips and the edited sequences for a project in
separate bins, there are two scenarios in which sequences might
appear to be offline. In this case, you need to load the entire database
to relink clips to their media files. The scenarios are:
• Rerecording: When you rerecord the master clips while the
sequences bin is closed, quit NewsCutter XP, restart the
application, and open the sequences bin only.
• Consolidating: When you consolidate the master clips and relink
them to the consolidated media while the sequences bin is closed,
quit NewsCutter XP, restart the application, and open the
sequences bin only.
To update offline sequences with the new media files:
n
You
c
t
Choose Load Media Database from the File menu.
The system loads all online master clips and precomputes.
need not load the media database more than once during a single editing
session because the database remains in memory until you quit the
application or restart the NewsCutter XP system.
If a bin continues to display the message Media Offline after
loading the media database, either the media files are missing or the
links have been broken. For more information, see “Relinking
Media Files” on page 329.
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Backing Up Media Files
The OMFI MediaFiles folders on your external media drives contain
the individual media files created when you recorded source material.
Unlike the smaller Avid Projects and Avid User folders, these folders
are too large to back up onto floppy disks.
The options for backing up media files include:
• Consolidating or making copies of media files for transfer to
another system
• Archiving larger media files and folders to a dedicated
mass-storage system
Finding a Related Media File
The Reveal File command allows you to select a clip in a bin and
automatically open its related media file. This is useful if you want to
delete or move the media file.
To find a related media file:
1. Select the clip in a bin for which you want to find the media file.
The clip is highlighted.
2. Choose Reveal File from the File menu.
The system searches all available drives and highlights a related
media file.
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Related media file
If more than one file is related to the clip, a message asks if you
want to see the next file.
If you click OK, you need to bring the Explorer window forward
by pressing and holding the Alt key and pressing the Tab key until
you select the OMFI MediaFiles folder.
Relinking Media Files
Sometimes, after you consolidate or move material between systems,
the clips or sequences lose their links to the original media files. When
a clip becomes unlinked, it displays the message Media Offline. If
appropriate media exists online, you can use the Relink command to
reestablish the link.
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When you select subclips or sequences and choose the Relink
command, the system searches for master clips that contain the same
material included in the selection.
You can also relink master clips to appropriate media files. The system
compares information such as source tape name, timecode
information, and channels recorded. If the search is successful, the
system establishes new links to the available media files. You can
instruct the system to search specific drives or all available drives.
To relink clips, subclips, or sequences:
1. Select the unlinked object or objects in the bin.
2. Choose Relink from the Bin menu.
The Relink dialog box appears.
3. Select a relinking option depending on the type of object you are
relinking, either non-master clips or master clips:
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n
To
t
t
t
Select “Relink offline non-master clips to any online items” to
relink clips and sequences to the master clips that contain the
same material.
Select “Relink all non-master clips to selected online items” to
relink related subclips or sequences to the highlighted clip in
the bin.
Select “Relink offline master clips to online media files” to
relink master clips to media files that share similar database
information.
4. Choose an option from the “Relink to media on volume” pop-up
menu:
t
t
Choose All Available Drives to search across all media drives
that are online.
Choose a specific drive volume if you know the location of the
media or if you want to relink to media on a specific media
drive.
5. (Option) Select “Relink only to media from the current project.”
6. (Option) Select “Match case when comparing tape names.”
7. Click OK.
The system searches the selected media drives, and relinks clips
and sequences if possible. The system disregards capture rate,
video resolution, and audio resolution when matching media files.
maintain the original Record settings for a subclip or sequence, use the
Batch Record command; do not use the Relink command.
Relinking to Selected Clips
You can also use the Relink command for connecting subclips or
sequences to selected master clips and subclips.
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To relink to selected master clips and subclips:
1. Move the subclips or sequences that you want to relink into the
bin containing the clips.
2. Select the clips targeted for relinking.
3. Choose Relink from the Bin menu.
The Relink dialog box appears.
4. Select “Relink all non-master clips to selected online items” to
relink related subclips or sequences to the highlighted clip in the
bin.
5. Choose an option from the “Relink to media on volume” pop-up
menu:
t
t
Choose All Available Drives to search across all media drives
that are online.
Choose a specific drive volume if you know the location of the
media or if you want to relink to media on a specific media
drive.
6. (Option) Select “Relink only to media from the current project.”
7. (Option) Select “Match case when comparing tape names.”
8. Click OK.
The subclips or sequences are linked to the selected clips or
subclips.
Relinking Consolidated Clips
If the appropriate media exists online, you can reconnect consolidated
clips, subclips, or sequences to the new or old media files.
For example, if you consolidated a sequence and forgot to create a
duplicate, and later decide to use the original media files instead of the
consolidated media files, you can break the new link and reestablish
the old link to the original files.
332

n
Because
subclips and sequences do not point directly to the media files, you
can perform this procedure only by using the source master clips.
To relink consolidated subclips or sequences:
1. Select the new master clips for a consolidated subclip or sequence
(the clips will have the file name extension .new), and unlink them.
For information on unlinking, see “Unlinking Media Files” on
page 333.
2. Choose Relink from the Bin menu.
The Relink dialog box appears.
3. Select “Relink offline master clips to online media files” to relink
master clips to media files that share similar database information.
4. Choose a specific drive volume that contains the original media
files from the “Relink to media on volume” pop-up menu.
5. (Option) Select “Relink only to media from the current project.”
6. (Option) Select “Match case when comparing tape names.”
7. Click OK.
The clips are relinked to the original media files.
Unlinking Media Files
You can use the Ctrl and Shift keys to modify the Relink command for
unlinking clips from their media files.
To unlink master clips from their current links:
1. Select the master clips to unlink.
2. Press Ctrl+Shift, and choose Unlink from the Bin menu.
The clips are unlinked and display the message Media Offline.
333

n
Because
subclips and sequences do not point directly to the media files, you
can perform this procedure only by using the source master clips.
If you have similar material from different sources, you can duplicate
a set of clips, unlink the duplicates, and then modify the sources of the
duplicates before recording the new source material.
Workgroup Support
NewsCutter XP includes support for Avid Unity workgroup products,
including MediaManager and TransferManager.
About MediaManager
If you are using your NewsCutter XP system in an Avid Unity
workgroup environment, you can use MediaManager to manage your
media. MediaManager is an Open Media Management (OMM)
compliant media database that allows you to search the large number
of media objects (master clips, sequences, effects, and any other type of
object that references digital media) in the Avid Unity MediaNet
shared storage environment. For information on using the
MediaManager application, see the Avid Unity MediaManager User’s
Guide.
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About TransferManager
When editing in a workgroup environment, you can share media by
using the MediaManager application. If you want to transfer media
from one workgroup to another, you can use the TransferManager
application.
TransferManager receives and queues transfer requests from one or
more clients. Transfers are then initiated by the TransferManager
server to offload the client. For information on transferring files
between workgroups, see the Avid Unity TransferManager User’s Guide.
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CHAPTER 11
Viewing and Marking
Footage
Before making your first edit, you can review your footage, add
locators to clips, mark IN and OUT points, and create subclips. By
viewing and marking your material in advance, you can concentrate
on editing and refining your sequence at a later time without having to
pause and set marks each time you load a new clip. Techniques for
playback, viewing, and subcataloging clips are described in the
following sections:
• Changing the Pop-up Monitor Size
• Using the 16:9 Display Format
• Displaying Tracking Information
• Viewing Methods
• Loading and Clearing Footage
• Resizing Monitors
• Controlling Playback
• Playing Video to the Client Monitor
• Marking and Subcataloging Footage
• Finding Frames and Clips
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Changing the Pop-up Monitor Size
You can resize the pop-up monitor for better viewing.
To resize the pop-up monitor:
t
Click and drag the lower right corner of the monitor to the size
you want.
Using the 16:9 Display Format
NewsCutter XP supports the display of some forms of native 16:9
media with the correct aspect ratio. When you shoot this “wide”
format with a camera, it stores it anamorphically (into a standard 4:3
frame) as opposed to letterboxed. When you select the 16:9 option in
NewsCutter XP, the anamorphic 16:9 media is displayed (not
letterboxed) in the Source/Record monitor, pop-up monitor, and the
Title tool.
Titles and effects are also created in the correct aspect ratio.
To enable the 16:9 display:
1. Click in the monitor to make it active.
2. Choose 16:9 Monitors from the Clip menu.
A check mark appears next to the 16:9 option. The monitor
displays media as 16:9.
n
If
you shoot footage as anything other than 16:9 and choose to display the
monitor as 16:9, the media appears distorted.
337

Displaying Tracking Information
Tracking information consists of any type of format used to identify
clips, audio and video tracks, individual frames, or footage durations
while you work. The NewsCutter XP interface displays this
information in the Tracking Information menu, located above the
Source/Record monitor. This information is updated continuously to
reflect your current position in the footage. You can choose various
alternative tracking formats from submenus.
By default, the tracking information area displays no information until
you select a tracking format. In addition, tracking data is not displayed
when you don’t have material loaded in the monitor. If you load a clip
and no information is currently displayed, you can still open the
submenu by clicking in the area above a monitor.
To choose a tracking information format:
1. Load a clip or sequence into the Source/Record monitor.
2. Click in the gray information display area above the
Source/Record monitor (to the left of the sequence name), and
choose a format from the Tracking Information menu.
338

Tracking Information
menu
Tracking Format Options
The Tracking Information menu contains options for information to
display above the monitors.
339

The following is a summary of the contents of the menu:
• The upper portion of the menu lists options for summary
information, such as master timecode (Mas), duration of the entire
clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs),
and time remaining (Rem).
• The second portion of the menu lists options for displaying the
timecode for a specific track (V1–V4 and A1–A8). This list contains
options only for the tracks existing in the currently loaded clip or
sequence. For example, a clip with only one audio track does not
show an option for A2.
• The third portion displays the Clip Name for the track that you
choose from a submenu. The name displayed is continuously
updated based on the location of the position indicator.
n
If
you choose an item from the Clip Name submenu, the Clip Name section
and the TC section trade places in the Tracking Information menu.
• The bottom portion allows you to select None to turn off the
display.
340

Displaying Clip Information
The Info window displays statistical information about the clip. You
open the Info window from the Source/Record monitor or a bin. This
window updates information automatically.
To display clip information from a bin:
1. Press Ctrl+Alt and click the clip for which you want to display
information.
The Info window with clip information opens.
2. Drag the window to a new location to leave it open.
Copying Text from the Info Window
You can cut, copy, and paste information from the Info window
anytime, but you cannot edit or change any information within the
window.
To copy text from the Info window:
1. Select the information you want to copy.
2. Press Ctrl+C to copy the information.
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3. Place and click the mouse pointer where you want to paste the
information, and then press Ctrl+V.
Displaying the Timecode Window
Each pop-up monitor displays one line of timecode. The Timeline also
displays one line of timecode. The Timecode window allows you to
display one or more lines of timecode in a separate window.
To set a timecode display:
1. Choose Timecode Window from the Tools menu.
The Timecode window opens.
2. Click anywhere in the Timecode window.
3. Choose a display option from the Timecode pop-up menu. For a
description of the Timecode options, see Table 11-1.
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Close button
Timecode
pop-up menu
The window displays the timecode you have chosen. The
information is continuously updated based on the location of the
position indicator and the monitor that is active.
4. Click the Close button to close the Timecode window.
Table 11-1
Option
Mas
Dur
I/O
Abs
Rem
TC
Timecode Display Options
Description
Displays master timecode at the present location
Displays total duration of the sequence
Displays duration between IN and OUT points
Displays absolute time duration at the present position
Displays time remaining at the present position
Displays timecode for the chosen track
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Table 11-1
Option
Timecode Display Options (Continued)
Description
V1–V4 Displays the source timecode of the video on tracks 1, 2, 3,
and 4
A1–A8 Displays the source timecode of the audio on tracks 1, 2, 3,
4, 5, 6, 7, and 8
Clip Name
None
Add Display
Displays the name of the clip for a specific track
Hides the display
Allows you to add another timecode display
Displaying Multiple Timecodes
To display multiple timecodes in the Timecode window:
1. Choose Timecode Window from the Tools menu.
The Timecode window opens.
2. Click anywhere in the Timecode window to display the Timecode
pop-up menu.
3. Choose Add Display from the Timecode pop-up menu.
A new line appears in the window.
4. Click the new line to display the Timecode pop-up menu.
5. Choose an option from the Timecode pop-up menu. For a
description of these options, see Table 11-1.
n
You
might need to resize the timecode display to see all the options. To do so,
drag the lower right corner of the window.
6. Click the Close button to close the Timecode window.
344

Setting the Font and Point Size for Monitor Displays
You can apply a font and point size to a sequence or clip name.
To set the font and point size:
1. With the Source/Record monitor active, choose Set Font from the
Edit menu.
The Set Font dialog box appears.
2. Choose a font from the Font pop-up menu, and type a point size in
the Size text box.
3. Click OK.
The new font and point size are applied to the sequence name or
clip name.
Viewing Methods
You can work with clips and sequences in several different ways,
depending on your needs and preferences. Each method has its own
uses and advantages, as follows:
• Viewing in bins: You see pictorial images of the clips in your bins
by using Frame view or Script view. You can also list the clips by
name by using Text view. See “Using Text View” on page 290.
• Viewing in the pop-up monitors: You can load clips and
sequences into pop-up monitors to view and mark or subcatalog
345

clips for use in a sequence that you build in the Source/Record
monitor.
• Viewing in the Source/Record monitor: You can drag a sequence
into the Source/Record monitor to view, mark, or modify an
existing sequence. You cannot load clips directly into the
Source/Record monitor.
• Viewing in the Timeline: Use the Timeline to view individual
tracks for either a sequence or a source clip.
Loading and Clearing Footage
You load individual or multiple clips into the pop-up monitor, and
you load sequences into the Source/Record monitor by using different
methods. You can also use the Clip Name menu to display clips and
sequences.
Loading into the Pop-up and Source/Record Monitors
To load a clip or sequence into the pop-up monitor:
1. Open a bin and locate the clip or sequence.
2. Double-click the clip or sequence. Ctrl+click to load multiple clips
or sequences.
For each clip or sequence that you selected, a pop-up monitor
opens.
n
You
can also load sequences by clicking the sequences and dragging them
from the bin to the monitor.
346

To load a sequence into the Source/Record monitor:
1. Open a bin and locate the sequence.
2. Drag the sequence into the Source/Record monitor or the
Timeline.
Ctrl+click to load multiple sequences.
n
When
you start a new sequence, you must drag the first clip into the
Timeline; you cannot drag it into the Source/Record monitor.
Using the Clip Name Menu
When you have clips loaded in a monitor, you use the Clip Name
menu located above each monitor to switch between various loaded
clips or to clear clips from the monitors.
Switching Between Loaded Sequences
If you loaded multiple sequences into the Source/Record monitor, you
see only one sequence displayed at a time.
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To view an alphabetical list of the loaded sequences and choose an
alternate sequence for viewing:
1. Click the name of the current sequence displayed above the
monitor to reveal the Clip Name menu.
Clip Name
menu
2. Choose a different sequence name from the menu. The selected
sequence replaces the current sequence in the monitor.
n
To
see the list of sequences sorted in the order in which they were loaded into
the monitor, press the Alt key while opening the Clip Name menu.
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Clearing Sequences from Monitors
To clear the monitor or the sequence names from the menu:
1. Click the name of the sequence currently displayed above the
Source/Record monitor to display the Clip Name menu.
2. Choose one of the following commands:
- Clear Monitor removes the displayed sequence from the
screen, leaving black. The sequences are still loaded.
- Clear Menu deletes the list of all loaded sequence names and
leaves only the sequence currently displayed.
Resizing Monitors
You can resize the Source/Record monitor to provide more area for
displaying the Timeline or other windows. You can either hide the
video completely or resize the monitor.
Hiding the Video in the Source/Record Monitor
You can resize the Source/Record monitor, displaying only the
position bars, the editing buttons, and the information portion above
the monitors. No video is displayed.
To hide the video in a monitor:
1. Click in the Source/Record monitor to make it active.
2. Right-click and choose Hide Video from the shortcut menu.
The video disappears. Only the position bars, the editing buttons,
and the information portion above the monitors are displayed.
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To redisplay the video in the monitor:
t
Right-click in the monitor, and choose Hide Video from the
shortcut menu.
Resizing the Source/Record Monitor
You can resize the Source/Record monitor.
To resize the monitor:
1. Click in the Source/Record monitor to make it active.
2. Click the lower right corner of the window, and drag to the new
size you want the monitor to be.
The monitor is displayed with the new size; aspect ratio is
maintained.
Controlling Playback
There are several ways to play, view, and cue clips:
• Instantly access frames or move through footage by using the
position indicator within the position bar under the monitors.
• Play, step (jog), or shuttle through the footage by using
user-selectable buttons.
• Play, step, or shuttle by using keyboard equivalents.
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n
If
you try to play a sequence and the outline of the monitor flashes, another
window is covering the monitor. Click the monitor to bring it forward, or
move the window that is covering it.
Using Position Bars and Position Indicators
To quickly access frames within a clip loaded into a monitor or to
move through the footage, do one of the following:
t
t
Use the position indicators that appear in the position bars under
the pop-up and Source/Record monitors. The position indicator
also appears in the Timeline when you are viewing a sequence.
Move the position indicator within the position bar under the
monitor by clicking anywhere in the position bar or by dragging
the position indicator to the left or right. The speed with which
you drag the position indicator determines the speed at which you
move through the footage.
Position indicator
Position bar
t
t
Click anywhere in the Timeline to relocate the position indicator,
or drag the position indicator through footage at varying speeds.
In the Timeline, the position indicator shows your position within
the sequence. It is always in the same position as the position
indicator in the Source/Record monitor’s position bar.
Click at the far left or far right of the position bar or the Timeline to
go directly to the beginning or end of a clip or sequence.
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Position indicator in Timeline
Using Buttons
You can use the buttons that appear under the Source/Record monitor
and in the pop-up monitors to play and step (jog) through your
footage. You can also use the keyboard to manipulate footage.
To play the clip backward or forward in one-frame increments:
t
t
Click the Step (Jog) buttons under the monitors.
Press the 3 or 4 key, or the Right Arrow or Left Arrow key.
To play forward or backward in 10-frame increments:
t
t
On the keyboard, press the 1 key to play backward or the 2 key to
play forward.
Press and hold the Alt key while clicking the Step (Jog) buttons
under the monitors.
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Step Backward
Step Forward
To step (jog) through footage:
1. Load a clip into a pop-up monitor or a sequence into the
Source/Record monitor.
2. Click the appropriate button to:
- Step one frame forward
- Step one frame backward
About the Keyboard
The Keyboard palette varies, depending on the type of keyboard
attached to your NewsCutter XP system. If an Avid-supported
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international keyboard is attached to your NewsCutter XP system,
then the Keyboard palette matches that keyboard.
Step buttons
Workspace buttons
Delete key
Play
button
Home key
End key
Stop Play buttons Arrow keys
The J-K-L keys on the keyboard allow you to play, step (jog), and
shuttle through footage at varying speeds. This feature, also referred
to as three-button or variable-speed play, allows you to use three fingers
to manipulate the speed of playback for greater control.
To view your Keyboard settings:
t
Double-click Keyboard in the Settings scroll list of the Project
window.
The Keyboard palette appears.
Shuttling with the J-K-L Keys
To shuttle through the footage by using the J-K-L keys on the
keyboard:
1. Load a clip into the pop-up monitor or a sequence into the
Source/Record monitor.
2. Use the J-K-L keys to shuttle at varying speeds:
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t
Press the L key to move forward through the footage at
normal speed. You can increase the speed according to the
following table.
Press the L Key To Play Footage at NTSC Rate PAL Rate
2 times 2x normal speed 60 fps 50 fps
3 times 3x normal speed 90 fps 75 fps
4 times 5x normal speed 150 fps 125 fps
5 times 8x normal speed 240 fps 200 fps
t
t
t
t
Press the J key to move backward at the same shuttle speed
increments.
Press the K and L keys together for slow forward (8 fps for
NTSC, 6 fps for PAL).
Press the K and J keys together for slow backward.
Press and hold the K key and tap the L key or the J key to step
through footage one frame at a time.
To pause the shuttling:
t
Press the K key.
To stop shuttling:
t
Press the space bar.
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Navigating with Home, End, and Arrow Keys
In addition to using the buttons in the application, you can use the
Home, End, and arrow keys to navigate through clips and sequences.
• The Home key takes you to the beginning of a clip or sequence.
• The End key takes you to the end of a clip or sequence.
• The Left Arrow key moves the footage one frame backward.
Pressing and holding the Alt key while pressing the Left Arrow
key moves 10 frames backward.
• The Right Arrow key moves the footage one frame forward.
Pressing and holding the Alt key while pressing the Right Arrow
key moves 10 frames forward.
Playing in Bins
You can play clips and sequences in the bin while in Frame and Script
view by using all the buttons and keys and the mouse, as described in
the preceding sections.
Playing Video to the Client Monitor
You might want to see your sequences and effects as they will appear
on an external display monitor. To do this, connect a Client monitor to
your NewsCutter XP system.
This section describes how to connect a Client monitor to your system
and how to configure your system to play video to the Client monitor.
Connecting a Client Monitor
NewsCutter XP uses the hardware inside a camera or digital deck to
create the video signal that the Client monitor displays.
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c
To use a Client monitor, you must have a camera or digital deck
connected to your NewsCutter XP system.
Selecting the Client Monitor Setting
After you connect the camera or digital deck and Client monitor to
your NewsCutter XP system, you must configure your system to play
video to the Client monitor. Use the Video Display setting in the
Settings scroll list to configure your system.
To configure Video Display settings:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Video Display.
The Video Display Settings dialog box appears.
3. If it is not already selected, select “DV device supports digital
video input.”
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4. Select “Send video to DV device (client monitor enabled).”
5. Click OK.
NewsCutter XP sends the video to the Client monitor.
Supporting a Camera Without Video Input
If you connect a camera that does not have video input, your
NewsCutter XP system must use internal video signal processing for
video display in the Source/Record monitor and pop-up monitors.
You cannot use the Digital Cut tool.
To support a camera without video input:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Video Display.
The Video Display Settings dialog box appears.
3. If “DV device supports digital video input” is selected, a check
mark appears in the box. Deselect it by clicking the check box.
- Send video to DV device (client monitor enabled) is dimmed.
- Digital Cut is dimmed in the Clip menu.
The next time you connect a digital camera with video input, select
“DV device supports digital video input.” NewsCutter XP returns the
desktop video settings to their previous state and uses the digital
camera to generate the desktop video display.
Play Length “In Use” Indicator
After you click the Play Length Toggle button, which appears in the
Play tab of the Command palette, the Play button is highlighted in
white. This reminds you to turn off the Play Length function before an
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important play and review session. When the Play Length function is
active, the sequence stops playing after 1 minute.
Marking and Subcataloging Footage
You can speed the editing process by marking clips with IN and OUT
points in advance, by using locators to subcatalog footage, and by
creating subclips.
Marking IN and OUT Points
You can mark IN and OUT points for your clips in advance, which
provides several advantages:
• You can quickly build a sequence by splicing the marked clips into
place one after another.
• You can use the process of rough cut or storyboard editing, which
allows you to instantly splice several prepared clips into a
sequence. See “Creating an Instant Rough Cut” on page 393.
• You can play back and mark clips in the bin before loading a single
clip, saving several steps.
Even if your marks are not accurate now, NewsCutter XP allows you
to trim the edit points and fine-tune the sequence later without
reediting the material.
To mark IN and OUT points before adding them to a sequence:
1. Load a sequence into the Source/Record monitor, or load a clip
into a pop-up monitor.
2. Play or step through the material. Use the J-K-L keys when
playing a clip in a bin.
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3. Mark an IN point by doing one of the following:
t
t
Click the Mark IN button under the monitor to mark an IN
point and stop playback.
Use the Mark IN key on the keyboard when marking a clip in
a bin. (The Mark IN key does not stop playback.)
The sawtooth icon appears on the left side of the monitor to
indicate the mark IN frame.
Sawtooth
Icon
Mark IN button
Mark OUT button
Clear OUT button
Clear IN button
4. Continue playing, stepping (jogging), or shuttling through the
material.
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5. Mark an OUT point by doing one of the following:
t
t
Click the Mark OUT button under the monitor to mark an
OUT point.
Use the Mark OUT key on the keyboard when marking a clip
in a bin.
The sawtooth icon appears on the right side of the monitor to
indicate the mark OUT frame.
Clearing a Mark and Setting a New One
You can clear marks and set new ones.
To clear the IN point:
t
Click the Clear IN button (or press the D key).
To clear the OUT point:
t
Click the Clear OUT button (or press the F key).
To clear both the IN and OUT points:
t
Press the Clear Both Marks key (the G key).
To set a new IN point:
t
Click the Mark IN button when you reach a different frame.
To set a new OUT point:
t
Click the Mark OUT button when you reach a different frame.
Dragging IN and OUT Points
To more easily position IN and OUT points based on visual
feedback:
t
Press the Alt key, and drag marked IN and OUT points to visible
locations.
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Marking an Entire Clip or Segment
To mark an entire clip or segment:
n
A
segment in a sequence consists of the material between any two edit points.
1. Load a sequence into the Source/Record monitor, or load a clip
into a pop-up monitor.
2. In a sequence, move the position indicator to the segment that you
want to mark.
3. In the Track Selector panel in the Timeline, select the tracks
corresponding to the cuts you want to mark.
Track Selector panel
4. Click the Mark Clip button under the monitor.
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Mark Clip button
n
To
n
If
ignore the current track selection and to mark the smallest clip at the
current position in the sequence, press and hold the Alt key while you click the
Mark Clip button.
you load a master clip into the Source/Record monitor, this procedure places
an IN point at the beginning and an OUT point at the end of the clip.
Marking Audio Clips
You can mark audio and video separately for an edit by using the
Audio Mark buttons. This feature is useful for creating an overlap edit
(split edit or L-cut).
To mark IN and OUT points on audio tracks:
1. Load a clip or sequence into the Source/Record monitor.
2. In the Track Selector panel, select the tracks corresponding to the
cuts you want to mark.
3. Move the position indicator to the location where you want to
mark the audio clip.
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4. Choose Command Palette from the Tools menu.
5. Click the Edit tab.
6. Select Active Palette.
Audio Mark
IN button
Audio Mark
OUT button
7. Do one or both of the following:
t Click the Audio Mark IN button to mark an IN point.
t Click the Audio Mark OUT button to mark an OUT point.
You can also create an overlap edit for an audio track by using the
Audio Mark buttons. See “Creating Overlap Edits” on page 451.
To remove audio IN and OUT points:
1. Shift+click the IN point and the OUT point.
2. Click the Clear Both Marks button in the Timeline top toolbar.
Using the Tool Palette
The Tool palette provides additional buttons for editing and
navigating. You can have the Tool palette buttons appear with or
without labels.You can “tear off” the Tool palette to have it displayed
in another screen location.
Opening the Tool Palette
To open the Tool palette:
t
Click the Fast Menu button under the pop-up or Source/Record
monitor.
The Tool palette opens.
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n
If
a subset of the buttons appears in the Tool palette, click the lower right
corner and drag to the right and down to reveal the full Tool palette and blank,
mappable buttons.
Using the Tool Palette Options
To see the names of the buttons in the Tool palette:
t
Hold the mouse pointer over a button.
The name of the button appears in a yellow ToolTip box.
To have labels appear on the Tool palette buttons:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Interface.
The Interface dialog box appears.
3. Select “Show Labels in Tool palette.”
4. Click OK.
The names of the buttons appear on the buttons under the icons.
To tear off the Tool palette and move it to another location:
1. Click the Fast Menu button under the pop-up or Source/Record
monitor.
2. Move the mouse until an outline appears.
3. Click the outline, and the Tool palette opens in the new location.
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Using the Tool Palette from the Record Monitor
The Fast Menu button does not appear under the Record monitor.
To use the Tool palette with the Record monitor:
1. Click the Toggle Source/Record button until the word “Source”
appears next to the title in the monitor and the button changes to
green.
2. Click the Tool palette, and drag it to another location in the
application.
3. Click the Toggle Source/Record button again until the word
“Sequence” appears next to the title in the monitor.
Using the Timeline Top Toolbar
NewsCutter XP provides you with a top toolbar in the Timeline. You
can use it for editing; you can also map additional buttons to it. For
information about mapping buttons, see “Mapping User-Selectable
Buttons” on page 122.
You can choose to hide or show the Timeline top toolbar.
To show the Timeline top toolbar:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Timeline.
The Timeline Settings dialog box appears.
3. Click the Display tab.
4. Select or deselect Show Toolbar, and then click OK.
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Creating Subclips
When you mark footage with IN and OUT points, you can either save
the entire clip along with the new marks or create subclips based on
the marks you set to break up longer master clips into smaller
segments of selected footage.
This is similar to creating circle takes of your best footage before
editing. Subclips do not directly reference the original media. Subclips
remain linked to the master clips from which they are created, and the
master clips, in turn, reference the recorded media files located on
your storage drives. As a result, none of the original footage is lost.
Subclips do not limit your access to the original, recorded master clip
material when trimming. Therefore, if you must trim beyond the
marked IN to OUT points of the subclip to make it longer or shorter,
your system accommodates the adjustments during the trim. For more
information on trimming, see Chapter 14.
You can create subclips directly from the marked section of material in
the monitors by using one of the following methods.
To use the Alt key to create a subclip:
1. Press and hold the Alt key.
2. Drag the picture from the monitor to the bin in which you want to
store the subclip.
To use the Make Subclip button to create a subclip:
1. Choose Command Palette from the Tools menu.
2. Click the Edit tab.
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3. Select Active Palette.
4. Click the Make Subclip button to create the subclip.
The subclip is placed into the active bin by default. If you press the
Alt key while you click the Make Subclip button, a dialog box
allows you to select the destination bin for the subclip.
The new subclip is listed in the bin, preceded by a subclip icon and
identified with a numbered .Sub.n file name extension, as shown in the
following illustration.
A new subclip as
referenced in Text
view
Using Locators
Locators are a type of electronic bookmark. Locators allow you to find
and identify specific frames during editing. Key words that you enter
into the comments attached to a locator allow you to use standard
Find procedures to call up the clips quickly. You can display
information about the locators by using the Locators window.
There are eight Add Locators buttons in the More tab of the Command
palette. Each Add Locator button is a different color, which allows you
to group locators by color. For example, you can use the red Add
Locator button to identify certain frames and use the blue Add Locator
button to identify cutaway shots.
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Ways to Use Locators
Locators have many possible uses. A few examples are:
• Visual track alignments: Use locators at matching points in
synchronized audio and video tracks; if the tracks lose sync, you
can visually realign the locators in the Timeline to restore sync. For
more information on sync, see Chapter 16.
• Music cues: Use locators to mark the IN and OUT points for
music.
• Trim markers: Use locators in the Timeline to return directly to an
edit you have designated for further trimming at a later time.
• Cutaway markers: Use locators to identify cutaway shots with
comments, so that when you return to cover jump-frame edits
with cutaway footage, you can quickly access the clips.
• Replace markers: Use locators to mark filler segments with
comments to identify the items that should replace the filler.
• Semipermanent IN or OUT points: Use locators with the Mark
Locators button to put multiple sets of locators on a long clip, and
so on.
• Add comments for EDLs: Use locators to add comments to
sequence clips to appear in lists that you create, such as an EDL or
cut list.
• Viewing reviewer comments: Use the Locators window to view
reviewer comments and the specific frame. See “Using the
Review & Approval Service” on page 574.
• Print a list of reviewer comments: Use the Locators window to
print a list of changes or comments that you can distribute to other
people in the production.
When you insert a locator, it appears as a colored oval in the Timeline,
in the position bar, and at the bottom of the frame in the monitor. The
color of the oval corresponds to the color of the locator button you
used.
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You can also add locators on-the-fly while you record. See “Adding
Locators On-the-Fly” on page 215.
Locator
displayed
in the monitor
and the
Timeline
Adding Locators While Editing
To add locators during an editing session:
1. Load a sequence into the Source/Record monitor, or load a clip
into a pop-up monitor.
2. (Option) Select a specific track by using the Track Selector panel.
See “Using the Track Selector Panel” on page 429.
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3. Cue to the frame and click the Add Locator button. The Add
Locator button is found in the More tab of the Command palette
and can be mapped to a button or a key.
The locator oval appears in the Timeline, in the position bar, and at
the bottom of the frame in the monitor.
4. Double-click the locator in the position bar under the monitor, or
click the large oval on the frame.
The Locator Info window opens.
Locator
information
area
Comment
area
5. Click the locator’s information line displayed in the top section of
the Locators window.
The locator’s information line is highlighted.
6. Type your comments in the comment area of the Locators window.
7. Press the Tab key or close the Locators window to save your
comments. You can also press Enter on the numeric keypad to
save your comments.
The information is stored with the marked frame. The first line of
the information appears at the bottom of the frame in the monitor.
To go quickly to a frame with a locator while editing:
t
Choose Find from the Edit menu to search for a particular
comment.
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Moving to the Previous or Next Locator
To move to the previous or next locator:
1. Choose Command Palette from the Tools menu.
2. Click the Move tab.
3. Select Active Palette.
4. Click the Go to Previous Locator button or the Go to Next Locator
button.
The position indicator moves in the direction you have indicated and
the monitor displays the frame containing the locator.
n
You
can map these buttons to your Tool palette or Keyboard palette. See
“Mapping User-Selectable Buttons” on page 122.
Deleting Locators
To remove a locator from a clip:
1. Select the locator.
2. Press the Delete key.
The selected locator is removed.
To delete locators by using the Locators window:
t
See “Deleting Locators by Using the Locators Window” on
page 377.
Marking an Area Using Locators
You can mark the area between two locators by using the Mark
Locators button.
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To mark the area between two locators:
1. Move the position indicator between two locators.
2. Click the Mark Locators button located in the Edit tab of the
Command palette.
The area between the two locators is selected.
Deleting a Locator
To delete a single locator:
1. Select a locator in the Timeline or in the position bar.
2. Press the Delete key.
The selected locator is removed.
For more information on using the Locators window to delete locators,
see “Deleting Locators by Using the Locators Window” on page 377.
Using the Locators Window
The Locators window allows you to quickly add comments, go to
locator marks, delete locators, and print a list of locators in the
currently loaded clip or sequence. Many features of the Locators
window are similar to those of the Bin window.
You can use the Locators window to:
• Find information about each locator.
• Access the Locators Fast menu, which allows you to:
- Modify and sort the display.
- Display frames for easy visual reference.
- Change the color of the locator icons.
- Open a Review & Approval file. See “Using the Review &
Approval Service” on page 574.
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• Print the Locators window.
This is especially useful for identifying and listing specific frames
to be used in an effect, for example. You can also make a list of IN
and OUT points for adding music.
• Go to the locator in the sequence or clip.
• Delete a single locator or multiple locators.
The Locators window is divided into two sections:
• The top section displays information in text columns about the
locators.
• The bottom section allows you to type comments about the frame
marked by the selected locator.
The following illustration shows a Locators window with three
locators.
Locator
information
area
Comment
area
Viewing and Navigating in the Locators Window
To view locators in the Locators window:
1. Load the sequence containing the locators into the Source/Record
monitor.
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2. Do one of the following:
t
t
Choose Locators from the Tools menu.
Find a video frame with a locator on it, and click the locator.
To navigate in the Locators window:
t
t
Press the Tab key to switch between the locator information area
and the comment entry area.
Press the Up Arrow and Down Arrow keys to select locators in the
locator information area.
Sorting Information in the Locators Window
You can sort or reverse-sort the locators by using the locator
information area in the Locators window.
To sort the locators in ascending order:
1. Select the column that you want to sort.
The column is highlighted.
2. Choose Sort from the Locators Fast menu, or press Ctrl+E.
The locators are sorted.
To sort the locators in descending order:
1. Select the column that you want to sort.
The column is highlighted.
2. Click the Fast Menu button.
3. Press and hold the Alt key while you choose Sort Reversed from
the Locators Fast menu, or press Ctrl+Alt+E.
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Displaying Frames in the Locators Window
You can display the frame associated with each locator in the Locators
window.
To display the frame associated with a locator:
t
Choose Images from the Locators Fast menu.
The Locators window displays the frame associated with each
locator.
Changing the Color of the Locator Icon
You can change the color of the locator icon from the Locators window.
NewsCutter XP uses the same color in the Timeline, position bar, and
monitor.
To change the color of the locator icon:
1. Select a locator in the locator information area of the Locators
window.
2. Choose a color from the Locators Fast menu.
The icon color of the selected locator changes to the new color.
Accessing a Locator in a Sequence or Clip
From the Locators window, you can go to the frame in the sequence or
clip that is marked by the locator.
To go to a locator in a sequence or clip:
t
Double-click a locator in the locator information area of the
Locators window.
The appropriate frame is displayed.
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Printing the Locators Window
To print the Locators window:
1. Make sure your printer is set up correctly.
2. Choose Page Setup from the File menu.
A Page Setup dialog box appears, reflecting specific options for
your printer.
3. Select the appropriate options.
4. Click OK.
5. Choose Print from the File menu.
The Print dialog box appears, reflecting specific options for your
printer.
6. Select the print options.
7. Click OK.
NewsCutter XP prints the Locators window.
Deleting Locators by Using the Locators Window
You can use the Locators window to delete a single locator or multiple
locators.
To delete locators by using the Locators window:
1. Select the locators in the locator information area of the Locators
window by doing one of the following:
t
t
Click a single locator.
Ctrl+click multiple locators.
2. Press the Delete key.
The selected locators are removed.
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Displaying Information in the Locators Window
You can display creation information for each locator displayed in the
Locators window. Displaying the creation information is useful when
you are using the Review & Approval process.
You can display the following information for each locator displayed
in the Locators window:
• Name of the user who created the locator
• Date the locator was created
• Time the locator was created
To display information about a locator:
t
Click the Locators Window Fast Menu button, and choose Details.
The Locators window shows the User, Date, and Time columns.
For more information about using the Locators window, see “Using
the Locators Window” on page 373.
Finding Frames and Clips
Once you have recorded, viewed, marked, and subcataloged
numerous clips for a project, you might have difficulty relocating
specific clips or frames among several bins. NewsCutter XP allows
you to quickly locate and cue footage.
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Using Frame Offset Timecode to Cue a Frame
To cue a frame by using frame offset timecode:
1. Using the numeric keypad, type a plus (+) sign to move forward
or a minus sign (–) to move backward from the current position.
2. Type a number for the frame offset, and press Enter on the
numeric keypad. Use the following formats:
• One or two digits: Type 1 through 99 to specify a number of
frames forward or backward. For example, type –42 to move
backward 42 frames.
• Three digits: Type 100 or a greater number to move forward
or backward a specified number of seconds and frames. For
example, if you type +100 and the master track timecode is
selected on the Tracking Information menu, you move
forward 1 second and 0 frames.
• Frames only: To move forward or backward 500 frames, for
example (not 5 seconds), type + or -, press the F key, and then
type 500.
Using Timecode to Find a Frame
At any time during editing, you can type timecode values by using the
numeric keypad on the right side of the keyboard to cue a loaded clip
or sequence to a specific frame. In addition, you can cue backward or
forward from the current location in the clip or sequence by a specified
number of minutes and seconds plus frames by using positive or
negative frame-offset values.
The system interprets the numbers you type with the numeric keypad
according to the type of tracking format you have chosen in the row of
information displayed above the monitor.
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To cue to a frame based on a known timecode:
1. Type the timecode for the frame by using the numeric keypad on
the right side of the keyboard.
2. Use one of these formats:
- SMPTE timecode: Use two digits each for the hours, minutes,
seconds, and frames with no leading zeros. For example, type
1230200 to enter 01:23:02:00.
- Current timecode: If you are finding a timecode that starts at
the same time as the current timecode, just type the last digits.
For example, if the current timecode is 1:05:12:13 and you type
425, the system finds the frame at 1:05:04:25.
3. Press Enter on the numeric keypad.
Using Match Frame
The Match Frame feature locates the source footage for the frame
currently displayed in the Record monitor, loads it into the Source
monitor, cues to the matching frame, and marks an IN point. It
removes the source clip’s original IN and OUT points.
In addition to helping you relocate and reedit master clips during a
session, the Match Frame feature can be used to locate clips quickly,
based on media relatives when you have forgotten their location.
Track selection determines the match frame. If you select a video track,
the system matches a frame from the video. If you enable several
tracks, the system matches the frame from the highest selected track
level, in descending order: V1, A1, A2, and so on.
To use the Match Frame feature:
1. Load a sequence into the Record monitor.
2. Move to the frame that you want to match.
380

3. Make sure you select the correct track for the frame that you want
to match in the Track Selector panel.
4. Click the Match Frame button in the Timeline top toolbar.
5. The frame appears in the Source monitor.
n
If
you do not want to mark the source clip and remove the original marks,
press the Alt key as you click the Match Frame button.
Performing a Reverse Match Frame
To perform a reverse Match Frame:
1. Place the position indicator on the frame in the source footage.
2. Select the appropriate tracks in the Timeline.
3. Click the Reverse Match Frame button on the Other tab of the
Command palette.
The system cues the sequence to the matching frame on the record
side. If the clip exists in more than one place, the sequence cues to the
first location of the match frame, and continues through the sequence
to subsequent locations each time you click the Reverse Match Frame
button.
381

CHAPTER 12
First Edits
After you have viewed and marked your clips or have created
subclips, you are ready to create a sequence. This chapter introduces
you to procedures that you use to build a basic sequence, as described
in the following sections:
• Setting Up a New Sequence
• Making the First Edit
• Editing Additional Clips into the Sequence
• Lifting, Extracting, and Copying Material
• Playing the New Sequence
• Proceeding with Editing
Setting Up a New Sequence
For information about setting up a new sequence, see the following
sections:
• Starting a New Sequence
• Changing the Sequence Info
• Changing the Start Timecode for Sequences
382

• Setting Up Tracks for the New Sequence
• Deleting Tracks
• Adding Filler
Starting a New Sequence
To start a new sequence:
1. Do one of the following:
t
t
t
Choose New Sequence from the Clip menu.
Right-click in the Timeline, and choose New Sequence from
the shortcut menu.
Right-click in the Source/Record monitor, and choose New
Sequence from the shortcut menu.
One of the following actions occurs:
- If just one bin is open, or if several bins are open and you have
clicked a specific bin to activate it, the new sequence appears
in the bin. It also appears in the Source/Record monitor and in
the Timeline, with the generic title “Untitled Sequence n.”
Each new sequence is numbered incrementally until you
rename it.
- If several bins are open but none is activated, the Select dialog
box appears.
383

2. Select the bin in which to store the new sequence, or click New Bin
to create and open a new bin.
3. Click OK.
An untitled sequence appears in the bin, in the Source/Record
monitor, and in the Timeline.
384

To rename the new sequence:
n
If
t
Immediately type a new name while the name is highlighted in
the bin.
you click anywhere in the interface after creating the new sequence, you
deactivate the sequence name field. You must click the sequence name again to
rename the sequence.
385

Changing the Sequence Info
The following optional procedure allows you to rename the new
sequence and to set a customized start timecode by using the Get
Sequence Info command.
To rename a sequence and to set a customized timecode:
1. With your sequence loaded and the Source/Record monitor
active, choose Get Sequence Info from the File menu.
The Sequence Info dialog box appears.
2. Type a new name in the Name text box.
3. Drag the pointer across the Starting TC (timecode) to select it, and
then type a new timecode.
n
You
can switch from non-drop-frame timecode to drop-frame timecode by
changing the colons (:) in the Starting TC text box to semicolons (;). The
reverse is also true.
4. Click OK.
386

Changing the Start Timecode for Sequences
To change the start time of a sequence that has already been created:
1. Click the sequence start time in the bin.
2. Type a new timecode.
Setting Up Tracks for the New Sequence
When you create a new sequence by using the New Sequence
command, and no material is loaded in the pop-up monitor, the
Timeline is empty.
To add a new track to a sequence loaded in the Source/Record
monitor:
t
Choose New Audio Track or New Video Track from the Clip
menu.
The new track appears in the Timeline.
When you add a new track to a sequence, the NewsCutter XP system
assigns a consecutive number to it. You can change the numbering
scheme of tracks rather than use the consecutive numbering default.
387

To add a new track and to change the numbering system:
1. Press and hold the Alt key, and choose New Audio Track or New
Video Track from the Clip menu.
The Add Track dialog box appears.
Track Type pop-up menu
Track Number pop-up menu
2. If you want to switch from the type of new track you chose (for
example, from a new video to a new audio track), click the Track
Type pop-up menu and choose the other option.
3. If you want to select a track number other than the default
consecutive numbering offered by the dialog box, click the Track
Number pop-up menu and choose another number. You cannot
choose the number of an existing track.
n
NewsCutter
XP allows a maximum of four video tracks and eight audio
tracks.
4. Click OK.
The new track appears in the Timeline and in the Track Selector
panel.
388

Deleting Tracks
To delete a track:
1. Select the track you want to delete in the Track Selector panel.
2. Press the Delete key on the keyboard.
A dialog box appears.
3. Click OK.
The track is deleted.
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 at any time during editing to another part of the
sequence.
n
You
cannot add filler to the end of a sequence except during a digital cut, and
you cannot add filler to an empty sequence.
To add filler by using the Load Filler command:
1. Choose Load Filler from the Clip menu. The system loads a
2-minute clip of filler into a pop-up monitor.
2. Select the length of filler, as needed, using the Mark IN and Mark
OUT buttons.
3. Click the Splice-in or the Overwrite button to edit the black into
the sequence.
To add filler by using the Add Filler at Start command:
1. Right-click in the Timeline.
2. Choose Add Filler at Start from the shortcut menu.
389

To set a default duration for the filler:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Timeline.
The Timeline Settings dialog box appears.
3. Click the Edit tab, and type the duration of the filler that you want
added to the start of a sequence.
4. Click OK.
To add filler anywhere in a sequence:
1. Choose Load Filler from the Clip menu.
The system loads a 2-minute clip of filler into a pop-up monitor.
Fast Menu button
Mark IN
Mark OUT
2. Select the length of filler, as needed, by using the Mark IN and
Mark OUT buttons.
390

3. Click the Fast Menu button.
The Tool palette opens.
4. Click the Splice-in or the Overwrite button in the Tool palette to
edit the black into the sequence.
Making the First Edit
Making the first edit involves the following procedures:
• Beginning to Edit
• Creating an Instant Rough Cut
• Undoing or Redoing Edits
Beginning to Edit
To begin editing:
1. Load the first clip into a pop-up monitor. If you have not already
marked IN and OUT points for the clip in advance or created a
subclip, view and mark the clip as necessary.
Source Track
buttons
Source Track
Monitor buttons
391

2. Click buttons in the Timeline Track Selector panel to select the
tracks you want to include in the edit.
Only the tracks that have been recorded for the clip appear as
source tracks in the Timeline. For more information on using the
Track Selector panel, see “Using the Track Selector Panel” on
page 429.
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, which might have unwanted wild
sound picked up from a second microphone or no sound at all.
As another example, if you are laying down a music track first,
you would select track A1 or A2, depending upon where the
music was recorded, and deselect V1.
3. Click the Splice-in button to add the edit to the sequence in the
Source/Record monitor.
The Source/Record monitor displays the end of the last frame of
the new edit. (You can drag the position indicator in the Timeline
or in the position bar under the Record monitor to review the clip.)
The edit also generates a graphical display of the cut in the
Timeline.
392

Screen display of the first edit in a sequence
The end of the
last frame of the
new edit
Timeline generated by the edit
Creating an Instant Rough Cut
As an alternative to creating a new sequence by editing clips one at a
time, you can quickly create a rough cut by selecting and loading
multiple clips directly from the bin in Text view and then dragging
them into the Timeline.
393

n
To
create a more accurate rough cut, view and mark clips in the bin in
advance. See “Marking IN and OUT Points” on page 359.
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.
2. Select the tracks for the edit.
n
If
no sequences are loaded in the Source/Record monitor, the Timeline has no
features.
3. Ctrl+click or lasso the clips. Choose Select All from the Edit menu
if there are no other clips in the bin.
4. Drag the highlighted clips to the Timeline to splice the clips into
place.
The clips are spliced 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 32 previous actions listed in the Edit
menu.
To undo only the previous edit or function:
t
Choose Undo from the Edit menu, or press Ctrl+Z.
To redo only the previous edit or function:
t
Choose Redo from the Edit menu, or press Ctrl+R.
394

Monitoring Audio While Editing
You can monitor audio levels while you edit by using the Audio tool.
If you have the Audio tool open and you play footage that includes
audio, the audio levels are tracked in the Audio tool. For more
information on using the Audio tool, see “Using the Audio Tool” on
page 200.
Editing Additional Clips into the Sequence
The primary edit functions are splice-in and overwrite. In most cases,
you perform three-point edits in which you set three marks — two in
the source material and one in the sequence, or the reverse. The fourth
mark is determined automatically. The way you set marks depends
upon the type of edit you perform.
Performing a Splice-in Edit
A splice-in edit inserts material from the pop-up monitor into the
sequence without replacing material already in the sequence. Existing
material in the sequence is moved beyond the new material,
lengthening the overall duration of the sequence.
New Clip
Before
Splice-in
Clip X
Insertion point
Clip Y
Clip Z
After
Splice-in
Clip X Clip Y New Clip
Existing clips are moved down.
Clip Z
395

To perform a splice-in edit:
1. Drag a clip into the Source/Record monitor.
2. Mark an IN point.
3. Mark an OUT point.
4. Mark an IN point in the sequence as follows:
a. Switch to the Record monitor by clicking the Toggle
Source/Record button until the word “Sequence” appears
next to the title in the monitor.
b. Move the position indicator in either the Timeline or the
position bar of the Record monitor to the point where you
want to splice the clip into the sequence.
c. Click the Mark IN button, or press the Mark IN key on the
keyboard.
n
If
you don’t mark an IN point, the system splices the new clip into the
sequence at the current location of the position indicator.
5. To complete the edit, click the yellow Splice-in button under the
Source monitor or press the V key.
Performing an Overwrite Edit
An overwrite edit replaces a section of the sequence with the material
you select from a pop-up monitor. Unlike a splice-in edit, an overwrite
edit replaces existing material and therefore does not lengthen the
overall duration of the sequence unless the material used to overwrite
goes beyond the end of the sequence.
396

New Clip
Material to be overwritten
Before
Overwrite
Clip X
Clip Y
Clip Z
After
Overwrite
Clip X Clip Y New Clip
Clip Z
To perform an overwrite edit:
1. In the pop-up monitor, mark an IN point or an OUT point, but not
both, to show the start or end of the clip you want to use.
2. 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 in the
Timeline or position bar to the IN point.
3. Click the red Overwrite button under the Source monitor to
complete the edit.
Lifting, Extracting, and Copying Material
Extract/Splice-in and
Lift/Overwrite are
Segment mode
functions you can also
use to remove and
reposition segments.
For more information,
see “Performing
Segment Mode Edits”
on page 421.
Lifting, extracting, and copying allow you to 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. Lifting, extracting, and copying
place the removed material into the Clipboard. You can then paste the
material elsewhere in the sequence or in another sequence altogether.
397

Lifting Material
The Lift function 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.
Lifted Clip X
Material is placed in
the Clipboard.
Clip W
Black Filler
Clip Y
Clip Z
To lift material:
1. Mark IN and OUT points in the sequence at the start and end of
the material that you want to lift.
2. Select the tracks containing the material.
The system performs the function on selected tracks only. See
“Using the Track Selector Panel” on page 429.
3. To complete the edit, click the Lift button, or press the Z key.
398

Extracting Material
The Extract function removes selected material from a track in the
sequence and closes the gap left by its removal. As a result, when you
extract material, you shrink the duration of the track or sequence.
Extracted Clip Y
Material is
placed in the
Clipboard.
Before
Extract
Clip X
Clip Y
Clip Z
After
Extract
Clip X
Clip Z
Track is shortened.
To extract material:
1. Mark IN and OUT points in the sequence at the start and end of
the material that you want to extract.
2. Select the tracks containing the material.
The system performs the function only on selected tracks if sync
locks are not on. If sync locks are on, all material on all tracks is
extracted. See “Using the Track Selector Panel” on page 429 and
“Sync Locking Tracks” on page 436.
3. To complete the edit, click the Extract button, or press the X key.
Copying Material
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. The material can then be
inserted into the sequence elsewhere or into another sequence.
399

To copy material to the Clipboard:
1. Mark IN and OUT points in the sequence at the start and end of
the material that you want to copy.
2. Select the tracks containing the material.
The system performs the function on selected tracks only.
3. Click the Copy to Clipboard button, or press the C key.
The system copies the selected material to the Clipboard and
leaves the sequence untouched.
Using the Clipboard
The NewsCutter XP Clipboard is a cut, copy, and paste tool adapted to
the special needs of the editing environment.
Placing a Sequence into the Clipboard
To place a marked section of the sequence into the Clipboard at any
time:
t
Click the Lift, the Extract, or the Copy to Clipboard button.
n
These
buttons are also in the Edit tab of the Command palette; you can map
them to buttons in the Tool palette or keys in the Keyboard palette. See
“Mapping User-Selectable Buttons” on page 122.
The Copy to Clipboard function is useful for moving or repeating
material in a sequence without moving multiple segments in Segment
mode or for rebuilding the section at another location. For example,
you can:
• Copy a portion of a sequence for pasting into another sequence.
• Isolate and copy a portion of an audio track for looping music or
repeating a sound effect.
400

• Copy graphic elements for repeating at other locations in a format
cut.
Recovering Material from the Clipboard
The Clipboard allows you to restore lifted or extracted segments
quickly. This is especially useful if you have performed one or more
edits since removing the material. In contrast, if you restore the
material by using the Undo function, the system also undoes all edits
performed in the meantime. The Clipboard provides the benefit of
restoring the material while maintaining subsequent edits.
To restore material from the Clipboard:
1. Open the Clipboard as a pop-up monitor by choosing Clipboard
Monitor from the Tools menu.
2. Click the Mark Clip button, or press the T key to mark the entire
segment.
3. Locate the IN point in the sequence from which the segment was
removed. Move the position indicator here, or mark an IN point.
4. Splice or overwrite the material into the sequence.
401

Playing the New Sequence
You can play a sequence at any time and view it in the Source/Record
monitor.
Playing a Sequence
To play a sequence:
1. Make sure that the Video Track Monitor icon is located on the
topmost video track to display all video tracks and effects during
playback.
2. Make sure the Audio Track Monitor button for each audio track is
selected to ensure proper playback of all audio tracks.
3. Go to the start of the sequence in the Source/Record monitor or
Timeline by clicking the left side of the position bar to reposition
the position indicator at the beginning or by pressing the Home
key on the keyboard.
4. Use the position indicator, buttons, or keyboard to play or step
(jog) through footage, viewing it in the Source/Record monitor.
Starting a Playback Loop
You can play back your sequence in a continuous loop by augmenting
the Play IN to OUT command with the Alt key. You must mark IN and
OUT points in the sequence to determine the range of the playback
loop.
n
You
can also use this technique to isolate and continuously play back a small
portion of the sequence during a difficult edit.
402

To start a playback loop:
1. Mark IN and OUT points in the sequence. To play back the entire
sequence, mark the IN point at the beginning and the OUT point
at the end.
2. Press and hold the Alt key, and press the Play IN to OUT key (6 on
the keyboard).
The playback loop begins and continues until you press the space bar
or click anywhere with the mouse.
n
If
there are no IN or OUT points in the sequence, pressing the 6 key moves the
position indicator to the beginning of the sequence and plays IN to OUT in
one step.
Improving Playback Performance
As you continue to edit, you might find the playback performance of
the system diminishing as the sequence grows in length and layers.
This can happen when you are using a great deal of RAM for playback
of large and complex sequences. The following are a few tips for
improving playback performance:
• Check the number of media objects in use for your project in the
Memory window, as described in “Viewing Memory” on
page 108. If this number is more than 50,000 objects, reduce the
number of media objects by doing one of the following:
t
t
t
Close bins that are not in use.
Reduce the number of clips in the open bins.
Unmount drives that are currently not in use. See “Mounting
and Ejecting Drives” on page 51. You can remount the drives
at any time by choosing Mount All from the File menu.
• Restart the computer once a day to refresh the system memory.
• Split the sequence into two or more segments, if possible.
403

Proceeding with Editing
When you have finished a rough cut, you are ready to fine-tune the
sequence.
To learn about the Timeline and Segment mode editing techniques:
t See Chapter 13.
To make frame-accurate adjustments to your edits, use Trim mode:
t See Chapter 14.
To edit with audio or to mix audio tracks in preparation for playback
or output:
t See Chapter 15.
To edit with synced tracks:
t See Chapter 16.
To add effects to your sequence:
t
See the Avid NewsCutter XP Effects Guide.
To output the finished sequence:
t See Chapter 17.
404

CHAPTER 13
Using the Timeline
NewsCutter XP represents each edit and effect in a graphical Timeline
structure to help you track and manipulate the elements of your
sequence. In addition, the Timeline has its own set of editing tools that
you can use to create and revise edits and transitions across multiple
tracks.
The audio and video tracks in the Timeline play in the Source/Record
monitor. You can continually edit your sequence and review your
changes in the Source/Record monitor until you are pleased with the
result. These features are described in the following sections:
• Customizing Timeline Views
• Navigating in the Timeline
• Editing in the Timeline
• Printing the Timeline
Customizing Timeline Views
You can customize your Timeline to display a variety of information
about your sequence as well as the clips and transitions it contains.
You use the Timeline Fast menu and the Timeline settings to change
the display.
405

Examples of customizing your Timeline include:
• Visual detail: If you want to display more detailed information
about clips with which you are working, you can enlarge the video
tracks to display clip names and durations, and source and media
names.
• Audio detail: If you are doing advanced audio work with
multiple tracks or are fine-tuning difficult audio edits, you can
enlarge audio tracks to display waveform plots and audio levels.
• Mapping buttons: You can map buttons to the Timeline top
toolbar. For more information, see “Using the Timeline Top
Toolbar” on page 366.
Accessing the Timeline Settings
The Timeline Settings options allow you to customize the Timeline.
To access the Timeline settings:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Timeline.
The Timeline Settings dialog box appears, showing the Display
tab.
406

Table 13-1 describes the Timeline Settings options on the Display tab.
Table 13-1
Timeline Settings Options
Option
Show Tool Bar
Show Marked Region
Show Marked
Waveforms
Scroll While Playing
Description
Displays the Timeline top toolbar.
Highlights the region from the IN point to the OUT point.
Shows waveforms drawn between an IN point and an OUT point instead of
over the entire composition.
The Timeline scrolls over the position indicator while you play a sequence.
The Timeline Settings dialog box contains additional options on the
Edit tab.
407

Table 13-2 describes the Timeline Settings options on the Edit tab.
Table 13-2
Timeline Settings Options (Edit Tab)
Option
Start Filler Duration
Find Flash Frames
Shorter Than n frames
Auto-Patching
Auto-Monitoring
Description
Allows you to type the amount of filler you want to appear by default when
you choose Add Filler at Start from the Clip menu.
Allows you to type the maximum number of flash frames you want the
system to detect. The default is 10, which tells the system to detect clips with
9 frames or fewer. See “About Finding Black Holes and Flash Frames” on
page 418.
Automatically patches the enabled source tracks to the tracks enabled in the
Timeline sequence.
Automatically activates the video monitor for the next available track when
you delete a video track with the video monitor activated. The track you
patch to is also monitored. This setting is selected by default.
408

Table 13-2
Timeline Settings Options (Edit Tab) (Continued)
Option
Segment Drag Sync
Locks
Description
Moves segments in the Timeline and maintains sync between audio and
video when sync locks are enabled. After moving a segment in the Timeline,
this option maintains sync by adding filler to the location from which the
segment was moved, and to the location on all other sync-locked tracks that
corresponds to the new location of the segment you moved. You can move
either an audio clip or a video clip.
Using the Timeline Fast Menu
You can also customize the appearance of the Timeline by using
various options from the Timeline Fast menu.
Click the Fast Menu button
to display the options.
To choose an item from the Timeline Fast menu:
t
Click the Fast Menu button and scroll through the menu to select
or deselect an option. Selected options have check marks next to
them.
409

Table 13-3 lists the Timeline Fast menu options.
Table 13-3
Timeline Fast Menu Options
Option Suboption Description
Default Setup
Clip Frames
Clip Names
Clip Durations
Source Names
Media Names
Render Ranges
Sets the Timeline display back to the default.
Switches on and off the display of clip head frames in the
Timeline.
Switches on and off the display of clip names in the Timeline.
Switches on and off the display of clip durations in the
Timeline.
Switches on and off the display of source material names in
the Timeline.
Switches on and off the display of original media names in
the Timeline.
Indicates unrendered effects; see the Avid NewsCutter XP
Effects Guide.
None
Partial
All
Displays a red line on the portion of any partially rendered
effect that is currently unrendered (but does not mark
completely unrendered effects).
Displays a red line on the portion of any partially rendered
effect that is currently unrendered and on all completely
unrendered effects.
Displays a red line on all completely unrendered effects.
Audio Clip Gain
Audio Auto Gain
Displays audio clip gain information. See “Automation Gain
Values and System Clip Gain Values” on page 482.
Displays audio automation clip gain information. See
“Automation Gain Values and System Clip Gain Values”
on page 482.
410

Table 13-3
Timeline Fast Menu Options (Continued)
Option Suboption Description
Sample Plot
Clip Color
Switches on and off the display of sample plots for each
audio track in the Timeline. It is easier to see this display if
you expand the audio track in the Timeline.
Displays local and source colors assigned to clips.
Offline
When this option is selected, any clips in the Timeline with
media offline are highlighted in red.
Track Color
Displays a Color palette from which you can choose a color
for the tracks displayed in the Timeline.
Additional Procedures for Customizing the Timeline
NewsCutter XP allows you to enlarge and reduce the sizes of the
Timeline tracks, and to change the colors of the tracks and
background. These procedures include:
• Enlarging and Reducing Tracks
• Changing the Timeline Track Color
Enlarging and Reducing Tracks
You can enlarge or reduce the height of one or more tracks to improve
visibility and to display more information within the tracks. Use this
feature to:
• Reduce and view all the tracks in a multilayer sequence, and
enlarge them when finished.
• Enlarge all tracks to view waveform plots or other displays in
multiple tracks.
411

To enlarge or reduce the height of selected tracks:
1. Select the tracks in the Timeline that you want to resize. See
“Selecting Tracks” on page 430.
2. Do one of the following:
t
t
t
Choose Enlarge Track or Reduce Track from the Edit menu.
Press Ctrl+L to enlarge the track, or press Ctrl+K to reduce the
track.
Move the pointer over the Track Selector panel until it changes
to a bar intersected by a double-headed arrow. Drag the edge
up or down to make the track narrower or wider. This method
applies to only one track selection at a time.
Changing the Timeline Track Color
To change the background color of the tracks in the Timeline:
1. Click the Timeline to make it active.
2. Choose Track Color from the Timeline Fast menu.
3. Choose a color for the tracks from the Color palette.
If you want to choose a custom color for the tracks, press the Alt key
while performing this procedure. When you release the mouse button
in the Color palette, the Windows Color dialog box appears.
Saving a Custom Timeline View
After you customize the Timeline, you can save it and access the view
as you switch between projects and workspaces.
To save a custom Timeline view:
1. Click the View Menu button at the bottom of the Timeline.
If you have not yet saved a view, the button is labeled Untitled.
412

2. Choose Save As from the pop-up menu.
The View Name dialog box appears.
3. Type a name for your Timeline view.
4. Click OK.
Replacing a Timeline View
If your saved views become extensive and there are views you no
longer use, you can replace them.
To replace saved views:
1. Press and hold the Alt key while you click the View Menu button
to display the list of saved view names, each appended with the
Replace command.
2. Select a saved view name that you want to replace from the list.
The current Timeline view is applied to the selected name, and
that name is displayed in the Settings scroll list in the Project
window. You can change the View Name in the Settings scroll list
if you want.
Restoring the Default Timeline View
To restore the default view in the Timeline:
t
Choose Default Setup from the Timeline Fast menu.
Navigating in the Timeline
The Timeline provides various controls for quickly moving through a
sequence and adjusting your view of details displayed in the tracks
while editing. You can use the position indicator, the Timeline scale
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ar, or the Timeline scroll bar to navigate within the Timeline. In
addition, marked sections of the sequence are highlighted in the
Timeline for visual reference.
Scale bar
Scale box
Position indicator
Scroll box
Scroll bar
Using the Position Indicator
The position indicator in the Timeline marks your place in the
sequence. It also determines how some of your commands are
interpreted. When you drag the position indicator in the Timeline, the
smaller position indicator within the Source/Record monitor’s
position bar also moves.
Using the Timeline Scroll Bar
The Timeline scroll bar appears on the right side of the Timeline
bottom toolbar.
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The Timeline scroll bar functions like any standard scroll bar. You can
drag the scroll box to reposition yourself within the Timeline, or click
the arrows to scroll left or right.
Displaying Detail in the Timeline
The scale bar stretches and contracts the Timeline area centered
around the position indicator. This allows you either to zoom in to
focus on a specific area of your sequence or to zoom out to display
your whole sequence. This feature is especially useful when you have
a lengthy sequence with many edits.
To zoom in on a section of the Timeline at the position indicator and
then zoom back to your original display:
1. Click the scale box and drag it to the right.
The following happens:
- The Timeline expands horizontally.
- The Timeline track shows more detail.
- The position indicator splits into a solid blue line and a dotted
blue line (or “shadow”), marking the beginning and end of the
current frame. You can click either the line or the shadow to
move exactly one frame forward or backward.
2. Click the scale box, and drag it back to the left.
The Timeline shrinks to its original size.
Controlling Movement in the Timeline
While working in the Timeline, you can use the Ctrl and Alt keys to
control the movement of both the position indicator and any segments
that you move in Segment mode.
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To snap to the head of transitions as you move through the Timeline
sequence:
t
Press and hold the Ctrl key as you drag either the position
indicator or any segments selected in Segment mode.
To snap to the tail of transitions:
t
Press Ctrl+Alt as you drag either the position indicator or any
segments selected in Segment mode.
To snap the head of selected segments to an edit point in the track
above or below the current track:
t
Drag the segments in Segment mode.
To align to an edit point the tail frame of the clip you are moving:
t
Press and hold the Alt key as you drag either the position
indicator or any segments selected in Segment mode.
Selecting and Deselecting Segments
Segment editing is a unique feature of digital, nonlinear editing.
Unlike traditional tape editing, segment editing allows you to
instantly reposition entire segments as though you were physically
“dragging” portions of your sequence across a tape. You can move
audio and video tracks separately or together, and individual or
multiple segments can be repositioned at the same time.
To perform segment editing:
1. Select the segments either by clicking a Segment Mode pointer
and making selections or by lassoing segments with the mouse.
You can select one or several segments or tracks, as described in
“Selecting Segments with the Segment Mode Pointer” on
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page 417 and “Selecting One or More Segments by Lassoing” on
page 417.
2. Move the segments by dragging with the mouse. Use either the
Extract/Splice-in button or the Lift/Overwrite button to move the
segment to a new position.
3. Use additional segment editing techniques, if you want, to edit
clips directly from a bin, to quickly delete segments, or to mark
material in the Timeline.
Selecting Segments with the Segment Mode Pointer
When you enter Segment mode, the pointer becomes a hand. Outside
the Timeline tracks, the pointer changes back to the standard arrow or
I-beam, allowing you to perform other functions while in Segment
mode.
To select segments with the pointer:
1. Click one of the Segment Mode buttons located in the Timeline
bottom toolbar.
The arrow changes to a hand.
2. Click a segment in any track to select it. Ctrl+click additional
segments to select a group.
Selecting One or More Segments by Lassoing
To select segments by lassoing:
1. Do one of the following:
t
t
Click one of the Segment Mode buttons located in the
Timeline bottom toolbar.
Press and hold the Alt key.
2. Draw a lasso beginning in the area above the tracks in the
Timeline. Drag to select more than one segment.
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Begin
Lasso box
Segment
End
To switch to Lift/Overwrite mode:
t
Click the Lift/Overwrite button after selecting the segments.
n
Position
the pointer above the tracks before lassoing. If you click within the
tracks in Segment mode, you simply select the segment.
Deselecting Segments
You can deselect one or more selected segments.
To deselect an entire track:
t
Click the Track button in the Track Selector panel.
For example, if you lasso segments on V1, V2, and A1, you can
click the V2 and A1 track buttons to leave only the segment on the
middle track, V1, selected.
To deselect one or more segments:
t
Use the Segment Mode pointer to Shift+click specific segments on
any track, leaving the remaining tracks selected.
About Finding Black Holes and Flash Frames
The following two commands help you quickly find parts of your
sequence that you might want to delete from the final sequence:
• Find Black Holes
• Find Flash Frames
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Black holes are segments of the sequence that consist of one or more
frames of filler. Flash frames are clips that have an extremely short
duration, for example, less than 30 frames.
Finding Black Holes
To find a black hole:
1. Click the Timeline to make it active.
2. Select the tracks you want to search.
3. Move the position indicator to the beginning of the sequence or
before the part of the sequence you want to search.
4. Choose Find Black Hole from the Clip menu.
The position indicator moves to the first segment that contains
filler. You can then edit or delete the filler if necessary.
To find the next segment that contains filler:
t
Choose Find Black Hole again.
Finding Flash Frames
To find flash frames:
1. Check or set the maximum frame length that you want the system
to detect by doing the following:
a. Click the Settings button in the Project window.
b. In the Settings scroll list, double-click Timeline.
The Timeline Settings dialog box appears.
c. Click the Edit tab.
d. In the option Find Flash Frames Shorter Than, indicate the
maximum number of frames you want the system to detect.
The default is 10, which tells the system to detect clips with
9frames or fewer.
e. Click OK.
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2. Click the Timeline to make it active.
3. Select the tracks you want to search.
4. Move the position indicator to the beginning of the sequence or
before the part of the sequence you want to search.
5. Choose Find Flash Frames from the Clip menu.
The position indicator moves to the first flash frame.
To find the next flash frame:
t
Choose Find Flash Frames again.
Editing in the Timeline
You can perform the following functions in the Timeline:
• Segment Mode editing
• Bin editing into the Timeline
• Bind editing directly into a sequence
• Top and tail editing
• Setting the duration for filler
• Cutting, copying, and pasting
• Effects editing
• Working with tracks
• Match framing
• Backtiming
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Performing Segment Mode Edits
There are two methods for editing segments or adding clips:
• Extract/Splice-in, indicated by a yellow arrow
• Lift/Overwrite, indicated by a red arrow
Consider the following when editing segments:
• Transition effects on either side of a moved selection are deleted.
Transition effects inside the selection are preserved.
• When you are finished making an edit, Segment mode continues
to affect edits you make in Trim mode, unless you click the active
Segment Mode button to deactivate it.
Consider the following when selecting tracks:
• You cannot simultaneously move segments that are separated
along the same track. You can, however, move segments separated
on different tracks.
• You cannot overlap the source and destination tracks. For
example, you can move audio segments from A3 and A4 to A1
and A2, but you cannot move them from A3 and A4 to A2 and A3
(A3 overlaps).
• With a group, you can click any one of the selected segments to
drag the entire group to a new position.
• You can select black filler as a segment.
Extracting/Splicing-in Segments
Use Extract/Splice-in to move the selected segments in the Timeline
without affecting the adjacent material. The total duration of the
sequence is unaffected.
Like the standard Splice-in function, the Extract/Splice-in edit inserts
the segment into the new position. However, as an additional function,
it also extracts (removes) the segment from its previous position and
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closes the gap. For example, if you lasso segments on V1, V2, and A1,
you can click the V2 and A1 track buttons to leave only the segment on
the middle track (V1) selected.
Before Splice-in
Clip W (selected clip)
Clip Y
Clip Z
After Splice-in Surrounding clips are unchanged.
Clip W Clip Y (selected clip) Clip Z
To perform an Extract/Splice-in edit:
1. Click the Extract/Splice-in button (yellow arrow) in the Timeline
bottom toolbar.
2. Select the segment you want to move.
3. Click the segment, and drag it to its new position.
4. Release the mouse button.
The system extracts the selected segment from its old position,
closes the gap left by its removal, and then splices the material
back into the sequence at the newly selected location.
5. Click the Extract/Splice-in button again if you want to leave
Segment mode.
n
To
cancel a segment edit in progress, drag the edit out of the Timeline and
release the mouse button. Alternatively, choose Undo from the Edit menu.
Lifting/Overwriting Segments
Use Lift/Overwrite to replace existing material at the new position,
while leaving blank space in the previous position. The total duration
of the sequence is unaffected.
Like the standard Overwrite function, the Lift/Overwrite edit deletes
and replaces underlying material at the new position, effectively
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creating new edits. It also lifts the segments from the previous
position, leaving black or silence of the same duration on the middle
track (V1) selected.
Before Overwrite
Clip W (selected clip) Clip Y Clip Z
After Overwrite
Clip W Clip Y (selected clip) Clip Z
Blank filler
Underlying materials are overwritten.
To perform a Lift/Overwrite edit:
1. Click the Lift/Overwrite button (red arrow) in the Timeline
bottom toolbar.
2. Select the segment you want to move.
3. Click the segment, and drag it to its new position.
4. Release the mouse button.
The system lifts the selected segment from its old position, leaving
black filler, and then overwrites the material into the sequence at
the newly selected location.
5. Click the Lift/Overwrite button again if you want to leave
Segment mode, or continue to lift and overwrite segments.
n
To
undo a segment move, choose Undo from the Edit menu or press Ctrl+Z.
Deleting Segments with Segment Mode
Segment mode allows you to quickly delete whole segments in the
Timeline without having to first mark IN and OUT points. In addition,
you can select multiple segments in separate tracks anywhere along
the Timeline to delete them all at once.
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To delete segments quickly:
1. Click one of the Segment Mode buttons:
- Extract/Splice-in (yellow) deletes the segments and closes the
remaining gaps. The total duration of the sequence is
shortened, and any synchronized tracks lose sync.
- Lift/Overwrite (red) deletes the segments but leaves blank
space or silence in their place. The total duration of the
sequence remains the same, and sync is maintained.
2. Select one or multiple segments.
3. Press the Delete key.
The segments are deleted.
n
If
the segment has an effect, the system deletes the effect first.
Bin Editing into the Timeline
Bin editing allows you to bypass the process of loading clips into a
Source/Record monitor, setting marks, and clicking the Splice-in or
the Overwrite button. You can use Segment mode to edit clips directly
from a bin into the sequence in the Timeline.
To perform a direct edit from a bin into your Timeline:
1. For a more accurate edit, mark IN and OUT points for each clip or
create subclips, as described in “Marking and Subcataloging
Footage” on page 359. Otherwise, the entire clip is edited into the
sequence.
2. Click one of the Segment Mode buttons:
- Lift/Overwrite (red arrow) acts as an overwrite edit, causing
the clip to overwrite material of the same length in the
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sequence, while maintaining the same duration of the
sequence.
- Extract/Splice-in (yellow arrow) acts as a splice edit, inserting
the clip into the sequence, moving existing material down,
and lengthening the total duration.
3. Drag a clip from the bin into the Timeline. You can edit only one
clip at a time.
4. When you find the right location for the clip, release the mouse
button.
The Timeline reflects the new edit.
n
Once
you have completed the edit, you remain in Segment mode until you
click the active Segment Mode button again to deactivate it.
Bin Editing Directly into a Sequence
You can use keyboard shortcut keys to edit clips directly from a bin
into the sequence in the Timeline.
To perform a direct edit from a bin into a sequence:
1. Activate bin editing:
a. Click the Settings button in the Project window.
b. In the Settings scroll list, double-click Bin.
c. Select “Enable edit from bin (Splice, Overwrite).”
d. Click OK.
2. Mark an IN point or OUT point in the Timeline, or move the
position indicator to the place where you want the clip to appear.
3. Select a clip in the bin.
The entire clip is edited into the sequence, unless you marked IN
and OUT points.
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4. Press the V key to perform a splice edit, which inserts the clip into
the sequence and moves existing material down, thereby
lengthening the total duration.
Press the B key to perform an overwrite edit, which causes the clip
to overwrite material of the same length in the sequence, while
maintaining the same duration of the sequence.
The Timeline reflects the new edit.
Using the Top and Tail Commands
The Top and Tail commands allow you to perform quick edits to
segments in the Timeline.
Use the Top button to extract footage from the start of the clip or
segment up to the position indicator. This action is the equivalent of
the T-R-X keyboard command sequence: Mark Clip, Mark OUT,
Extract. The Top button appears in the Edit tab of the Command
palette.
Use the Tail button to extract footage from the position indicator to the
end of the clip or segment. This action is the equivalent of the T-E-X
keyboard command sequence: Mark Clip, Mark IN, Extract. The Tail
button appears in the Edit tab of the Command palette.
For information about how Mark Clip works, see “Marking an Entire
Clip or Segment” on page 362.
To edit using Top and Tail commands:
1. Load the sequence you want to edit into the Timeline.
2. Select the track or tracks you want to edit and deselect all other
tracks.
3. Move the position indicator to the location where you want to
perform an edit.
4. Choose Command Palette from the Tools menu.
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5. Click the Edit tab.
6. Select Active Palette.
7. Do one of the following:
t
t
Click the Top button to extract the footage from the start of the
segment to the position indicator.
Click the Tail button to extract the footage from the position
indicator to the end of the segment.
Setting the Duration for Filler at the Start of a Sequence
To set the duration of filler used at the start of a sequence:
1. Click the Settings button in the Project window.
2. In the Settings scroll list, double-click Timeline.
The Timeline Settings dialog box appears.
3. Click the Edit tab.
4. In the option Start Filler Duration, type the amount of filler you
want to appear by default when you choose Add Filler at Start
from the Clip menu.
5. Click OK.
n
For
instructions on how to use filler, see “Adding Filler” on page 389.
Cutting, Copying, and Pasting in the Timeline
You can use the traditional shortcut keys for cutting, copying, and
pasting segments selected in the Timeline.
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To cut or copy and paste:
1. Select the segment by using one of the Segment Mode buttons.
2. Choose Copy from the Edit menu (Ctrl+C) to copy, or choose Cut
from the Edit menu (Ctrl+X) to cut.
3. Move the position indicator to the new IN point, and press Ctrl+V
to paste the segment in the Timeline.
About Effects Editing
Effects editing techniques fall into the following basic categories:
• Motion effects, such as freeze frame and slow-motion or
fast-motion effects, involve applying frame-motion parameters to
selected footage, usually on a single video track.
• Transition effects, such as dissolves and wipes, involve
transitioning from one edited clip to another on the same video
track.
• Segment effects, such as picture-in-picture, keys, or color effects, are
applied to whole segments. They commonly require multiple
layers of video.
n
For
more information about effects, see the Avid NewsCutter XP Effects
Guide.
About Nesting
When editing effects, you can use a procedure known as nesting. This
involves stepping into existing tracks to reveal added layers for
combining multiple images and digital video effects. When the effect
is applied, you can step out to view and render the effect as one
segment on the track.
428

n
For
more information on nesting techniques and effects editing, see the Avid
NewsCutter XP Effects Guide.
Using the Track Selector Panel
As your project progresses, you might need to add and edit with
additional audio or video tracks. You use multiple tracks of video
primarily for effects. NewsCutter XP allows you to edit up to four
tracks of video and eight tracks of audio.
While working with multiple tracks, you can use the Track Selector
panel to select, manipulate, delete, lock, patch, and monitor your
tracks. You can use multiple tracks to layer audio effects and sound or
to add video titles and other effects.
n
Multiple
video tracks do not immediately play back at the same time until you
apply an appropriate effect that composites the layers. Multiple audio layers,
however, do play back immediately if correctly monitored.
Source Track Monitor buttons
Source Track buttons
Sync Lock and Lock buttons
Record Track buttons
Record Track Monitor buttons
Video Track Monitor button with Monitor icon
Audio Track Monitor button with gold Speaker icon
Audio Track Monitor button with black Speaker icon
Sync Lock All button
Timecode button
The source side on the right side of the panel displays only those
tracks available for the clip currently loaded. For example, a clip that
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has audio recorded only for track A1 does not display an A2 track in
the Track Selector panel.
The record side on the left side of the panel displays only those tracks
currently in use for the sequence. However, if you edit source material
with a track selected that does not yet exist on the record side, by
default the track appears on the record side after the edit takes place.
Selecting Tracks
Consider the following when you select tracks on either the record
side or the source side of the Track Selector panel:
• You can edit selected tracks on the source side directly into the
sequence, assuming you have selected parallel tracks on the
record side.
• You cannot edit deselected tracks on the source side into the
sequence, regardless of record track selections.
• You cannot edit deselected tracks on the record side into the
sequence, regardless of source track selections.
For example, you might select the source and record tracks for V1, A1,
and A2 to edit the picture and audio from the source clip into the
sequence. Select only V1 source and record tracks to edit the picture
without the sound, or select only A1 and A2 source and record tracks
to edit the sound without the picture.
Monitoring Tracks
To determine the monitoring of tracks:
t
Click the monitor column of either the source-side or record-side
tracks to activate or deactivate the monitor buttons. Video and
Audio Track Monitor buttons behave differently in some
circumstances.
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Monitoring Video
The Video Track Monitor button determines whether you see video
during playback. You can turn it off at any time to monitor only audio
during editing. When there are multiple video tracks, all tracks below
the monitored track are active during playback.
When you edit with multiple tracks, you can activate the monitor on a
lower track to monitor only the video on that track. This feature is
especially useful when you have multiple layers of video effects and
need to see one track without additional layers. You can also monitor a
solo track, as described in “Monitoring a Solo Track” on page 433.
n
If
you reposition the Video Track Monitor icon, be sure to return it to the
topmost track to view, render, or output all the tracks together. Unmonitored
tracks are not included in playback.
To monitor video tracks:
t
Click the Video Track Monitor button for the track you want to
monitor.
Monitoring Audio
There are two types of monitor icons that appear in the monitor
column for audio tracks: a black Speaker icon and a gold Speaker icon.
A Speaker icon of either type indicates that the track is monitored for
playback and output. However, only the track with the gold icon is
monitored for audio scrubbing.
Consider the following:
• The system pans odd-numbered tracks to the left speaker and
even-numbered tracks to the right speaker by default.
• If your sequence includes more than eight audio tracks, you can
select any eight tracks to monitor at one time by clicking the
Audio Track Monitor button for each audio track you want to
monitor. The Audio Track Monitor button changes to purple with
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either a black or gold Speaker icon when the audio track is
selected for monitoring playback and output.
• To hear more than eight tracks at once, you must mix down some
of them to a maximum of eight. For more information, see
“Mixing Down Audio Tracks” on page 537.
• By default, all monitored audio tracks are selected for scrubbing.
To isolate specific audio tracks for scrubbing, see “Soloing Audio
Tracks in the Timeline” on page 460.
• A gold Speaker icon on the Audio Track Monitor button indicates
that the track will not be dropped when the play speed increases
during scrubbing. By default, the two topmost Audio Track
Monitor buttons display the gold Speaker icon. For more
information about setting an audio track to ensure it is not
dropped during scrubbing, see “Selecting Tracks for Scrubbing”
on page 461.
• The Audio Track Monitor button changes to green with a black
Speaker icon when selected for soloing. For more information, see
“Monitoring a Solo Track” on page 433.
• You can customize the output of audio tracks, as described in
“Using the Audio Mix Tool” on page 470.
To isolate a selected track or turn off all tracks:
t
Deselect the Monitor button for any or all tracks. You can
simultaneously monitor as many as eight audio tracks.
To activate audio scrub for a particular track:
t
Alt+click the Monitor button for that track. The Audio Track
Monitor icon appears gold.
To monitor audio tracks:
t
Click the Audio Track Monitor button for the track you want to
monitor.
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Monitoring a Solo Track
You can monitor a single video or audio track during editing. Solo
monitoring has several advantages:
• You can view any individual layer of a composited effect.
• You can isolate an individual audio track with a single mouse click
(without manually deselecting the other audio tracks).
• You can eliminate slow cueing and playback when working with a
complex sequence by monitoring a specific track.
To select a track for solo monitoring:
t
Press and hold the Ctrl key, and click in the monitor column in the
Track Selector panel for the chosen video or audio track. The Track
Monitor button changes to green to indicate solo monitoring.
To deselect solo monitoring:
t
Press and hold the Ctrl key, and click again in the monitor column
in the Track Selector panel. The Monitor icon returns to normal
functionality.
Locking Tracks
You can lock selected tracks to prevent further editing from being
performed on them.
The middle row of the Track Selector panel displays the Sync Lock
icon (slash mark) for sync-locked tracks, and the lock icon (padlock)
for locked tracks.
Locking tracks to prevent further editing is especially useful in the
following circumstances:
• For video editing, you can lock tracks when you have completed a
set of complex, multilayer edits and want to avoid making
accidental changes while you work on other adjacent tracks.
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• For audio editing, you can lock audio tracks containing sync
dialog that should be maintained while you edit adjacent video
tracks or audio tracks.
• For projects involving multiple editors, you can lock tracks to
prevent unnecessary or accidental changes.
To lock tracks:
1. Select the tracks you want to lock (source, record, or both) by
clicking to select each in turn.
2. Do one of the following:
t
t
Right-click in the Timeline, and choose Lock Tracks from the
shortcut menu.
Choose Lock Tracks from the Clip menu.
The Lock icon indicates that the selected tracks are locked, and no
further editing can occur on the locked tracks until you choose
Unlock Tracks from the Clip menu or from the shortcut menu.
To unlock tracks:
1. Select the tracks you want to unlock.
2. Do one of the following:
t
t
Right-click in the Timeline, and choose Unlock Tracks from the
shortcut menu.
Choose Unlock Tracks from the Clip menu.
The Lock icon disappears and the tracks are unlocked.
Patching Tracks
When working with multiple tracks, you might encounter a
circumstance where you must edit source audio or video onto a track
other than the parallel track displayed in the Track Selector panel. To
edit the source material onto another record track above or below it,
you must patch the source track to the targeted record track.
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You can perform only one patch per edit, but there is no limit on the
number of times you can patch from the same source track. Audio can
patch only to audio, and video only to video.
To perform a patch:
t
Drag from a source track (audio or video) to the targeted record
track (a white arrow appears during the patch).
During patch
After patch
An audio patch from
a source track to a
record track
New source
track order
identifies the
patch.
To undo a patch:
t
Manually repatch to the previous track.
c
The selected source track moves beside the record track to which it is
patched as soon as you draw the arrow and release the mouse. The
patched track remains highlighted in preparation for your edit. You
can proceed to select any other tracks required for the edit.
When you are patching from one video track to another, the Video
Track Monitor icon moves to where you patch the track. Be sure to
return the icon to the topmost track, when necessary, to play back
and output all video tracks.
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Sync Locking Tracks
The Sync Lock feature allows you to maintain synchronization among
several tracks while adding or removing frames in Trim mode. For
example, if you insert an edit into one track that is sync locked to a
second track, the system automatically inserts filler in the second track
to maintain sync between them.
There are several unique aspects to sync locking:
• Sync locking applies to single-roller trims only; dual-roller trims
do not break sync.
• You can sync lock any number of tracks in any combination. The
tracks do not require matching timecode or common sources and
can include multiple video tracks as well as audio tracks.
• Sync locking affects entire tracks. This means that parallel
segments in other sync-locked tracks are affected when you trim
anywhere in the sequence.
Sync locking affects Trim mode. This feature is especially useful when
you are working with multiple tracks and want to maintain sync
between two or more tracks while trimming.
To sync lock the tracks:
t
Click in the center column between track selectors to activate the
Sync Lock icon for each synchronized track.
To resume editing on individual tracks:
t
Click again to remove the Sync Lock icon.
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Deleting Tracks
To delete one or more tracks from the sequence:
1. Click the Record Track buttons for the tracks, and press the
Delete key.
The Delete Track dialog box appears.
2. Click OK.
The tracks are deleted.
To restore a deleted track:
t
Choose Undo from the Edit menu.
Adding an Edit
The Add Edit function places an artificial edit point between the
frames of a clip. The edit appears in the Timeline as a transition
between two clips; when you play the clip, the footage appears
unchanged because the frames are continuous.
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Add edit placed between frames
1 2 3 4 5 6 7
Footage plays back continuously.
This form of edit is also known as a match frame. In traditional analog
editing, match framing is used to accomplish specific tasks, such as
creating a dissolve between two clips. In NewsCutter XP, however,
add edits (or match frames) function differently. Use match frames
primarily to divide and isolate portions of a clip or sequence in order
to modify that portion without affecting the rest of the footage. Once
you make the adjustment (for example, adding an effect), playback of
the clip is no longer seamless because the two portions of the clip are
different.
You can add an edit to a single audio or video track, or you can place
the add edit across several tracks at once.
To add a match-frame edit:
1. Move the position indicator to the chosen frame.
2. Select the tracks where you want to add the edit.
3. Click the Add Edit button in the Tool palette. See “Opening the
Tool Palette” on page 364.
The edit appears in the sequence with an equal sign to indicate a
match-frame edit.
Removing Match-Frame Edits
To remove match-frame edits, do one of the following:
t
Choose Undo from the Edit menu.
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If you made other edits since you performed the Add Edit
function, when you use the Undo command, you will lose those
additional edits.
n
The
t
Enter Trim mode at the match-frame edit point, and then press the
Delete key.
second method is the only way to remove match-frame edits after you
have used the 32 levels of Undo, or if you want to remove match-frame edits
on a subsequent day.
Backtiming Edits
Backtiming an edit is effectively the reverse of the process you
normally use for marking footage. Instead of marking from the IN
points forward, you mark according to the OUT points.
For example, you might have a track of audio (music or voice) that
ends at a specific point, and you want to synchronize a video clip to
end on a particular clip. You can backtime the edit to match the end
points of the tracks.
Consider the following:
• NewsCutter XP needs only three marks to perform a backtimed
edit when four edits of unequal duration exist in the sequence.
The IN and OUT points set in the Timeline always take
precedence.
• If you do not mark an IN point in the sequence, the system uses
the position indicator as the IN point.
• If you do not mark an OUT point in the clip and no OUT point is
set in the sequence, the system uses the end of the clip as the OUT
point.
• If you mark OUT points in both the Source/Record monitor and in
the Timeline, the system uses the OUT point in the Timeline.
439

To backtime an edit:
1. Mark an OUT point in the Timeline where you want the edit to
end. Also, mark an IN point where the edit is to start.
2. Select the appropriate tracks.
3. Open a clip in a pop-up monitor.
4. Mark an OUT point in the pop-up monitor to synchronize to the
OUT point in the sequence.
5. Click the Overwrite button, or press the Alt key and drag the clip
from the pop-up monitor to the Timeline.
The source material is added to the sequence, with the
synchronized ending.
Printing the Timeline
To print the Timeline:
1. Click the Timeline to make it active.
2. Choose Print Timeline from the File menu.
The Print dialog box appears.
3. Select the printing options.
4. Click OK.
The system prints the current view of the Timeline.
440

CHAPTER 14
Working in Trim Mode
Basic editing in the Timeline initially produces a rough cut, which can
be loosely defined as a series of straight-cut edits with many rough
edges and few effects. After creating a rough cut, you can enter Trim
mode and fine-tune the transitions between each clip or between
whole segments. You can also trim edits as you build a sequence,
rather than create a rough cut first. The following sections describe the
Trim mode procedures:
• Customizing Trim Mode
• Using Basic Trim Procedures
• Creating Overlap Edits
• Maintaining Sync While Trimming
Customizing Trim Mode
You can customize Trim mode by changing the Transition Play Loop
settings for preroll, postroll, and intermission.
To customize the Transition Play Loop settings:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
441

2. Double-click Trim.
The Trim Settings dialog box appears.
3. Configure the Trim settings you want.
You set and alter the lengths of the preroll, postroll, and intermission
intervals by clicking the appropriate text box and typing a new value.
Using Basic Trim Procedures
You can enter Trim mode in several different ways, depending on the
type of trim you expect to perform. Once in Trim mode, you can:
• Select trim sides.
• Perform and review the trim.
Entering Trim Mode
To enter Trim mode:
1. Choose Command Palette from the Tools menu.
2. Click the Other tab.
3. Select Active Palette.
442

4. Click the Trim Mode button.
By default, the system enters Trim mode and selects the transition
nearest the position indicator for dual-roller trimming.
This method is useful for selecting straight-cut transitions on one
track or across video and audio tracks. By default, only the
transitions in the tracks highlighted in the Track Selector panel are
selected for trimming. If the transitions are not straight cuts
(overlap cuts or L-edits), the system highlights the topmost track,
nearest the position indicator.
n
You
can map the Trim Mode button to any button in the Tool palette or any
key on the Keyboard palette. For information on mapping buttons, see
“Mapping User-Selectable Buttons” on page 122.
443

Exiting Trim Mode
To exit Trim mode, use one of the following methods:
t
t
t
Press the Trim Mode key on the keyboard, or click the Trim Mode
button in the Other tab of the Command palette.
Click the Step Forward button or the Step Backward button under
the Source/Record monitor.
Click a specific location in the Timecode (TC1) track at the bottom
of the Track Selector panel.
The position indicator moves to that location.
Selecting Between Trim Sides
You can trim a transition on either the outgoing side (A-side or tail),
the incoming side (B-side or head), or both sides (dual-roller).
To select sides of a transition to trim, do one of the following:
t
Click the outgoing (A-side) or incoming (B-side) monitor to define
which side of the transition to trim. The pointer changes to a
single-roller A-side, single-roller B-side, or dual-roller icon,
depending on the position.
A-side B-side A and B
t
Click in between the two frames displayed in the Source/Record
monitor to trim both sides.
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Selecting Additional Transitions
Select tracks on
the record side
to add transitions.
While in Trim mode, you can select additional transitions for trimming
in different contexts.
To select additional transitions on contiguous tracks for trimming
on the same side:
t
Click the corresponding Record Track buttons in the Track Selector
panel.
Likewise, you can deselect tracks in the Track Selector panel to
remove transitions on those tracks from the trim procedure.
To select additional transitions for single-roller trimming in varying
locations on different tracks:
t
Shift+click the transitions in the Timeline.
This method is useful when you are working with staggered
transitions across multiple tracks. It also allows you to select both
A-side and B-side transitions for simultaneous trimming in
opposite directions (asymmetrical trim). This is not possible with
dual-roller trims.
A-side
B-side
As you move the pointer back and forth across a transition, the roller
icon changes from an A-side roller (facing left) to a B-side roller (facing
right) to indicate the type of selection.
You do not see the dual-roller icon in the Timeline. To select both sides,
you must first select one side, and then Shift+click to select the other
side.
To quickly add multiple transitions to the currently selected
transition:
t
Press and hold the Shift key, and lasso the additional transitions.
You can select and trim two heads or tails simultaneously, in any
combination, for each track in the sequence. All selected transitions are
trimmed the same number of frames. This allows you to save time
445

and, in some cases, to maintain sync by performing a single-trim
procedure across multiple tracks and transitions.
Performing a Basic Trim
After you select your transitions and trim sides, you can perform a
basic trim.
To perform a trim, use one of the following procedures:
1 frame
10 frames
t
t
t
Use the Trim buttons to trim forward or backward by 1-frame or
10-frame increments.
Use the numeric keypad on the right side of the keyboard, as
follows:
- To move the transition a specific number of frames, type a
plus sign (+) or minus sign (–) and the number of frames (from
1 to 99) you want to move forward or backward. Then press
Enter.
If the number of frames is larger than 99, type an f after the
number to indicate frame count. For example, to enter 200
frames, type 200f, and press Enter.
- To move the transition to an exact timecode, type a timecode
number larger than 99, including frames. For example, type
102 to enter 1 second and 2 frames (1:02).
Use controls in the Timeline by clicking a roller at the selected
transition and dragging forward or backward in the sequence.
To have greater control, do one of the following:
t
t
Press the Alt key as you drag one frame at a time.
Press the Ctrl key to snap to other transition points.
As you trim, all selected transitions in the Timeline move in unison.
The Trim counter displays the frame count backward or forward for
446

one or both trim sides, and the monitors display the new incoming or
outgoing frames.
Reviewing the Trim Edit
To review the most recent trim edit or to play the currently selected
transition while in Trim mode:
1. Click the Play Loop button.
The system enters a playback loop. This repeatedly begins at a
preroll point before the transition and ends at a postroll point,
pausing briefly before beginning playback again.
2. Stop the playback loop by clicking the Play Loop button again.
3. To exit Trim mode, click the Toggle Source/Record button, the
Step Forward button, or the Step Backward button.
Trimming Video Tracks
In Trim mode, when you click the A-side or B-side of a transition, all
trim rollers are set to the selected side.
To set only the trim rollers on the video tracks:
t
Press the Alt key and click either the A-side or B-side.
The trim rollers appear only on the video tracks of the selected
side.
447

To save the position of the trim rollers:
t
Press the Alt key when you return to Trim mode using the Trim
Mode button.
Slipping or Sliding Clips or Segments
Slip and slide procedures are two unique Trim mode techniques that
allow you to make frame-accurate adjustments to a selected clip. They
occur without affecting the overall duration of the sequence or the
sync relationships between multiple tracks. Procedures for performing
slip and slide trimming are described in this section.
Slip and slide trimming is especially useful during the later stages of
the edit. These procedures help you make fine adjustments to whole
segments within a well-constructed sequence while maintaining the
overall timing and sync of elements across tracks.
Selecting Segments for Slip or Slide Trimming
To select segments for either slip or slide trimming, do one of the
following:
t
While in Editing mode, make a selection for slipping and sliding.
Then, enter Trim mode by dragging a lasso from right to left
around a segment (two or more transitions). To select a segment
for slide trimming, press the Alt key while you drag the lasso.
Drag right to left around at least two transitions.
IN
OUT
To drag a lasso around a segment on a lower track, press the Alt
key while you drag a lasso. You enter slide trim by default. To
switch to slip trim, double-click the segment.
448

c
n
You
You can also select two or more contiguous segments within a
track for slipping or sliding as a whole by dragging the lasso
around four or more transitions.
Be sure to draw the lasso from right to left; if you draw from left to
right, you enter Segment mode.
t
t
While in Trim mode, double-click a segment to select it for slip
trimming. To select it for slide trimming, press the Alt key while
you double-click the segment.
You can also select two or more segments on different tracks for
simultaneous slip or slide trimming. To do so, press the Shift key
as you repeat this procedure. However, you cannot use the Shift
key to select additional segments on the same track.
While in Trim mode, press the Shift key and select both the head
and tail of a clip for slipping. Alternatively, select the outgoing tail
frame of the preceding clip and the incoming head frame of the
following clip in the sequence to prepare the clip for sliding.
You can also use this method to select two or more contiguous
segments on the same track, and additional segments on other
tracks for slipping or sliding as a group.
cannot perform both slipping and sliding functions simultaneously.
You can slip and slide the video and audio for a clip together.
Alternatively, you can slip and slide a single segment of video or audio
independently from the rest of the clip.
The type of trim you perform (slip or slide) determines which frames
are updated, as follows:
• In slip trimming, the two inner monitors for the head and tail
frames of the clip change because only the contents of the clip are
adjusted. The frames that precede and follow the clip are not
affected.
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Surrounding material
remains fixed.
Slip 1 frame to the right.
Before slip
1 2 3 4
Frames
After slip
2 3 4 5
• In slide trimming, the two outer monitors for the outgoing
(A-side) and incoming (B-side) frames change because the clip
remains fixed while the footage before and after it is trimmed.
Surrounding material is selected.
Slide 1 frame to the right.
Before slide
1 2 3 4
Frames
1 2 3 4
After slide
1
2 3 4 5
2 3 4
Performing the Slip or Slide Trim
To slip or slide a clip or segment:
1. After selecting the segments, as described in “Selecting Segments
for Slip or Slide Trimming” on page 448, do one of the following:
t
t
t
Click any roller in the Timeline, drag the selected material to
the left or right, and release.
Use the numeric keypad to enter specific frame-count or
timecode values, and press Enter.
Use the Trim keys to shift the selection by 1-frame or 10-frame
increments.
450

Table 14-1
Key
Key Functions in Slip or Slide Trim
Slips
/ 10 frames forward
m
period (.)
comma (,)
10 frames backward
1 frame forward
1 frame backward
2. Monitor the progress of the trim by using the monitors, the Trim
counters, and the Timeline.
When you reach the end of available material while slipping a
segment, the trim stops. Similarly, when you reach the next
transition while sliding a clip along a track, the trim stops.
3. Exit Slip mode or Slide mode either by clicking another transition
for trimming, by clicking the Trim Mode button in the Tool palette,
or by pressing the Escape key to exit Trim mode.
Creating Overlap Edits
You can use an overlap edit (or L-edit) to smooth a transition by giving
the viewer the illusion that the audio or video is shared between two
separate but adjacent clips.
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Audio overlap example
Before
trimming
V1
A1
A2
Clip A Clip B Clip C
After
trimming
V1
A1
A2
Clip B audio is extended.
Clip A Clip B Clip C
Clip C audio is trimmed in.
To create an overlap edit:
1. Perform a straight-cut edit between two clips, including audio and
video tracks.
- If the timing of the video edit is crucial, mark edit points
according to video.
- If the timing of the audio transition is crucial, edit to audio.
2. Perform a dual-roller trim on either the video track or the audio
tracks, but not both.
- If the video transition occurs at the correct place, but you want
the audio from one clip to linger into the other (or the reverse),
trim the audio tracks accordingly.
- If the audio transition occurs at the correct place, but you want
the video to transition either before or after the audio cut, trim
the video track accordingly.
Maintaining Sync While Trimming
The NewsCutter XP system provides two features to ensure that you
do not break sync unintentionally between two or more video and
audio tracks when performing single-roller trims.
• You can add black filler to maintain the overall duration of the
track.
• You can trim with tracks sync locked.
452

Adding Black While Trimming
You can add black filler on either the A-side or the B-side of a
transition while maintaining the overall duration of the track and the
sync relationships. The system adds a black segment to fill the
duration of trimmed frames.
To add black while trimming:
1. Enter Trim mode.
2. Select the transition.
3. Press and hold the Alt key while dragging the A-side or B-side
trim roller.
A black segment is added without changing the duration of the
sequence.
453

No black is added, and sync breaks appear in the Timeline.
Trimming
without adding
black
Black fills the trim duration, and sync is maintained.
Adding black
while trimming
Trimming with Sync-Locked Tracks
n
Sync-locked
tracks aid only single-roller trim functions in Trim mode because
dual-roller trims do not cause sync breaks.
454

To trim with sync-locked tracks:
1. While in Trim mode, click next to the tracks you want to keep in
sync.
The Sync Lock icon appears, and the location of the position
indicator determines the sync point across tracks.
Sync Lock icon
Sync Lock All button
n
You
Timecode button
can also click the Sync Lock All button next to the Timecode button to
switch sync lock on and off for all tracks.
2. Perform single-roller trims as necessary, with the following
results:
- When you trim the A-side of a transition forward, all other
segments locked in sync move forward with the trim. If the
transitions are staggered, this might split one or more of the
segments at the sync point established by the position
indicator, leaving fill.
If you trim the B-side of the transition in the same direction,
the additional sync-locked segments slide back in the
sequence to maintain sync until they encounter another
segment in the same track. At this point, you can trim no
further and the system emits a warning sound.
- When you trim back the A-side of a transition, additional
segments locked in sync move back as well. If the segments
are staggered and one of the additional sync-locked segments
455

encounters another segment on the same track, you can trim
no further and the system emits a warning sound.
If you trim the B-side of the transition in the same direction, all
other segments locked in sync move forward to stay in sync. If
the transitions are staggered, this action might split one or
more of the sync-locked segments at the sync point
established by the position indicator. Filler is added where
the split occurs.
456

CHAPTER 15
Working with Audio
You edit audio by using many of the same techniques and tools you
use to edit video, including editing, Segment mode, and Trim mode
functions. NewsCutter XP also provides several unique features that
facilitate audio editing, such as audio scrub, waveform displays, and
tools for adjusting and mixing audio levels and pan between speakers.
In addition, you can adjust the high, low, and midrange frequency
ranges of segments by using the Audio Equalization (EQ) tool.
• About Audio Tools
• Accessing Audio Effect Tools
• Audio Editing Aids
• Using the Audio Mix Tool
• Using Audio Gain Automation
• Using the Audio EQ Tool
• Recording Voice-Over Narration
• Using Auto VO
• Fine-Tuning Audio Transitions
• Mixing Down Audio Tracks
• Changing the Sample Rate
457

About Audio Tools
NewsCutter XP provides a collection of tools for managing and
fine-tuning audio volume, pan, equalization, and transitions. The
general purpose of each tool is as follows:
• Audio tool: Use this tool primarily for adjusting and calibrating
global input and output levels when you record from analog
sources or from output to tape. For more information, see “Using
the Audio Tool” on page 200 and “Calibrating for Audio
Output” on page 555.
• Audio Mix tool: Use this tool primarily for adjusting pan and
volume levels on clips or whole tracks within a sequence. For
more information, see “Using the Audio Mix Tool” on page 470.
• Audio Gain Automation tool: Use this tool to fine-tune your
audio tracks. The tool provides control over volume keyframes
and ramps within a clip. For more information, see “Using Audio
Gain Automation” on page 481.
• Audio EQ tool: Use this tool for adjusting the sound characteristics
of audio clips in the sequence based on three-band control over
high, low, and midrange frequencies. For more information, see
“Using the Audio EQ Tool” on page 495.
• Digidesign AudioSuite Plug-In tool: Use this tool to access
third-party audio plug-ins. For more information, see “Digidesign
AudioSuite Plug-Ins” on page 512.
• Audio Punch-In tool: Use this tool to record up to two channels of
audio directly into the Timeline for voice-over narration. For more
information, see “Recording Voice-Over Narration” on page 526.
458

Accessing Audio Effect Tools
You can access the following tools from any of the audio effect tools:
• Audio Mix (for adjusting pan and volume)
• Automation Gain
• AudioSuite
• Audio EQ
To access one of the audio effect tools:
t
Choose one of the tools from the Tools menu.
To switch to another tool:
t
Choose the new tool from the Effect Mode Selector pop-up menu.
Effect Mode Selector
pop-up menu
To keep more than one tool open at the same time:
t
Choose the tool from the Tools menu, or press and hold the Alt
key while choosing a new tool from the Effect Mode Selector
pop-up menu.
The following section describes several features that help you locate
transitions and monitor audio samples while editing or adjusting
sound with the tools.
459

Audio Editing Aids
NewsCutter XP provides audio track soloing, audio scrub features,
and waveform plots specifically designed for frame-accurate cueing,
marking, and editing of audio. You can use these features any time
during editing or while making adjustments with the audio tools.
Soloing Audio Tracks in the Timeline
You can solo multiple tracks in the Timeline. This feature allows you
to:
• Listen to several tracks at once without turning other audio tracks
off or down.
• Isolate audio tracks for audio scrubbing without having to
deselect monitoring of all other audio tracks.
To solo an audio track:
t
Ctrl+click the Audio Track Monitor button for the track that you
want to solo.
The Audio Track Monitor icon changes to green.
To turn off soloing for the track:
t Click the Audio Track Monitor button again.
To turn off the solo feature for all tracks:
t
Ctrl+Alt+click an Audio Track Monitor button for a solo track.
Using Audio Scrub
The term audio scrub originated in the film industry. It describes the
process of “scrubbing” a magnetic audiotape across the playback
heads to monitor a portion of sound. This process isolates portions of
460

audio to help you accurately mark edit points or analyze transitions
for careful trimming.
Smooth Scrub Versus Digital Scrub
You have two options for scrubbing audio in either the sequence or the
source material:
• Smooth audio scrub: This feature mimics the variable-pitch
playback of traditional analog tape.
• Digital audio scrub: This feature takes advantage of the digital
environment by sampling incoming frames, outgoing frames, or
both at normal pitch and playback rate.
Each type of scrub has its advantages:
• Smooth scrub makes it easier to examine sound at varying speeds.
• Digital scrub allows you to focus quickly on individual bits of
incoming or outgoing audio for frame-accurate edits and
adjustments.
Try both types of scrub and see which one works better in different
situations.
Selecting Tracks for Scrubbing
By default, all monitored audio tracks are selected for scrubbing.
However, as the play speed increases during audio scrubbing, some
monitored audio tracks are dropped. You can select up to two tracks to
ensure they play during scrubbing, even if the system has to drop
some tracks.
Table 15-1 shows how many tracks can be scrubbed at the varying
speeds of play.
461

Table 15-1
Number of Tracks and Scrub Speeds
When you play footage
forward or backward at:
Normal speed
Two times normal speed
Three times normal speed
Greater than three times normal speed
You can scrub:
Up to 4 tracks
Up to 4 tracks
2 tracks
0 tracks
To ensure an audio track is monitored during scrubbing:
t
Alt+click the Audio Track Monitor button in the Track Selector
panel for the chosen track.
Audio Track Monitor buttons with
gold Speaker icons
The Audio Track Monitor button is purple with a gold Speaker icon to
indicate which tracks will be played if the system has to drop tracks
during scrubbing. By default, the two topmost Audio Track Monitor
buttons display the gold Speaker icon.
You can isolate specific audio tracks for scrubbing, without having to
deselect monitoring of all other audio tracks, by soloing the audio
tracks. See “Soloing Audio Tracks in the Timeline” on page 460.
462

Performing Smooth Audio Scrub
You perform the smooth audio scrub procedure by using either the
J-K-L keys or the mouse, as described in this section.
Using the J-K-L Keys to Perform Smooth Scrub
You can use three-button play with the J-K-L keys to perform smooth
audio scrubbing of selected tracks of audio at variable speeds. You
cannot activate digital audio scrub with three-button play. You can
monitor while stepping (jogging) or while shuttling at fixed rates up to
three times normal speed. The audio cuts out at greater than three
times the normal speed and comes back in after the speed drops below
three times.
To monitor audio with three-button play:
1. Select the correct track, and adjust the playback volume as
necessary.
2. Play the audio by using the three-button variable speed playback
procedures described in “Shuttling with the J-K-L Keys” on
page 354.
Using the Mouse to Perform Smooth Scrub
You can use the mouse to perform smooth audio scrubbing of selected
tracks. Like the J-K-L keys, you can jog and shuttle using the mouse.
Unlike three-button play, however, playback rates with the mouse are
not at fixed increments. They can vary from 1 to 300 fps, depending on
manipulation of the mouse.
To monitor audio with the mouse:
1. Select the correct track and adjust the playback volume as
necessary.
2. Choose Command Palette from the Tools menu.
3. Click the Play tab.
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4. Select Active Palette.
5. Activate the mouse for jogging or shuttling by pressing the Mouse
Jog button or the Mouse Shuttle button.
Mouse Jog allows you to move the position indicator with the
mouse. Mouse Shuttle allows you to control the speed of the
position indicator by dragging the mouse.
To deactivate jog or shuttle, press the space bar or the Escape key.
6. Play the footage with the mouse.
n
You
can map the Mouse Jog button or the Mouse Shuttle button to any
button in the Tool palette or any key on the Keyboard palette. For information
on mapping buttons, see “Mapping User-Selectable Buttons” on
page 122.
Using Digital Audio Scrub
Digital audio scrub enables you to sample selected frames of incoming
or outgoing audio as you move through the footage, without a change
in pitch or speed. The following are unique characteristics of digital
scrub:
• The frames of audio you hear are always at your point of
destination. For example, if you step forward 10 frames, you hear
a selected number of audio frames from a point behind the
position indicator (outgoing frames) to a point in front of the
position indicator (incoming frames) as it reaches the new
destination point.
• The audio is always sampled in a forward playback direction;
whether you step backward or forward through the material, you
hear the same audio sampling at each destination frame.
464

Digital scrub example
This entire section is sampled.
Step 10 frames
Selected
track
Outgoing frames
(behind position indicator)
Incoming frames
(ahead of position indicator)
Adjusting Digital Scrub Parameters
The default parameters for the number of frames you hear as you
scrub are zero frames of outgoing audio (behind the position
indicator) and one frame of incoming audio (ahead of the position
indicator). To isolate frames for marking or trimming, the default
parameters are sufficient.
You can increase these settings to include more frames of audio on
either side — for example, when you want to sample whole words or
parts of words as you scrub to find edit points within a phrase. You
can also reverse the settings to sample frames behind the position
indicator (outgoing frames) as you scrub. You should avoid increasing
the number of sampled frames on both sides at once because this can
make it difficult to isolate an edit point or trim point based on the
location of the position indicator.
To adjust the parameters for digital scrub:
1. Double-click Audio in the Settings scroll list of the Project
window.
The Audio Settings dialog box appears.
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2. Click in a text box, and type a new number of outgoing or
incoming frames in the Source Scrub area, the Timeline Scrub area,
or both.
The new parameters are now in effect.
Performing the Digital Scrub Procedure
To locate an audio edit point in audio by using digital scrub:
1. Solo an audio track for scrubbing, and adjust the output volume, if
necessary.
2. Press the Caps Lock key to activate digital audio scrub.
n
You
can also activate digital audio scrub by pressing and holding the Shift key
while you drag the position indicator or click the Step buttons.
3. Move through the material in one of the following ways to hear
the scrub:
t
t
Drag the position indicator.
Click the Step (Jog) buttons, located in the Move tab of the
Command palette, to step through in fixed increments:
1 frame backward, 1 frame forward, 10 frames backward, or
10 frames forward.
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When you have found the correct frame, mark the location, trim the
transition, or perform any other function you choose.
If you are sampling incoming frames (with the default scrub
parameters, for example), the system places the position indicator at
the head of the last sampled audio point. If you are sampling outgoing
frames, the system places the position indicator at the tail of the last
sampled audio point.
Adjusting Pan Defaults
The way your footage was recorded in the field and was recorded with
NewsCutter XP will affect the way sound pans between the speakers.
By default, the system pans audio tracks 1 and 3 to the left speaker
output and pans audio tracks 2 and 4 to the right speaker output.
You can set global pan settings before or during editing by using the
Audio Settings dialog box and by selecting All Tracks Centered.
For information on using the Audio Mix tool to adjust pan for
individual clips in a sequence, see “Using the Audio Mix Tool” on
page 470.
Adjusting Default Pan Settings
To open the Audio Settings dialog box:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Audio.
The Audio Settings dialog box appears.
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By default, the audio tracks for clips alternate with track 1 on the left
speaker and track 2 on the right speaker for monitoring and output.
The option All Tracks Centered instructs the system to center the pan
of all tracks between the two speakers for monitoring and output.
Displaying Waveform Plots
You can use sample waveform plots to help you visually locate points
in an audio track for editing or trimming.
To display audio waveforms:
1. If you are searching for a point in a known section of the tracks,
zoom in and show more detail in the sequence to isolate a section
of the audio. With less audio to display, the system draws the
waveform plot faster.
2. Click the Timeline Fast menu button, and choose Sample Plot.
The sample plot displays the entire amplitude of the audio
waveform. This is the same as the sample voltage values you
would see on an analog oscilloscope waveform.
468

Waveform sample plot
n
Press
Ctrl+period at any time during the redraw of the waveform plot to stop
the redraw.
3. (Option) Maximize the visibility of your waveform display by
using any of the following procedures:
t
t
t
t
t
Continue to expand or shrink your view of the Timeline by
using the scale bar, effectively spreading out the waveform
plots to show detailed variations in the audio levels.
To enlarge the height of selected audio tracks and
subsequently the waveform displays, press Ctrl+L.
To reduce the height of selected audio tracks and
subsequently the waveform displays, press Ctrl+K.
To enlarge the size of the sample plot image without enlarging
its track, press Ctrl+Alt+L.
This procedure is useful when you view detail in quiet
passages.
To reduce the size of the sample plot image without reducing
its track, press Ctrl+Alt+K.
This procedure is useful when you view detail in loud
passages.
469

n
You
can select Show Marked Waveforms in the Timeline Settings dialog box
to narrow the view of the tracks in the Timeline. This option provides faster
displaying of the Timeline because the waveform is displayed only between the
IN point and the OUT point.
4. Move through the audio shown in the waveform by using any of
the playback methods.
You hear sound as you track the audio visually. When the position
indicator is at the point you want in the waveform, you can mark,
trim, or perform any other function.
n
Audio
waveform plots can slow your navigation through the Timeline.
Therefore, you might want to use them selectively. To do this, you can create a
custom Timeline view, as described in “Customizing Timeline Views” on
page 405.
Once you have created a customized waveform view, you can choose it from
the Timeline View pop-up menu when needed, and return to another view
when you are done.
Using the Audio Mix Tool
For additional
information on audio
levels for digital cut
output, see Chapter 17.
The default volume for master clips is set to zero (that is, with no
attenuation) when you first record the media. The pan option in the
Audio Settings dialog box determines how the system plays back the
default pan. If you set the Default Pan to “Alternating Left - Right,”
odd tracks are sent to the left channel and even tracks are sent to the
right channel. For more information, see “Adjusting Default Pan
Settings” on page 467.
The Audio Mix tool allows you to:
• Adjust pan and volume for an individual clip, a whole track,
several tracks at once, or a whole sequence.
• Adjust the volume, pan, or both for one track at a time.
470

• Adjust the volume, pan, or both for multiple tracks
simultaneously by ganging them together.
The system uses these adjustments for all playback, including output
to a digital cut.
n
The
Audio Mix tool adjusts entire clips only. You can adjust volume levels
within a clip in the Timeline by using Audio Gain Automation. For more
information, see “Using Audio Gain Automation” on page 481.
To open the Audio Mix tool:
t
Choose Audio Mix from the Effect Mode Selector pop-up menu or
from the Tools menu.
Render Effect button
Audio Loop Play button
Fast Menu button
Effect Mode Selector
pop-up menu
Bypass Clip Gain
button
Volume Level
display
Display/Hide
Sliders button
Number of Mix Panes button
Which Set of Tracks to Display in
Mix Panes button
Track Selection Menu button
Gang button
Level slider
Pan level and slider
471

Resizing the Audio Mix Tool
You can simplify the Audio Mix Tool display by clicking the
Display/Hide Sliders button to switch between hiding and displaying
the Volume Level sliders.
With the tool collapsed, you can continue to adjust levels by selecting a
track and typing values by using the numeric keypad on the keyboard,
or by typing a value in the Volume Level display.
You can resize the entire Audio Mix tool by dragging the edge or
corner of the tool. You can resize the Audio Mix tool only when the
sliders are displayed.
Adjusting One Audio Track at a Time
To adjust one audio track at a time in the Audio Mix tool:
1. Load a clip or sequence, and activate the appropriate monitor:
t
t
To adjust a track in a source clip, make sure the Source
monitor is active by clicking the Toggle Source/Record button
until “Source” appears next to the title in the monitor and the
button turns green.
To adjust a track in a sequence, make sure the Record monitor
is active by clicking the Toggle Source/Record button until
“Sequence” appears next to the title in the monitor.
2. Select the track or portion of a track to be adjusted:
t
t
To adjust the track in a single edited clip in a sequence, move
the position indicator to the clip.
To adjust an isolated section of audio on a track, mark IN and
OUT points. Adjusting a clip with IN points and OUT points
adjusts the entire clip.
472

n
The
n
The
t
t
To adjust levels from an IN point through the end of the track,
mark an IN point only. One mark also adjusts the entire track
from the beginning of the clip that includes the mark.
To adjust levels globally throughout the track, make no marks.
3. Choose Audio Mix from the Tools menu to open the Audio Mix
tool.
Audio Mix tool contains eight panels, one for each audio track that you
can monitor and adjust. By default, only the first four tracks (A1–A4) are
displayed when the Audio Mix tool opens.
Audio Mix tool can display only tracks that exist in the sequence and are
monitored, or tracks that were recorded with the source clip. Only monitored
tracks appear in the Audio Mix tool. If a track does not appear, check the
sequence to make sure the track is monitored.
4. Select the audio track to be adjusted by doing one of the following:
n
To
t
t
t
(Option) Click the Which Set of Tracks to Display in Mix Panes
button to display tracks A5–A8, or click the Number of Mix
Panes button to display all eight tracks.
Click the Track Selection Menu button for the appropriate
audio track.
Alt+click the Track Selection Menu button, and then choose a
track from the pop-up menu.
verify or change the output channels, use the Audio tool (choose Audio
Tool from the Tools menu).
5. With the Audio Mix tool active, use any playback method (such as
the J-K-L keys on the keyboard) to play, shuttle, or step through
the audio to check for necessary volume or pan adjustments.
The keyboard can control either the pop-up or Source/Record
monitor, depending on which monitor was active when you
opened the Audio Mix tool. Switch your selection by clicking the
appropriate monitor.
473

6. Decide whether to raise or lower the volume or pan left or right,
which adjusts the volume or pan for a single clip. See “Changing
an Audio Level” on page 474.
Volume Level display
Click Gang buttons to
gang multiple tracks.
Level slider
Pan Value display
7. Adjust pan values. See “Adjusting Pan Values” on page 475.
8. Apply the adjustments to a chosen region of the track by using the
Audio Mix Fast menu located in the top bar of the tool. See
“Applying Pan Value Adjustments” on page 475.
9. Play through the audio again, using the J-K-L keys.
10. Repeat steps 6 through 9 until you are satisfied with the pan and
volume levels.
The system uses the new settings whenever you play back or
record the sequence.
Changing an Audio Level
To change an audio level value in the audio track panel, do one of
the following:
t
t
Click a number along the vertical edge of the Level slider.
Click the Level slider, type a value, and press Enter.
474

Values are cumulative until you press Enter. For example, if you
want to enter the value 12, type it. However, if you enter 1 and
then want to change the value to 2, press Enter before typing the 2.
t
t
t
Click the Level slider, and then drag the slider to a new position.
Click the Volume Level display, type a value, and press Enter.
Alt+click the Level slider to reset the value to 0 dB.
Adjusting Pan Values
To adjust the pan values in the audio track panel, do one of the
following:
t
t
Click the Pan Value display to reveal the pop-up slider, and then
drag the slider to a new position.
Alt+click the Pan Value display for MID.
If the sequence is playing, notice that play stops when you make
an adjustment (the Audio Mix tool does not provide real-time
audio control). You can adjust volume while playing the clip. For
more information, see “Adjusting Volume While Playing an
Audio Mix Effect” on page 479.
Applying Pan Value Adjustments
To apply the adjustments:, click the Audio Mix Fast Menu button,
and choose one of the commands:
t
t
t
The Set commands (Set Pan on Track, Set Level on Track) apply the
same pan or volume levels currently set in the Audio Mix tool to
all segments in the marked regions of the tracks.
The Adjust Pan/Vols on Track command opens a dialog box for
making incremental adjustments to all current settings across
segments in the marked regions of selected tracks.
For example, when you type –1 in the Gain Adjustment text box,
the various audio level settings across all segments of the marked
475

egion of selected tracks will be lowered by exactly 1 dB when you
click OK.
t
t
The Remove Clip Gain on Track and Remove Pan on Track commands
remove clip gain or pan values from the marked regions of
selected tracks.
The Remove Pan/Vols on Track command deletes all audio mix
adjustments that have been applied to segments in the marked
regions of selected tracks. Each audio clip is restored to its
previous pan and volume settings.
The options in the Fast menu appear dimmed until you select a track
by clicking the Track Selection Menu button. (To apply the
adjustments to multiple tracks, click additional Track Selection Menu
buttons.) The options vary depending on the types of marks you set
within the clip or sequence, as follows:
• With IN and OUT points: Commands apply adjustments to
selected tracks between the points.
• With an IN point (no OUT point): Commands apply adjustments
to full clips from the IN point to the end of selected tracks.
• With no points: Commands apply globally (across entire tracks).
n
The
Clip Gain values set by the Audio Mix tool are the values for the entire
segment; for example, you cannot set a subsection of a segment without
affecting the entire segment. To set gain for a portion of a segment, use Audio
Gain Automation. For more information, see “Using Audio Gain
Automation” on page 481.
Ganging and Adjusting Multiple Tracks
You can gang multiple tracks in the Audio Mix tool to maintain the
same relative settings between tracks when you make adjustments.
This is useful in a variety of circumstances. For example, you can gang
tracks to raise the overall volume of a portion of a sequence while
maintaining variations in level adjustment among tracks.
476

To gang and adjust multiple tracks:
1. Click the Gang buttons of the required panels. To deselect a Gang
button, click it a second time.
2. Adjust either volume or pan for one of the tracks by using any of
the techniques described in “Adjusting One Audio Track at a
Time” on page 472, and the other tracks will maintain the same
relative levels.
When you gang two or more tracks, you gang both the Level and the
Pan sliders.
To set all ganged sliders to the same value for volume:
t
Click the number along the vertical edge of the Volume Level
slider, or type a value in one of the Volume Level displays and
then press Enter.
To set all ganged sliders to the same value for pan:
t
Click the Pan Value display, and type a value.
Rendering an Audio Effect
The Render Effect button allows you to render an audio effect without
closing the Audio Mix tool. For example, if you change the level of a
clip that contains a rendered audio dissolve, the effect becomes
unrendered. You can use the Render button to rerender the audio
dissolves directly from the Audio Mix tool. Then, you can play it back
immediately to hear the effect of the level change with the dissolve in
place. For more information about rendering, see the Avid NewsCutter
XP Effects Guide.
477

Modifying Pan Values
There are two basic ways to work with pan values:
• Create or modify an audio pan/vol effect. This method creates an
effect that is stored with the sequence.
• Modify the way that the system interprets pan values during
playback.
Creating or Modifying an Audio Pan/Vol Effect
To create or modify an audio pan/vol effect, do one of the following:
t Use the Pan sliders at the bottom of the Audio Mix tool. See step 6
of “Adjusting One Audio Track at a Time” on page 472.
n
Stereo
t
Use the pan-related commands in the Audio Mix Tool Fast menu.
See “Applying Pan Value Adjustments” on page 475.
(available in the Audio tool) is the only Audio Mix mode that supports
pan/vol effects.
Modifying How the System Interprets Pan
To modify the way the system interprets pan during playback:
t
t
Set the default pan values in the Audio Settings dialog box.
Choose one of the following modes from the Mix Mode Selection
pop-up menu in the Audio tool:
- Stereo uses the default pan settings and allows you to create
pan effects.
- Mono pans all tracks to center during output. This mode also
ignores pan effects.
- Direct Out maps tracks directly to up to two channels of
output. By default, Direct Out maps all audio tracks in
numerical sequence to existing output channels. You can
478

emap a track to any channel by clicking the channel
assignment display and by choosing another channel.
Bypassing Existing Volume Settings
You can have the system ignore the volume settings established with
the Audio Mix tool when playing back or recording a sequence.
To turn off current volume adjustments, do one of the following:
t
t
Click the Bypass Clip Gain button in the Audio Mix tool.
Click the Clip Gain button in the Bypass area in the Audio tool.
The volume controls disappear.
To restore the previous settings:
t
Deselect the Bypass Clip Gain or the Clip Gain button.
Adjusting Volume While Playing an Audio Mix Effect
You can use the Audio Loop Play button to change the volume on an
existing Audio Mix effect while you play the clip.
The Audio Loop Play button appears on several of the audio effect
tools and is also a mappable button in the Command palette.
You can perform the following operations while the system plays the
loop:
• Adjust audio effects.
• Use the Peak Hold pop-up menu in the Audio tool to change
between Peak Hold and Infinite Hold.
• Use the Reset Peak button in the Audio tool.
479

There are limitations on adjusting volume; you can also improve
response time. See “Limitations on Adjusting Volume” on page 481
and “Improving Response Time” on page 481.
For more information on the Audio tool, see “Using the Audio Tool”
on page 200.
To adjust volume while playing an Audio Mix effect:
1. Do one of the following:
t
t
t
Choose an existing Audio Mix effect.
Identify an area of the clip with IN and OUT points.
Move the position indicator to an audio clip.
2. Click the Audio Loop Play button in the Audio Mix tool.
The NewsCutter XP system repeatedly loops through the selected
area as follows:
- If you have IN and OUT points in your sequence, the
command loops over the selected area.
- If there are no IN or OUT points, the command loops over the
smallest selected audio track identified by the position
indicator.
- If you have only an IN point or only an OUT point, the system
uses the location of the position indicator as the second point.
For example, if there is an IN point and no OUT point, the
system loops from the IN point to the end of the (smallest
selected) audio segment under the position indicator.
3. Adjust the volume as necessary.
4. Click the Audio Loop Play button to stop.
NewsCutter XP automatically saves your changes as part of an
Audio Mix effect.
480

Limitations on Adjusting Volume
If there is no Audio Mix effect on the clip before you start, you will not
hear any changes until you click the Audio Loop Play button to stop
and replay the effect.
As you adjust the volume values on an existing Audio Mix effect, you
might not hear the results immediately. It takes a few seconds for the
NewsCutter XP system to apply the changes to the clip. The response
time for this feature is considerably longer than it is when changing
EQ parameters while using Audio Loop Play. You might need to click
the Audio Loop Play button to complete the edit and then play the
effect to hear the result.
Improving Response Time
To improve the response time, do any of the following:
n
For
t
t
t
Monitor as few audio tracks as possible.
Deselect the video track, if practical.
Use IN and OUT points to select a narrow interval to adjust.
additional ways to change the volume while playing an Audio Mix effect,
see “Recording Automation Gain Information” on page 492.
Using Audio Gain Automation
Audio Gain Automation (also known as audio volume
rubberbanding) allows you to change the volume of a segment by
adding and manipulating gain keyframes in the Timeline. The
following illustration shows an expanded audio track containing gain
keyframe information.
481

Gain values in decibels
Graphic representation of keyframes and gain
ramps in the Timeline
NewsCutter XP uses a linear ramp to change the volume from one
gain keyframe to the next.
Automation Gain Values and System Clip Gain Values
When you add a keyframe to a clip with Clip Gain already on, the
keyframe is placed at 0 dB.
Values set by the volume Level sliders in the Audio Mix tool are
referred to as system clip gain values. Audio gain keyframes are
additive to the system clip gain values. This allows you to adjust the
values separately. You typically adjust clip gain values first, as shown
in the following workflow.
Clip Gain
Audio Effect
Processing
Automation Gain
Adjust overall volume. Apply effects. Fine-tune volume.
482

For example, assume that you have copied an audio file from a
CD-ROM. You want to equalize (EQ) the audio but the overall volume
is too loud. In this case, you would do the following:
1. Use the Audio Mix tool to lower the overall volume. See “Using
the Audio Mix Tool” on page 470.
2. Apply an EQ effect and any other audio effects. See “Using the
Audio EQ Tool” on page 495.
3. Use Audio Gain Automation to fine-tune the volume of different
sections of the audio in the sequence. See “Using Audio Gain
Automation” on page 481.
You can view the clip gain and the automation gain values in the
Timeline at the same time.
To turn on the display of clip gain values, automation gain values, or
both:
1. Click the Timeline Fast Menu button.
2. Choose Audio Auto Gain or Audio Clip Gain.
n
NewsCutter
XP releases earlier than Release 2.0 do not support additive clip
gain and automation gain. If you transfer a sequence containing additive clip
gain and automation gain to a system running a release earlier than
Release 2.0, you cannot hear the additive clip gain. Also, if you save the
transferred sequence on the system running the earlier release, the system
does not save the additive clip gain. If you need to transfer sequences from
Release 2.0 to earlier releases and then bring the sequences back to
Release 2.0, remove any additive clip gain before you transfer the sequence. To
remove the clip gain, choose Remove Clip Gain on Track from the Audio Mix
Tool Fast menu.
483

Adjusting Volume in the Timeline
To use Audio Gain Automation to adjust volume:
1. Select an audio track for adjusting volume.
2. Click the Timeline Fast menu button, and choose Audio Auto Gain
from the Timeline Fast menu.
n
If
n
You
there is audio volume data on a clip and you do not choose Audio Auto Gain
from the Timeline Fast menu, the system displays a pink triangle on the clip
to indicate that audio volume data is present but not displayed.
can enable Clip Gain, Audio Auto Gain, and Sample Plot in the Timeline
Fast menu to display audio information superimposed over waveform plots in
the Timeline.
3. (Option) Expand the audio track by doing one of the following:
t
t
Press and hold Ctrl+L.
Press and hold the Ctrl key while dragging in the Track
Selector panel. When the pointer changes to a cross, drag the
cross to expand or shrink the track as shown in the following
illustration.
484

The following illustration shows the expanded audio track with
volume data.
4. Click the Add Keyframe button in the FX tab of the Command
palette to add keyframes along the Timeline. NewsCutter XP adds
a keyframe to each enabled track.
A straight line appears in the selected audio track. The line shows
the current gain level for that track in the Audio Mix tool.
n
You
adjust gain in the Automation Gain tool by dragging keyframes in the
Timeline or by placing the position indicator on a keyframe and adjusting the
slider.
After you add the first keyframe to a segment, you can adjust the gain
for the entire clip. When you move the keyframe up or down, the
corresponding volume Level slider in the Automation Gain tool also
moves.
485

Deleting Audio Gain Keyframes
To delete a single audio keyframe:
1. Move the pointer over the keyframe.
2. When the pointer changes to the hand pointer, press the Delete
key.
If there are identical keyframes in other active tracks, the system
deletes them also. (Do not press the mouse button.)
To delete groups of keyframes:
1. Mark an IN point and an OUT point, or mark the entire segment.
2. Delete any keyframes in the marked area.
Moving Audio Gain Keyframes in the Timeline
To move audio gain keyframes in the Timeline, do one of the
following:
t
Click a keyframe and drag it up or down to increase or decrease
the gain at that point. If there is a point at the same position on
another enabled track, it moves also.
486

n
To
snap to the decibel lines, press and hold the Ctrl key while you drag the
point.
t
Move a keyframe horizontally to move the start or end of a ramp.
Move the pointer to a keyframe. When the pointer changes to the
hand pointer, press and hold the Alt key, click the keyframe, and
drag it.
t
Move several keyframes vertically on a track at the same time by
marking IN and OUT points to select the area you want. When
you move one keyframe up or down within the marked area, all
keyframes within the marked area move in relation to each other.
This works for all enabled audio tracks.
This procedure is similar to ganging sliders on an audio mixing board
or in the Audio Mix tool.
About the Automation Gain Tool
Before this section discusses recording volume in the Timeline, it
describes the Automation Gain tool in detail. The following
illustration shows the Automation Gain tool.
487

Cancel button
Record Status light
Record button
Bypass Auto Gain
button
Audio Loop Play
button
Render Effect button
Fast Menu button
Preroll and Postroll text boxes
Number of Mix Panes button
Which Set of Tracks to Display in
Mix Panes button
Track Solo button
Gang buttons
Level sliders
External fader controller or
mixer position indicators
Some portions of the Automation Gain tool are similar to the Audio
Mix tool.
The following features are similar to the Audio Mix tool:
• Bypass Auto Gain button: This button allows you to temporarily
turn off the Automation Gain effect. This button is the same as the
Bypass Clip Gain button in the Audio Mix tool.
• Number of Mix Panes and Which Set of Tracks to Display in
Mix Panes buttons: These buttons allow you to display four or
eight panes and to select which enabled tracks are displayed. They
are similar to the display options in the Audio Mix tool. For more
information, see “Resizing the Audio Mix Tool” on page 472.
• Render Effect button: This button is particularly useful for
rendering audio effects. For example, if you change the level of a
488

clip that contains a rendered audio dissolve, the effect becomes
unrendered. You can use the Render Effect button to rerender the
audio dissolve directly from the Automation Gain tool. Then you
can play back the clip immediately to hear the effect of the level
change with the dissolve in place.
• Audio Loop Play button: This button allows you to adjust audio
effects while looping over a portion of audio. This button is also
available in the Command palette. For more information, see
“Adjusting Volume While Playing an Audio Mix Effect” on
page 479.
• Gang buttons: You can adjust the volume, pan, or both for
multiple tracks simultaneously by ganging them together. The
gang button turns yellow, however, if you try to gang a track that
is not selected.
The following record features are similar to the Audio Punch-In tool:
• Record button: Starts and stops the recording.
• Cancel button: Stops a recording without saving the recorded
data.
• Record Status light: Is black when there is no activity, green
during a preroll, red during recording, and blue during a postroll.
• Preroll text box: Allows you to provide a visual cue before the
recording begins. The NewsCutter XP system backs up the
position indicator for the prescribed number of seconds.
• Postroll text box: Allows you to provide the same kind of visual
cue at the end of the recording.
The remainder of the features described in this section are specific to
the Automation Gain tool.
Track Solo Button
The Track Solo button (Speaker icon) lets you mute and solo
individual audio tracks during Audio Gain Automation recording.
489

Button Color
Purple (default)
Gray
Green
Description
The audio track is on.
The audio track is muted.
The track is soloed. You can solo more than one track
at a time.
To switch between solo and on:
t
Click the Track Solo button.
To switch between on and mute:
t
Alt+click the Track Solo button.
When you turn off solo, the button returns to its previous state (mute
or on).
To change the previous state of a button:
c
t
Alt+click the button.
While the Automation Gain tool is active, NewsCutter XP overrides
any other mappings of the number keys 1 to 8 at the top of the
keyboard. Number keys on the right side of the keyboard are not
affected.
Selecting Tracks in the Automation Gain Tool
To apply adjustments to a chosen region of the track:
1. Select the tracks.
2. Choose an option from the Automation Gain Tool Fast menu
located in the upper right portion of the tool.
490

The options in the Fast menu appear dimmed until you select a
track by clicking the Track Selection Menu button.
To apply the adjustments to multiple tracks:
t
Click additional Track Selection Menu buttons.
To access the Track Selection Menu button options and choose either
a track or None:
t
Press and hold the Alt key while clicking the Track Selection Menu
button.
Automation Gain Tool Fast Menu
To make the Automation Gain Tool Fast menu active for a given
track:
t
Click the Track Selection Menu button for that track in the
Automation Gain tool.
The options in the Fast menu appear dimmed until you select a track
by clicking the Track Selection Menu button. (To apply the
adjustments to multiple tracks, click additional Track Selection Menu
buttons.) The options vary, depending on the types of points you set
within the clip or sequence, as follows:
• With IN and OUT points: Adjustments applied to selected tracks
between the points
• With an IN point (no OUT point): Adjustments applied to full
clips from the IN point to the end of selected tracks
• With an OUT point (no IN point): Adjustments applied to full
clips from the beginning of selected tracks to the OUT point
• With no points: Globally applied (across entire tracks)
491

To apply the adjustments, use one of the following commands:
• Set Pan on Track: Applies the same pan or volume levels currently
set in the Audio Mix tool to all segments in the marked regions of
the tracks.
• Filter Automation Gain on Track: Removes approximately 50
percent of the keyframes in the marked region. If you press and
hold the Alt key while choosing the menu item, the system
removes all keyframes in the selected area, except for the
minimum and maximum peaks. NewsCutter XP tries to save
major gestures while removing redundant points and points on a
linear ramp. This is useful for deleting extra keyframes after a
recording.
• Adjust Pan/Vols on Track: Opens a dialog box for making
incremental adjustments to all current settings across segments in
the marked regions of selected tracks.
For example, if you type –1 in the Gain Adjustment text box, the
various audio level settings across all segments of the marked
region of selected tracks will be lowered by exactly 1 dB when you
click OK.
• Remove Automation Gain on Track: Removes all the audio
keyframes within the marked region.
• Remove Pan on Track: Deletes all pan adjustments that have been
applied to segments in the marked regions of selected tracks. Each
audio clip is restored to its previous pan settings.
• Remove Pan/Vols on Track: Deletes all audio mix adjustments
that have been applied to segments in the marked regions of
selected tracks. Each audio clip is restored to its previous pan and
volume settings.
Recording Automation Gain Information
You can instruct NewsCutter XP to record your actions while playing
the clip as you move sliders to adjust the volume. The system creates
492

the corresponding keyframes and saves them as part of a pan/volume
audio effect. After you finish the recording, you can move, add, and
delete keyframes to achieve the results you want.
To record automation gain information:
t
Use the Level sliders in the Automation Gain tool to adjust
volume while you play the clip.
Using the Automation Gain Tool Sliders
This procedure describes how to record audio gain information.
To record audio gain information by using the Automation Gain
Tool sliders:
1. Select an audio track in the Timeline for adjusting volume.
n
Automation
n
If
gain is applied only to Timeline tracks that are selected.
2. Click the Timeline Fast Menu button, and choose Audio Auto
Gain from the Timeline Fast menu.
there is Automation Gain volume data on a clip and you do not choose Auto
Gain from the Timeline Fast menu, the system displays a pink triangle on the
clip to indicate that audio volume data is present but not displayed.
3. (Option) Expand the audio track by doing one of the following:
t
t
Press Ctrl+L.
Press and hold the Ctrl key while dragging in the Track
Selector panel.
4. Move the position indicator to the section of audio that you want
to adjust, and mark IN to OUT points.
5. In the Track Selector panel, select the tracks to which you want to
record automation gain.
493

6. Click the Record button, or press the B key to start recording your
actions.
7. Listen to the audio, and adjust the Level sliders in the Automation
Gain tool as necessary.
n
Ganged
faders are yellow for tracks that are not selected in the Timeline;
tracks with yellow gang buttons are not ganged during automation gain
recording.
8. Click the Record button again to stop recording.
NewsCutter XP adds volume keyframes to the audio in the
Timeline. Because it records every movement of the sliders, there
are usually more keyframes than you need.
9. Decrease the number of keyframes:
a. Click the Track Selection Menu button for the track to enable
the Fast menu.
b. Choose Filter Automation Gain on Track — In/Out from the
Automation Gain Tool Fast menu.
10. Repeat step 9 until you have decreased the number of keyframes
to an acceptable level.
You should remove as many excess keyframes as possible while
still maintaining the volume changes.
You can move, add, and delete keyframes individually or as groups to
further adjust the volume. For details on how to adjust the keyframes,
see “Adjusting Volume in the Timeline” on page 484.
Using a Keyboard Shortcut
You can map the Fast Forward and Rewind buttons to your keyboard
to speed your editing of audio keyframes.
494

To use the Fast Forward and Rewind keys when editing audio
keyframes:
1. Choose Command Palette from the Tools menu.
2. Click the Move tab.
3. Map the Fast Forward and Rewind buttons to the Keyboard
palette. See “Mapping User-Selectable Buttons” on page 122.
4. Click the Automation Gain tool to make it active.
5. Click the Track Selection Menu buttons to choose the appropriate
tracks.
6. Press the Fast Forward key or the Rewind key.
The position indicator moves to the next or previous audio keyframe.
n
The
Automation Gain tool must be active when you use the Fast Forward key
or the Rewind key.
Using the Audio EQ Tool
The Audio Equalization (EQ) tool supports real-time, segment-based
frequency equalization on individual clips. This feature allows you to
adjust the high, low, and midrange frequency ranges of an audio clip.
You can also save a variety of audio EQ effects and apply them in
different circumstances, as described in this section.
To access the Audio EQ tool, do one of the following:
t
t
Choose Audio EQ from the Tools menu.
If one of the Audio tools is already open, choose EQ from the
Effect Mode Selector pop-up menu.
The Audio EQ tool opens.
495

Render Effect button
Audio Loop
Play button
Fast Menu button
Effect icon
Effect Mode Selector
pop-up menu
Track Selection
Menu button
EQ Parameter display
Display/Hide EQ
Graph button
Enable/Disable
EQ Effect button
Bypass RT EQ button
Low shelf
Parametric midrange
Three bands of
controls
High shelf
EQ Range slider
EQ Parameter
graph
Audio EQ Tool Features
This section describes the basic buttons and menus in the Audio EQ
tool as well as the EQ-specific items in the tool.
Basic EQ Tool Features
The following buttons appear along the top portion of the Audio EQ
tool:
• Effect Mode Selector pop-up menu: Allows you to choose among
the Audio EQ, Audio Gain Automation, Audio Mix, and
AudioSuite Plug-in tools.
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• Audio Loop Play button: Allows you to make adjustments to an
EQ effect while you play the effect. This button is also a mappable
button in the Command palette. For more information about using
this button, see “Adjusting Volume While Playing an Audio Mix
Effect” on page 479.
• Render Effect button: Allows you to render an effect without
leaving the Audio EQ tool.
• Effect icon: Allows you to create an EQ template. Drag the icon to
an open bin to create the template.
• Fast Menu button: Allows you to perform the following tasks:
- Set EQ for enabled tracks.
- Remove EQ for one or more tracks.
- Apply an effect template (see “Using Audio EQ Templates”
on page 507).
• Track Selection Menu button: Allows you to choose which tracks
are enabled for the EQ effect. When you choose an item from this
menu, the system selects or deselects the corresponding track in
the Timeline.
n
If
you enable more than one track in the Timeline, the tracks are designated by
plus signs (+). They indicate that the effect will be applied to more than one
track.
• Display/Hide EQ Graph button: Allows you to display or hide
the Parametric Curve display.
• Bypass RT EQ button: Allows you to instruct the system to ignore
all the EQ effects. This button is also available in the Audio Mix
and Automation Gain tools. If you select this feature in one tool, it
is selected in the other tools as well.
• Enable/Disable EQ Effect button: Allows you to enable or disable
the current EQ effect. When the button is yellow, the effect is
enabled. (The button text IN stands for inline.)
497

EQ-Specific Features
The Audio EQ tool provides three bands of control:
• The first band, the low shelf, has four turnover points (50 Hz, 80 Hz,
120 Hz, and 240 Hz). A turnover point is the point at which the
curve starts to return to 0.
A shelf affects all frequency values within the range of the shelf.
The low shelf affects all frequencies from 20 Hz to the low shelf
turnover point.
• The second band is the parametric midrange. This band has two
bandwidth values, 1/4 octave and 2 octaves. These values control
the width of the curve.
• The third band, the high shelf, has four turnover points (6 kHz,
8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies
from the high shelf turnover point to 20 kHz.
The horizontal center line of the graph is 0 (zero). As you move the
curve below the zero line, the corresponding frequencies are
deemphasized. Above the zero line, the corresponding frequencies are
emphasized. The parametric midrange allows a smooth transition
from deemphasized frequencies to emphasized frequencies.
The IN button (Enable/Disable EQ Effect) allows you to turn off an
individual EQ effect (the currently selected effect). The button is
yellow when the EQ effect is on (inline) and gray when the EQ effect is
off.
When you apply Audio EQ effects, consider the following:
• Audio EQ can be applied only to entire segments. You cannot
isolate portions of a segment for an Audio EQ effect by using IN to
OUT points. You must use add edits (match frames) to mark off a
smaller segment.
• You can use IN to OUT points to select a range of complete
segments for applying an Audio EQ effect. Segments that fall
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within the marks, either in part or whole, will have the effect
applied to them.
The following illustration shows the Audio EQ tool with the frequency
response curve displayed, and identifies the related areas of the tool.
EQ Parameter display
Current values of the EQ
parameters
Bandwidth around the center
point of the parametric curve
– 1/4 octave (narrow) or
2 octaves (wide)
Turnover point where low
shelf curve starts moving
back toward 0
Center point of the
parametric midrange
curve
0 line
Turnover point where high
shelf curve starts moving
back toward 0
High shelf
Low shelf
Parametric midrange
The Audio EQ tool allows you to emphasize or deemphasize audio
frequencies. The height of the curve in the bottom pane shows the
amount of emphasis or deemphasis (also called boost or cut) that is
being applied. The range is from +15 dB to –20 dB.
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Applying Audio EQ Effects
To adjust audio EQ for a track:
1. Load the sequence containing the audio track.
2. (Option) Isolate a portion of an audio segment by placing add
edits.
3. (Option) Mark a range of audio segments by adding IN to OUT
points in the track.
4. Open the Audio EQ tool.
5. Select the audio track to be adjusted from the Track Selection
pop-up menu in the Audio EQ tool.
Track Selection
Menu button
The Track Selector panel in the Timeline is updated to reflect your
selection.
n
If
multiple tracks are enabled in the Timeline, then plus (+) signs appear next
to the enabled tracks in the Audio EQ tool.
6. Click the Audio Loop Play button to play the currently selected
audio clip within the current IN to OUT range. To stop playing the
loop, click the button again or click anywhere in the Timeline.
7. Use one of the following methods to change a value in the Audio
EQ tool:
t
t
Click a number along the vertical edge of the Low Shelf,
Parametric Midrange, or High Shelf sliders.
Click the Low Shelf, Parametric Midrange, or High Shelf
slider, and type a value.
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t
t
t
Values are cumulative until you press Enter. For example, if
you want to enter the value 12, type it. However, if you enter 1
and then want to change the value to 2, press Enter before
typing the 2.
Click a slider, and then drag the slider to a new position.
Click the EQ Parameter display, and type a value.
Set a value of 0 dB by clicking the slider and entering 0, or by
clicking 0 along the vertical edge of the Low Shelf, Parametric
Midrange, or High Shelf sliders.
8. Apply the adjustments to the track by using the Set EQ command
from the Audio EQ Tool Fast menu. The command works as
follows on the selected tracks:
• With IN and OUT points: Apply the EQ effect to selected
tracks between the points.
• With an IN point (no OUT point): Apply the EQ effect to full
clips from the IN point to the end of selected tracks.
• With no points: Apply the EQ effect globally (across entire
tracks).
The Fast menu also allows you to remove EQ effects from one
track or all enabled tracks and provides access to a number of
predefined EQ templates. For a description of predefined audio
templates, see “Using Audio EQ Templates” on page 507.
For example, the following illustration shows a segment with one
EQ effect applied to the Audio Clip 4 in track A2. If you choose Set
EQ In/Out, the current EQ effect is also applied to all the other
audio clips on track A2.
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Before Set EQ In/Out
After Set EQ In/Out – EQ effect is added to all the other audio clips.
If there is no EQ setting on the currently selected clip, choosing Set
EQ In/Out deletes the EQ settings on all clips within the IN to
OUT range. For example, because there is no EQ setting on the last
audio clip in the following example, Set EQ In/Out deletes the EQ
effect from all the other audio clips.
502

Before Set EQ In/Out
After Set EQ In/Out – EQ effect is deleted from all other audio clips.
Set EQ In/Out applies only to the audio track currently selected
by the Audio EQ tool. You can change your selected region by
eliminating or adding marks in the Timeline, or by selecting a
different track.
9. Play through the audio again, using the Audio Loop Play button.
10. Repeat steps 6 to 9 until you are satisfied with the EQ adjustments.
Saving Audio EQ Effects
NewsCutter XP treats an EQ setting as an effect. You can save EQ
settings in a bin just as you save any other effect template. This makes
it easy to save EQ settings and apply them whenever you need them.
503

The following illustration shows an EQ Effect icon in a bin and in the
Timeline.
EQ effect icon in a bin
EQ Effect icon in the Timeline
To save EQ settings in a bin:
t
Drag the effect icon in the Audio EQ tool to a bin.
To copy the settings to another audio clip:
t
Drag the effect icon in the Audio EQ tool to another audio clip in
the Timeline.
For more information on using effect templates, see the Avid
NewsCutter XP Effects Guide.
504

Removing Audio EQ Effects
To remove an Audio EQ effect:
1. Move the position indicator to the effect in an active track.
2. Do one of the following:
t
t
Click the Remove Effect button in the Tool palette. See “Using
the Tool Palette” on page 364.
From Trim or Effect mode, press the Delete key.
You can also use the commands from the Audio EQ Tool Fast menu.
Audio EQ Examples
The following examples present two different ways to use the Audio
EQ tool to remove excess bass from an audio track. In these examples,
assume that a bass drum in the sound track is very pronounced and
the Audio EQ tool is used to deemphasize it. Also assume that there
are voices on the same track as the music. The human voice covers a
wide range of frequencies, and the challenge is to preserve the bass
frequencies of the voices while deemphasizing the bass drum sound.
Consider that the goal of the adjustments is the final sound. You
should use small adjustments to preserve as much of the original
sound track as possible. Do not be overly concerned about specific
parameter values.
Low Shelf Example
This example adjusts the low shelf to deemphasize the bass. By
dropping the low shelf to –20 dB, we are able to deemphasize it.
However, there are voices on this track, and dropping the low shelf
also removes some bass from the voices.
505

To compensate for the loss of bass:
1. Use the 2-octave midrange setting to create a wide midrange.
2. Move the midpoint of the parametric curve to 88 Hz.
3. Boost the midrange of the parametric curve to +7.7 dB.
Small Octave Range Example
This example isolates the particular frequency that we want to
deemphasize. In this example, we do not use the low shelf, but instead
we use the parametric midrange to isolate the frequency.
To isolate the frequency:
1. Use the 1/4-octave influence range.
2. Set the midrange EQ parameter to –15 dB.
3. Use the EQ Range slider to move the midpoint of the parametric
curve until it isolates the bass frequency. In this case, the bass
frequency that we want to deemphasize is approximately 80 Hz.
506

Use the EQ Range slider to
move the center point of the
parametric curve and locate
a specific frequency.
The following technique allows you to locate a specific frequency
and either emphasize or deemphasize it:
• Use the 1/4-octave influence range and a large negative
decibel value.
• Keep both the high shelf and low shelf set to zero.
• Use the EQ Range slider to move the center point of the
parametric curve along the frequency range while you play
the audio track.
Once you locate the frequency you want, you can adjust it as needed.
Using Audio EQ Templates
Your NewsCutter XP system provides a set of predefined audio EQ
templates. These templates address a number of common audio
problems such as removing tape hiss or boosting the low frequency on
a music track. The templates are accessible from the Fast menu in the
507

Audio EQ tool. You can also add your own custom EQ templates to
the Fast menu.
The Fast menu in the Audio EQ tool provides access to a number of
predefined EQ templates, as shown in the following illustration.
The EQ templates are designed to fix problems that you often
encounter with audio clips. For example, Tape Hiss Filter rolls off
frequencies above 4 kHz. NTSC Hum Buster cuts the bass on
frequencies that often cause hum on NTSC systems.
Applying an EQ Template
To apply an EQ template from the Audio EQ Tool Fast menu:
1. Move the position indicator to the audio clip in the Timeline.
2. Click the Fast Menu button, and choose the template from the
Audio EQ Tool Fast menu.
NewsCutter XP places the EQ effect on the audio clip.
508

The following illustration shows the contents of the Audio EQ tool
when you select the Female Voice with Presence template in the
Timeline. As explained in the tool, you cannot change the parameters
of a predefined EQ template.
n
To
see the parameter values of one of the EQ templates that cannot be edited,
view the Console window after you apply the effect. To open the Console
window, choose Console from the Tools menu.
Creating Your Own Templates
If you create an EQ effect, you can use it again as a template in another
sequence or on another track.
To create your own EQ effect template:
1. Drag the effect icon from the Audio EQ tool to a bin.
The system creates an EQ effect in the bin.
2. Rename the template by clicking the text and typing a new name.
509

Effect icon
Adding an EQ Template to the Fast Menu
You can add your own EQ templates to the Audio EQ Tool Fast menu.
You do this by storing your EQ template in the same bin as the
predefined templates.
NewsCutter XP stores the predefined EQ templates in a bin named
Site_EQs_Bin, located in the following folder:
drive:\Program Files\Avid\Avid NewsCutter XP\
SupportingFiles\Site_Effects
To add an EQ template to Site_EQs_Bin:
1. Open the bin containing your EQ templates.
2. Choose Open Bin from the File menu.
A dialog box appears.
3. Open the bin named Site_EQs_Bin.avb as follows:
a. Open drive:\Program Files\Avid\Avid NewsCutter XP\
SupportingFiles\Site_Effects
b. Choose All Files from the Files of Type pop-up menu at the
bottom of the dialog box. The Site_EQs_Bin.avb file appears.
c. Double-click the Site_EQs_Bin.avb file.
4. Drag one of your EQ templates to Site_EQs_Bin.
5. If you have not already done so, name the template by clicking the
text and typing a name.
6. Close the bin.
510

n
The
NewsCutter XP system does not save the effect to the bin until you close
the bin.
7. Click the Audio EQ Tool Fast Menu button, and look for your new
template.
Adjusting EQ While Playing an Audio Effect
You can use the Audio Loop Play button to create or change an EQ
effect while a clip is playing.
Audio Loop Play button
Use the same procedure as described in “Adjusting Volume While
Playing an Audio Mix Effect” on page 479.
If there is no existing EQ effect on the clip before you start, you will not
hear any changes until you click the Audio Loop Play button to stop
and replay the effect.
As you adjust the EQ values on an existing EQ effect, you might not
hear the results immediately. It takes a few seconds for the changes to
be applied to the clip.
To improve the response time, do one of the following:
t
t
t
Monitor as few audio tracks as possible.
Deselect the video track, if practical.
Use IN and OUT points to choose a narrow interval to adjust.
511

Digidesign AudioSuite Plug-Ins
NewsCutter XP supports AudioSuite, the Digidesign host-based,
file-based plug-in specification. Users have access to audio-processing
plug-ins developed by Digidesign and by Digidesign third-party
developers. These plug-ins perform pitch processing, artifact removal,
audio reversal, and many other processes. For more information on
using the AudioSuite plug-ins, see Appendix A.
For information on plug-ins that are not supported by your
NewsCutter XP system, see “Plug-in Limitations” on page 525.
Installing AudioSuite Plug-Ins
The NewsCutter XP system installation software automatically creates
a DAE (Digidesign Audio Engine) folder in the following location:
drive:\Program Files\Digidesign\DAE
The DAE folder contains the following:
• A DAE Prefs folder
The plug-in vendor might install settings in this folder.
• A DAE Plug-Ins folder containing the following:
- A set of basic plug-ins from Digidesign.
- A file named AvidAppPlugIn.dpm. The NewsCutter XP
system requires this file; do not delete it.
- A file named AvidAppPlugIn.dpm.rsr. The NewsCutter XP
system requires this file; do not delete it.
Several basic plug-ins are installed automatically. For a description of
the plug-ins, see Appendix A.
512

When you purchase additional plug-ins, the third-party vendor will
provide instructions on how to load the plug-ins. Some vendors might
require you to drag the plug-in to the Plug-Ins folder. Other vendors
might perform the task automatically for you via an installation
program.
Using Digidesign AudioSuite Plug-Ins
To use AudioSuite plug-ins, do one of the following:
t
t
Apply a plug-in to a clip in the Timeline. The end result is a
rendered effect.
Use the controls in the AudioSuite window to create a new master
clip. This method allows you to process more than one channel at
a time and to create new media that is longer or shorter in
duration than the source media. For more information, see
“Creating New Master Clips” on page 518.
By default, the AudioSuite window displays the controls for applying
a plug-in to a clip in the Timeline. When you drop a master clip onto
the window, the window expands to display additional parameters for
working with master clips. The following illustration shows the
expanded view.
Additional parameters
for working on
master clips
Status display
513

Applying an AudioSuite Plug-in to a Clip
in the Timeline
The following illustration shows the default layout of the AudioSuite
window.
Effect Mode
Selector
pop-up menu
Render Effect button
Audio Loop Play
button
Fast Menu button
Effect icon
Display/Hide Master
Clip Controls button
Plug-in Selection
pop-up menu
Target Drive
pop-up menu
Track Selection Menu button
Activate Current Plug-in button
Status display
To apply an AudioSuite plug-in to a clip in the Timeline:
1. Open the AudioSuite window by doing one of the following:
n
To
t
t
Choose AudioSuite from the Tools menu.
If an audio tool is already open, choose AudioSuite from the
Effect Mode Selector pop-up menu.
2. Use the Track Selection Menu button to choose the tracks that you
want to modify. When you choose an item from this menu, the
system selects or deselects the corresponding track in the
Timeline.
select multiple tracks, press the Shift key while you choose additional
tracks from the Track Selection pop-up menu. The tracks are designated by
plus signs (+), which indicate that the effect will be applied to more than one
track.
514

3. Choose a plug-in from the Plug-in Selection pop-up menu.
NewsCutter XP automatically applies the plug-in effect to the
track or tracks in the Timeline.
4. Click the Activate Current Plug-in button.
A dialog box associated with the plug-in appears.
5. Make any necessary adjustments, and click the Preview button to
preview the effect. For more information, see “Using a Plug-in
Dialog Box” on page 515.
6. To save the effect, click OK. To close the dialog box without saving
the effect, click Cancel.
7. (Option) To save the effect as a template, drag the effect icon to a
bin.
n
If
you want to use plug-ins that operate on stereo pairs or that change the
length of the audio clip, use the methods described in “Creating New
Master Clips” on page 518.
Using a Plug-in Dialog Box
The contents of the plug-in dialog boxes vary, but the top six buttons
are always visible. If a particular button is not available, it appears
dimmed. The following illustration shows the Digidesign Normalize
plug-in.
These six buttons
appear on all
AudioSuite Plug-in
dialog boxes.
515

The buttons are:
• OK: Saves the effect and closes the dialog box.
• Cancel: Closes the dialog box and does not save the effect.
• Preview: Plays back a portion or all of the currently selected audio
clip with processing.
Some plug-ins can preview in real time and some cannot. If the
plug-in cannot preview in real time, NewsCutter XP plays back
the processed audio in 2-second intervals. NewsCutter XP
processes 2 seconds of audio, plays it, processes the next
2 seconds, plays it, and so on.
• Render: Renders the effect and creates a new audio media file.
• Bypass: Plays the selected audio without processing. This is useful
for comparing the audio with and without processing applied.
• Find peak: Performs an analysis pass on the audio. Depending on
the plug-in, the text and function of this button might change.
Some plug-ins require an analysis pass on the audio data before they
can process the information. If so, they perform the first pass
automatically. Other plug-ins do not require a first pass but can
achieve more accurate results if you allow them to perform a first pass.
If the plug-in supports the optional pass, this button will be available.
Otherwise, it appears dimmed.
516

AudioSuite Plug-in Fast Menu
The Fast menu allows you to perform the following tasks:
• Apply an existing AudioSuite template (see “Using AudioSuite
Effect Templates” on page 523).
• Set, render, or remove AudioSuite plug-ins. The menu text differs,
depending on whether you have IN to OUT points in the
sequence.
The following commands appear in the menu:
• Global: There are no IN points on the segment. The command
affects all the plug-ins on the enabled tracks.
• IN/OUT: There are IN to OUT points in the segment. The
command affects the plug-ins on the enabled tracks within the
marked region.
• From IN: There is an IN point and no corresponding OUT point.
The command affects all plug-ins on enabled tracks, starting with
the IN point.
Rendering Plug-in Effects
You need to render all AudioSuite plug-ins before you can play back
the effect. If you do not render the effect manually, the NewsCutter XP
system automatically renders the effect before it creates an audio
mixdown or audio dissolve containing the effect.
For more information, see “Troubleshooting AudioSuite Plug-Ins”
on page 525.
517

Creating New Master Clips
You can use AudioSuite plug-ins to create new master clips. This
allows you to use multiple input and output channels and to change
the length of the media. You can perform the following operations on
the media you create:
• Apply AudioSuite plug-ins to more than one track (also referred
to as a channel or stream) at the same time. For example, a plug-in
might allow you to process two separate tracks as a stereo pair.
This enables you to use plug-ins that perform linked compression,
reverb, and other effects that allow multichannel input.
• Create new media that is longer or shorter in duration than the
source media. This allows you to use effects that perform time
compression and expansion. For example, you can use a Time
Compression Expansion plug-in to change the length of the audio
file, or you can lengthen the file to add a reverb trail.
• Apply one mono AudioSuite effect to multiple inputs of a master
clip in a multiple-mono fashion.
AudioSuite Controls for Creating New Master Clips
When you drag a master clip into the AudioSuite window, the
window automatically expands to display additional controls. You can
also click the Display/Hide Master Clip Controls button to display or
hide the additional parameters.
The following illustration identifies the controls that appear when you
expand the AudioSuite window.
518

Activate Current
Plug-in button
Track Selection
Menu button
Clip Selection
pop-up menu
Input Source Track
selectors
Processing Mode
Selection pop-up
menu
Target Bin for New
Master Clip pop-up
menu
Status display
Load Result in Monitor check box
Toggle Master
Clip Mode
button
Mark IN to OUT
indicators
Find Source from
Effect button
Load in Pop-up
Monitor button
Handle Length for End of
Master Clip text box
The AudioSuite options are as follows:
• Track Selection Menu button: This menu is not active in Master
Clip Processing mode.
• Clip Selection pop-up menu: This menu allows you to choose the
active clip. It lists the current active clip and other clips you
dragged into the AudioSuite window. The window controls
change to reflect the active clip.
• Input Source Track selectors: These buttons allow you to choose
the input source tracks for the effect.
The system automatically chooses a preview track and displays a
blue Speaker icon on the track. To change the preview track,
Alt+click the appropriate source track. If the source track that is
set as the current preview track is deselected, the system chooses
the lowest available track.
• Processing Mode Selection pop-up menu: This menu display the
current processing mode of the AudioSuite effect on a given clip.
For more information, see “Mono, Stereo, and Multichannel
Processing” on page 521.
519

• Target Bin for New Master Clip pop-up menu: This menu allows
you to choose the target bin. The system will place the new media
and a corresponding AudioSuite effect template in the bin. The
template allows you to modify the effect at a later time.
• Toggle Master Clip Mode button: This button activates the
Master Clip Processing mode. The button is yellow when master
clip processing mode is active.
• Mark IN to OUT indicators: These lights change to green when a
mark IN or mark OUT exists on the current master clip.
• Find Source from Effect button: This button finds the master clip
associated with an AudioSuite template. When you drop an
AudioSuite effect template into the AudioSuite window, the
system activates this button. Click the button to load the master
clip into the AudioSuite window as the active master clip.
n
The
template you drop in the window must reference an existing master clip.
• Load in Pop-up Monitor button: This button loads the current
source master clip into the pop-up monitor. This is useful if you
want to add or change IN to OUT points on the clip.
• Load Result in Monitor check box: This check box enables you to
instruct the system to automatically load the resulting master clip
into the pop-up monitor.
• Handle Length for End of Master Clip text box: This text box
allows you to add filler at the end of a master clip. The value
represents the number of seconds to add. For example, use this
feature to add filler at the end of a master clip when you use a
reverb effect to add a reverb trail to the end of the clip. Select the
value before you run the plug-in.
• Status display: This display provides information about the
current state of the DAE application and the currently applied
effect. For stereo and multichannel processing plug-ins, the Status
display identifies the maximum number of tracks that can be
processed. If more than the maximum are initially selected, the
520

system automatically disables tracks until it reaches the plug-in’s
maximum number.
Mono, Stereo, and Multichannel Processing
AudioSuite plug-ins allow you to select the following types of
processing:
• Mono processing only: This option is available for plug-ins that
operate on only one audio track at a time. The other option
(Stereo) appears dimmed. The plug-in applies the effect to each
source track individually, in a serial manner.
• Mono and stereo processing: These options are available for
plug-ins that can treat two tracks as a stereo pair. This allows the
system to apply the audio effect simultaneously to each track. For
example, Time Compression plug-ins typically operate on a stereo
pair. You can choose mono if you want the plug-in to operate on
each track individually, in a serial manner.
• Mono and multichannel processing: These options are available
for plug-ins that can process multiple tracks simultaneously. For
example, the Normalize plug-in allows you to adjust the volume
separately for each track or to adjust the volume for all tracks at
the same time. In the latter case, the system examines all enabled
tracks for the loudest volume and then adjusts all tracks relative to
that value.
n
You
can think of stereo processing as a special case of multichannel
processing.
For mono processing, the system creates a new master clip with the
same number of tracks that you selected in the AudioSuite window.
For stereo and multichannel processing, the plug-in creates a master
clip with the number of tracks equal to the number of output streams
from the plug-in. For example, a plug-in that operates on stereo pairs
creates a two-channel master clip. A plug-in such as Normalize, which
521

operates on multiple channels, creates a master clip with as many
tracks as were selected in the AudioSuite window.
The Status display at the bottom of the AudioSuite Plug-in window
indicates how many tracks the plug-in can process. If more tracks are
enabled than can be processed, the plug-in automatically selects the
correct number of tracks. You can change the track selection based on
your needs.
Most AudioSuite plug-ins automatically select the appropriate
processing mode and label the values in the Processing Mode
Selection pop-up menu. For example, the Normalize plug-in offers
two choices: Peak On Each Track and Peaks From All Tracks. The
default is Peaks From All Tracks.
You choose the processing mode from a menu in the AudioSuite
window as described in “Creating New Master Clips by Using
Plug-Ins” on page 522.
Creating New Master Clips by Using Plug-Ins
To create new master clips by using the AudioSuite plug-ins:
1. Drag one (or more) master clips or subclips into the AudioSuite
window.
The system automatically enters Master Clip Processing mode and
expands the AudioSuite window, if necessary.
You can click the Display/Hide Master Clip Controls button to
display or hide the controls for processing a master clip. To enter
or exit Master Clip Processing mode, click the Toggle Master Clip
Mode button. The button is yellow when Master Clip Processing
mode is active.
2. If you dropped more than one master clip into the AudioSuite
window, choose a clip to work on from the Clip Selection pop-up
menu.
3. Choose the input sources from the Input Source Track selectors.
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4. (Option) Change the preview source track; Alt+click the Input
Source Track selector.
5. (Option) Type a value in the Handle Length text box to lengthen
the clip by a specific amount. For example, type 2 if you plan to
add a 2-second reverb trail.
n
If
you are using Time Compression Expansion plug-ins, the plug-ins will
automatically lengthen or shorten the clip.
6. Choose a plug-in from the Plug-in Selection pop-up menu.
7. Click the Activate Current Plug-in button to open the plug-in’s
dialog box. For more information, see “Using a Plug-in Dialog
Box” on page 515.
8. Make any changes, and click the Preview button to preview the
effect.
9. Either render the plug-in from the Plug-in dialog box or return to
the AudioSuite window. For more information on rendering, see
“Rendering Plug-in Effects” on page 517.
When you click the Render Effect button, the system creates a new
master clip in the target bin. The system names the new master
clip by combining the original clip name with the effect name, for
example, Test Audio clip_Normalize.
The system also creates an AudioSuite effect template in the bin as
described in “Using AudioSuite Effect Templates” on page 523.
Using AudioSuite Effect Templates
When you create a new master clip, the system also creates an
AudioSuite effect template in the bin. This effect template contains a
reference to the original master clip to which the effect was applied.
The system names the template by combining the original clip name
with the effect name, for example, Test Audio clip - AudioSuite
Plug-In Effect: Normalize.
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The template is useful if you want to modify the effect after it is
created.
To use a template to modify a master clip:
1. Drag an AudioSuite plug-in template into the AudioSuite
window.
The Find Source From Effect button becomes active.
2. Click the Find Source From Effect button to load the master clip
into the AudioSuite window.
If a corresponding master clip exists, the system loads the master
clip with its associated plug-in values.
3. Modify the effect as described in “AudioSuite Controls for
Creating New Master Clips” on page 518.
To add a template to the AudioSuite Fast menu:
1. Open the bin containing your AudioSuite templates.
2. Choose Open Bin from the File menu.
A dialog box appears.
3. Open the bin named Site_AudioSuite_Bin.avb as follows:
a. Open drive:\Program Files\Avid\Avid NewsCutter XP\
SupportingFiles\Site_Effects
b. Choose All Files from the Files of Type pop-up menu at the
bottom of the dialog box. The Site_AudioSuite_Bin.avb file
appears.
c. Double-click the Site_AudioSuite_Bin.avb file.
4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin.
5. If you have not already done so, name the template by clicking the
text and typing a name.
6. Close the bin.
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n
The
NewsCutter XP system does not save the effect to the bin until you close
the bin.
7. Click the AudioSuite Fast Menu button, and look for your new
template.
Plug-in Limitations
The following limitations apply to the AudioSuite plug-ins:
• Some plug-ins that perform analysis passes on the audio data are
not supported. This includes plug-ins that use playlist information
to cache analysis data.
• If you want to use plug-ins that change the length of an audio clip
or that operate on multiple inputs at the same time, use the
method described in “Creating New Master Clips” on page 518.
Applying an effect to a clip in the Timeline does not work for these
operations.
Troubleshooting AudioSuite Plug-Ins
The following topics describe problems you might encounter when
using the AudioSuite plug-ins.
• Canceling a Render Operation
• Addressing Errors When Rendering a Plug-in Effect
Canceling a Render Operation
You can press Ctrl+period to cancel a render operation. However, be
careful not to press these keys multiple times. If you press Ctrl+period
after the render operation has been stopped (from previously pressing
Ctrl+period), the NewsCutter XP system closes the window after it
cancels the render operation.
525

Addressing Errors When Rendering a Plug-in Effect
If the DAE application is not running when you start to render a
plug-in effect, the system displays an error message stating that the
DAE connection does not exist. The dialog box gives you the following
options:
• Cancel stops the rendering process. This allows you to open the
AudioSuite window and then start rendering again.
• Bypass continues the rendering process but doesn’t render the
plug-in effect.
In most cases, you should click Cancel and open the AudioSuite
window.
If the plug-in is not installed when you go to render a plug-in effect,
the system displays an error message and tells you which plug-in is
not installed. At that time, you can cancel or bypass the rendering
process.
Recording Voice-Over Narration
The Record tool allows you to record up to two channels of audio
directly into the Timeline for voice-over narration. This feature saves
you the extra steps of recording the narration to tape first, recording,
and then editing the audio clip into the sequence. The narrator can
also watch the sequence and hear playback of edited sound tracks
while recording.
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Creating the Voice-Over
To capture the voice-over:
1. Mark the IN and OUT points in the Timeline.
2. Choose Record from the Tools menu.
The Record tool opens.
Voice-over button
Audio
input
3. Click the Voice-over button in the Record tool.
4. In the Record tool, set the Audio Input to Microphone.
5. In the Timeline, patch the source track to the record track you
want. For more information on patching, see “Patching Tracks”
on page 434.
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6. Click the Record button.
7. Stop the recording as follows:
t
t
If you started with both IN and OUT points in the Timeline,
NewsCutter XP automatically stops recording when it reaches
the OUT point (or after it adds the appropriate audio handle
after the OUT point).
If you added only an IN point, click the Record button a
second time to stop the recording.
The following illustrations show the results of adding a voice-over.
The system automatically names the voice-over. You can change the
name as you would for any clip (for example, change the name in the
bin).
528

Voice-over adding a new track
Voice-over replacing a portion of a track
About Voice-Over Media Files
NewsCutter XP automatically names the voice-over and stores it as an
audio clip, as shown in the following illustration.
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Voice-over clip
Using Auto VO
The Auto VO feature allows you to automatically remove certain
segments from a sequence based upon their relationship to a chosen
audio track. You can do either of the following:
• Extract all the segments whose audio appears on the chosen track.
• Extract all other segments from the sequence, leaving only those
segments whose audio appears on the chosen track.
The system creates a new sequence with a .vo file name extension that
contains only the material remaining after the Auto VO process. The
original sequence is retained and is unaffected.
Auto VO might be useful whenever you have organized the audio
tracks in your sequence so that audio from one type of material is
isolated on one audio track. For example, a common approach in
broadcast news is to create a sequence that intersperses interview
material with b-roll (background or location) footage. The audio from
the interview is edited onto one audio track while the audio from the
b-roll footage is edited onto another audio track, as in the following
illustration.
530

B-roll footage
Interview footage
You can use Auto VO to quickly create a new sequence that consists
only of the background material or only of the interview material. You
can then use the new sequence as a starting point for a revised version
of the story, for example, in a follow-up newscast.
To create an edited sequence by using Auto VO:
1. Open the bin that contains the sequence you want to edit.
2. Select the sequence in the bin.
3. From the Bin menu, choose Auto VO.
The Auto VO dialog box appears.
4. From the Using track pop-up menu, choose the audio track that
you want to control the edit.
531

5. Select one of the following:
- Extract segments, to remove all segments with audio on the
track chosen in Step 4
- Keep segments, to retain all segments with audio on the track
chosen in Step 4 and remove all other segments
6. Click OK.
The system creates a new sequence in the bin and names it by
adding a .vo extension to the original sequence name.
Sequence with segments extracted with Auto VO
Sequence with segments kept with Auto VO
532

Fine-Tuning Audio Transitions
When you are making audio level and pan adjustments,
NewsCutter XP looks at either an individual clip in the Source/Record
monitor, a segment in the sequence, or entire tracks. To change level or
pan settings in an area not defined by a discrete clip or group of clips,
use the Add Edit function to define your own custom area.
To isolate clip portions for adjustment:
1. Find the start of the area where you want to change the pan or
level, leaving your position indicator on that frame as a marker.
2. Select the appropriate track in the Track Selector panel.
3. Click the Add Edit button under the Source/Record monitor.
This places an edit where the position indicator is located.
4. Find the end of the area where you want to change the pan or
level, leaving your position indicator on that frame as a marker.
5. Select the appropriate track.
6. Click the Add Edit button.
7. Use the process described in “Using the Audio Mix Tool” on
page 470 to change the level or pan within this new segment.
Fading and Dipping Audio
In traditional analog editing, you manually change volume levels to
smooth audio transitions between elements in an edited sequence by:
• Fading audio up or down
• Dipping audio to a lower level
• Crossfading between audio elements on two separate channels
533

With the NewsCutter XP system, these effects are more accurately
termed audio dissolves because they occur instantly when you apply the
same dissolve effect that you use for video tracks.
Fading Audio
To fade or crossfade audio, you can use the procedures described in
“Using Audio Gain Automation” on page 481, or you can use the
procedure described in this section.
Fading and crossfading audio are easy effects to achieve. The
procedure that differs most from analog editing is crossfading. In the
analog world, unless you are using a mixer, you must lay down audio
on two separate channels and fade one down, and then fade up the
second on an overlapping section. With the NewsCutter XP system,
you simply apply an audio dissolve.
To apply a fade or crossfade:
1. Move the position indicator to a transition.
2. Click the Fast Menu button under the Source/Record monitor.
The Tool palette opens.
3. Click the Quick Transition button.
The Quick Transition dialog box appears.
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4. Choose Dissolve from the Add pop-up menu.
n
Do
not choose another effect from the Add pop-up menu; only dissolves work
with audio tracks.
5. Select a duration for the dissolve, measured in frames (30 frames
equals 1 second of NTSC footage).
6. Adjust the dissolve relative to the cut point by choosing the
location for the dissolve from the Position pop-up menu:
- Choose Ending at Cut to fade the audio on the A-side to 0,
ending at the cut point.
- Choose Centered on Cut to create a crossfade.
- Choose Custom to create a crossfade. Custom allows you to
begin the dissolve off-center — that is, closer to the transition
and ending later into the B-side, or the reverse.
- Choose Starting at Cut to fade the audio up from the B-side,
starting at the cut point.
- (Option) Click inside the effect in the graphic display, and
drag it to position the effect relative to the cut point.
535

n
The
system automatically selects the Custom option in the Position pop-up
menu when you click in the graphical display.
7. Select a duration for the dissolve by doing one of the following:
n
In
n
For
t
t
Type a duration, measured in frames (30 frames equals
1 second of NTSC footage), in the Duration text box.
Click either the left or right edge of the Dissolve Effect icon,
and drag it to change the duration.
The graphic display changes — the size of the effect icon gets
smaller or larger, and the numbers in the Duration and Start
text boxes change — to reflect the new duration.
8. If you chose Custom, type a number in the Start text box to specify
how many frames before the cut point you want the effect to
begin. Otherwise, leave the default value in the text box.
9. (Option) Choose a media drive other than the default from the
Target Drive pop-up menu.
10. Click Add to place the effect at the transition point without
rendering. Click Add and Render to do both at once.
The effect is completed.
most cases, you can click Add and Render for immediate real-time playback
of the audio effect (rendering of audio dissolves is usually instantaneous).
more information about the Quick Transition dialog box, see the Avid
NewsCutter XP Effects Guide..
Dipping Audio
To dip audio from a higher level to a lower one — for example, when
bringing music down and under a voice-over track — you can use the
procedures described in “Using Audio Gain Automation” on
page 481, or use the procedure described in this section.
536

To apply a dip in audio:
1. Play back the section of the sequence where the dip will take place
to determine the start point for the dip, and apply an add edit to
the audio track. For information on add edit, see “Adding an
Edit” on page 437.
2. Repeat the action in step 1 for the end point where the audio dips
back up.
3. Move the position indicator to the new segment of audio, and
open the Audio Mix tool.
4. Adjust the track to the volume level you want, as described in
“Using the Audio Mix Tool” on page 470.
5. Apply a Quick Transition to both Add Edit points, using the
techniques described in “Fading Audio” on page 534. Be sure to
choose Centered on Cut or Custom Start from the Position pop-up
menu.
After rendering, the audio dips smoothly from the higher levels of the
adjacent segments of the track to the lower level applied to the middle
segment.
Mixing Down Audio Tracks
When you work with multiple audio tracks while editing your
material, you might need to mix down the final audio to two tracks.
To mix down several edited audio tracks to one or two audio tracks:
1. Load a sequence into the Source/Record monitor.
2. Click the Track buttons in the Track Selector panel to select the
audio tracks you want to mix down.
3. Mark an IN point and an OUT point at the start and end of the
material you want to mix down.
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If you do not mark the section of audio you want to mix down, the
system mixes down all the selected audio tracks.
4. Choose Audio Mixdown from the Clip menu.
The Audio Mixdown dialog box appears. The top of the dialog
box displays the source audio tracks and the start and end
timecodes for the section of audio you selected to mix down.
Selected
section of
audio
Destination
tracks
5. Do one of the following:
t
t
Select Mono, and select the target track to which you want to
mix down the audio.
If you want stereo, select Stereo and select two target tracks
for the mixed-down audio.
6. Choose a bin and a drive.
The drive is the media drive where the system stores the media
files for the mixed-down audio.
538

7. Click OK.
The audio is mixed down, and NewsCutter XP displays the new
master clip in the bin.
Changing the Sample Rate
You can change the sample rate for sequences and audio clips from
within the Change Sample Rate dialog box. Since you can combine
clips of different sample rates in the same sequence, this feature is
useful when you need to ensure that the entire sequence has the same
sample rate for a digital cut or export.
To change the sample rate for a sequence or an audio clip:
1. Select one or more sequences or audio clips in the bin.
2. Choose Change Sample Rate from the Bin menu.
The Change Sample Rate dialog box appears.
3. Choose 32 kHz, 44.1 kHz, or 48 kHz from the Sample Rate pop-up
menu.
The broadcast standard for most high-end video postproduction
houses is 48 kHz. Choose the rate based on the requirements of
your facility.
For information on setting the sample rate for a project, see
“Adjusting Audio Project Settings” on page 198.
539

4. Choose High, Medium, or Low conversion quality from the
Quality pop-up menu.
5. Select Delete Original Media to have the system automatically
delete the original media after the conversion process is complete.
6. Choose a destination drive to identify the drive for the new media
files.
Make sure that you choose a destination drive with enough
storage space for the generated media files and the ability to play
back media.
540

CHAPTER 16
Syncing Methods
NewsCutter XP provides special tools that help you establish and
maintain sync relationships between various clips. This includes
managing sync between unrelated clips or clips with the same
timecode, match-framing footage, and ganging footage. These topics
are discussed in the following sections:
• Autosyncing Clips
• Managing Sync Breaks
• Managing Sync with Multiple Tracks
Autosyncing Clips
When you record footage that includes both audio and video, the
system automatically establishes sync when it creates clips in the bin.
Autosyncing applies to audio and video clips that have been recorded
separately, usually from two separate sources. Autosyncing creates a
new subclip that displays sync breaks in the Timeline as though the
audio and video were recorded simultaneously.
Sync break displayed in
the Timeline
541

Autosyncing is often used for projects in which picture and sound are
captured separately. These clips are often synced based on common
film timecode, sound timecode, or auxiliary timecode. You can also
autosync any audio and video clips based on an artificial IN point or
OUT point relationship you establish with marks.
Use the following guidelines when autosyncing:
• You can autosync audio clips with video clips only.
• You can create only one autosynced subclip at a time. You cannot
autosync numerous pairs of audio and video clips simultaneously.
• If the audio and video clips do not have matching source or
auxiliary timecode, you must establish common sync frames. To
do this, mark IN points (or OUT points) on both clips before
autosyncing.
• If you are autosyncing clips of different lengths, the longer clip is
truncated to the length of the shorter clip.
• If you autosync according to common timecodes that are
staggered (one clip starts later than the other), the later starting
timecode becomes the start of the new subclip. The clip with the
earlier starting timecode is trimmed accordingly.
To create an autosynced subclip:
1. Select the two clips in the bin.
2. Choose AutoSync from the Bin Fast menu.
The Sync Selection dialog box appears.
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3. Select an option, based on the following:
• Inpoints if you are syncing according to IN points set in both
clips.
• Outpoints if you are syncing according to OUT points set in
both clips.
• Source Timecode if the two clips have matching timecode.
4. Click OK.
The subclip is created and named by default after the video clip
with the extension .sync.n where n is the incremental number of
subclips created with the same name.
You can change the name according to preference. You can load an
autosynced subclip into the Source/Record monitor and
immediately edit it into a sequence.
543

Managing Sync Breaks
Sync breaks occur when a frame-accurate relationship between two
clips or between the audio and video tracks within a single clip is
offset during editing. Often this happens unintentionally when you
perform one of the following actions:
• Selecting only one track in a synced relationship (for example,
audio only or video only) and performing edit functions that
lengthen the duration, such as Splice-in, Extract/Splice-in, or
adding frames in Trim mode
• Selecting only one synced track and performing edit functions that
shorten the duration, such as Extract, Extract/Splice-in, or
removing frames in Trim mode
Your NewsCutter XP system provides several features for avoiding,
tracking, and removing sync breaks, as described in the following
sections.
Editing to Avoid Sync Breaks
One way to avoid breaking sync is to maintain the duration of the
track when you add or remove material, as follows:
• When adding material to a track, use the Overwrite function
instead of Splice-in, whenever possible.
• When removing material from a track, use Lift instead of Extract.
(The Lift function leaves filler of the same duration when you
remove footage.)
• When performing Segment mode edits, use the Lift/Overwrite
function instead of Extract/Splice-in whenever possible.
(Lift/Overwrite leaves filler behind and overwrites material at the
new destination, maintaining sync in both cases.)
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• In Trim mode, you can sync lock tracks to avoid breaking sync, or
you can use the Alt key for adding black during trims, as
described in “Maintaining Sync While Trimming” on page 452.
You can also perform dual-roller trims (that maintain duration)
instead of single-roller trims.
There are many cases in which you cannot avoid splicing or extracting
material, or performing single-roller trims that break sync.
Fixing Sync Breaks
In general, sync breaks are displayed only when the out-of-sync tracks
overlap and the audio no longer matches the video. If an overlapping
portion of one of the tracks is deleted, replaced, moved, or trimmed,
then the sync break disappears. You fix sync breaks in one of several
ways, based on the type of break and the needs of your sequence.
Fixing Sync in Trim Mode
To restore frames to sync in Trim mode:
t
Perform one or more single-roller trims on the out-of-sync tracks.
Trim the exact number of sync-break frames displayed in the
Timeline to reverse the break.
Consider the following:
• Sync lock any additional tracks that are synced to the track you are
trimming. Otherwise, you might restore sync in one track and
break it in the others. See “Using Sync Lock” on page 547.
• Do not perform a dual-roller trim; this does not remove the sync
break.
• Do not perform the trim on the OUT point (A-side transition) of
the out-of-sync segment. This does not remove the sync break.
Always perform the trim on the IN point (B-side transition) of the
out-of-sync segment.
545

Fixing Sync in Segment Mode
To restore frames to sync in Segment mode:
t
Select and move the entire out-of-sync segment. You can move the
segment forward or backward in the opposite direction of the
break to reverse it.
Consider the following:
• Use the Lift/Overwrite function to leave filler behind and
maintain any other sync relationships that might be affected by
the move.
• Use the Lift/Overwrite function to delete the entire segment and
leave filler to eliminate the break.
• Use the Add Edit function to isolate a portion of the clip for
moving or deleting. See “Adding an Edit” on page 437.
• Move the out-of-sync track, if possible, beyond the overlapping
range with the synced material to eliminate the sync break.
Managing Sync with Multiple Tracks
The sync breaks display in the Timeline makes it easy to manage sync
between video and one or two audio tracks. You can use additional
techniques to manage sync when you work with four or more tracks,
including syncing with tail leader and syncing with locators.
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Using Sync Lock
The sync lock feature allows you to maintain sync among several tracks
while you add or remove frames in Trim mode. For example, if you
insert an edit into one track that is sync locked to a second track, the
system automatically inserts filler in the second track to maintain sync
between the two.
Sync Lock button
Sync Lock All button
You activate sync locking by clicking the Sync Lock button in the Track
Selector panel to display the Sync Lock icon. You can also switch all
sync locks on or off by clicking the Sync Lock All button.
There are several unique aspects to sync locking:
• Sync locking is available only in Trim mode. Edits performed in
Segment or Effect mode will override sync-locked tracks.
• Sync locking applies to single-roller trims only; dual-roller trims
do not break sync.
• You can sync lock any number of tracks in any combination. The
tracks do not require matching timecode or common sources and
can include multiple video tracks as well as audio tracks.
• Sync locking affects entire tracks. This means that parallel
segments in other sync-locked tracks are affected when you trim
anywhere in the sequence.
547

Syncing with Tail Leader
You can add tail leader to the audio or video material in
NewsCutter XP to provide a useful visual reference in the Timeline for
tracking and fixing sync breaks across any number of tracks.
Tail leaders lined up for multiple
video (vid) and audio (aud) tracks
Film editors traditionally use standard head and tail leaders for this
purpose. You can create your own leader according to any
specification, as described in “Creating Leader” on page 313.
With tail leader added to synchronized tracks, you can go to the end of
the sequence after making a complicated edit and see whether the
leaders are lined up. If they are out of line, this indicates a sync break
that you can measure and eliminate as follows.
To restore sync by using tail leaders:
1. Move the position indicator to the black segment that follows the
out-of-sync leader.
2. Select the track, and then click the Mark Clip button. You can
measure the break by checking the IN to OUT duration of the
marked segment.
3. Find the point at which the sync was lost.
4. Add or remove frames by using the appropriate edit function, as
described in “Fixing Sync Breaks” on page 545.
As a quick fix, click the Extract/Splice-in button. Drag the black
segment at the end of the out-of-sync tail leader to the location where
the sync was lost. This segment of black, created when the track went
out of sync, is the exact length of the sync break.
548

Move the black
segment by using
Extract/Splice-in.
Syncing with Locators
You can add locators to material in the Timeline to track and adjust
breaks in sync between any number of tracks. With locators, you have
the advantage of placing them anywhere in the sequence and adding
specific notes.
To mark sync points with locators:
1. Move the position indicator to the point in the sequence where
you want to maintain sync between two or more tracks.
2. Select the top video track, and click the Add Locator button.
The system adds a red locator to the top track in the Timeline and
in the Source/Record monitor.
To add a note that will appear in the Source/Record monitor
whenever you park on the locator frame (such as Music sync or
Sound Effect sync):
1. Double-click the locator in the Source/Record monitor.
2. Type the text in the Locator text box.
3. Click OK.
549

To repeat the procedure for subsequent synchronized tracks:
1. Disable the video track where you placed the locator.
2. Enable the top audio track. Make sure you keep the position
indicator in the same location in order to line up the locators.
n
NewsCutter
XP shows the comment only for the locator on the top track.
To determine if sync is broken after an edit:
t
Return to the segment that contains the locators. If the locators are
not lined up, the sync is broken.
To adjust the sync break:
1. Measure the sync break by first moving the position indicator to
the leftmost locator and clicking the Mark IN button. Then move it
to the other locators and click the Mark OUT button.
2. Check the IN to OUT duration of the marked section.
To restore sync:
1. Find the point at which the sync was lost.
2. Add or remove frames by using the appropriate edit function, as
described in “Fixing Sync Breaks” on page 545.
550

Using Add Edit When Trimming
When you are trimming with several audio tracks in sync, the Add
Edit button allows you to create an edit in the silent or black areas of
the synced tracks. They occur in line with the track you are trimming,
and they trim all the tracks at once to maintain sync.
To use the Add Edit button while trimming:
1. Move the position indicator to the edit that you want to trim.
2. Select only the additional tracks that are in sync, and click the Add
Edit button in the Tool palette.
The system adds a transition at the location of your position
indicator in the Timeline.
3. Select the transition and trim (be sure to select all the synced
tracks).
As you trim, frames are also added or removed from the
additional tracks.
4. When you have finished trimming, remove the add edits from the
synced tracks by clicking each Add Edit transition and pressing
the Delete key.
551

CHAPTER 17
Output Options
The NewsCutter XP system provides tools for generating output for
individual tracks or entire sequences to various videotape or
audiotape formats. In addition, you can generate an edit decision list
(EDL) to be used by editors in a videotape suite for preparing a master
tape. These options are described in the following sections:
• Preparing for Output
• Using the Digital Cut Tool
• Using EDL Manager
Preparing for Output
Preparing for video output involves the following procedures:
• Render all non-real-time effects. See the Avid NewsCutter XP Effects
Guide.
• Select video outputs. See “Selecting Video Output” on page 553.
• Select audio outputs. See “Calibrating for Audio Output” on
page 555.
• Calibrate and adjust video output levels. See “Calibrating Global
Output Levels” on page 556.
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• Calibrate and adjust audio output levels. See “Calibrating for
Audio Output” on page 555.
• Decide whether you want to generate stereo or mono audio. See
“Adjusting One Audio Track at a Time” on page 472.
• Mix down multiple audio tracks if necessary. Systems equipped
with a two-channel audio board can generate a maximum of two
channels. See “Mixing Down Audio Tracks” on page 537.
• Convert mixed audio sample rates. See “Audio Sample Rates” on
page 554.
• Prepare the record tapes. See “Preparing Record Tapes” on
page 559.
Selecting Video Output
To choose video output:
1. Choose Digital Cut from the Clip menu.
The Digital Cut tool opens.
2. Choose OHCI or 1394 from the Video Target menu to output
directly to a digital camera, digital video deck, or analog video
deck through a transcoder.
n
If
you have an OHCI board, OHCI appears in the menu. If you have a
Canopus board, 1394 appears.
Preparing for Audio Output
The Audio tool lets you generate and customize calibration tone and
adjust global output levels. For information on additional audio mix
procedures, see “Using the Audio Mix Tool” on page 470.
Selecting your audio output allows you to choose the audio
connection output.
553

To choose audio output:
1. Choose Digital Cut from the Clip menu.
The Digital Cut tool opens.
2. Choose 1394 from the Audio Target menu to output directly to a
digital camera, digital video deck, or analog video deck through a
transcoder.
Audio Sample Rates
You must convert to a single audio sample rate when performing a
digital cut. If your sequence or master clip has multiple audio sample
rates, you need to convert it to a single audio sample rate.
If you have a sequence with multiple audio sample rates (for example,
one clip at 32 kHz and other clips at 44.1 kHz), choose one audio
sample rate.
To set the audio sample rate conversion:
1. If your sequence has multiple audio sample rates, click the
Settings button in the Project window.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings dialog box appears.
554

3. Choose from the Sample Rate menu: 32 kHz, 44.1 kHz, or 48 kHz.
4. Click the Close button.
Calibrating for Audio Output
The following sections describe how to calibrate your system for audio
output:
• Setting the Calibration Tone
• Calibrating Global Output Levels
• Adjusting Output on Two-Channel Audio Systems
Setting the Calibration Tone
The Audio tool provides an internal calibration tone that you can
customize and play as a reference signal on a digital cut. You can use
the recorded reference signal for calibrating the digital cut audio at
another site.
The default tone playback is –14 dB (digital scale) with a 1000-Hz
signal. In some cases, you might need to customize the signal. For
example, a common reference signal convention for audio work
involves recording 30-second segments of 100-Hz, 1-kHz, and 10-kHz
tones back-to-back.
555

To change the parameters for the calibration tone:
1. Choose Audio Tool from the Tools menu.
The Audio tool opens. See “Using the Audio Mix Tool” on
page 470.
2. Click the PH button to display the Peak Hold (PH) pop-up menu.
3. Choose Set Calibration Tone from the Peak Hold pop-up menu.
The Set Calibration Tone dialog box appears.
4. Type new values for the tone level and frequency, and click OK.
To play back the tone:
t
Choose Play Calibration Tone from the Peak Hold pop-up menu.
To check the adjusted tone level in the meters:
t
Make sure the In/Out (I/O) toggle buttons are set to O for Output.
Calibrating Global Output Levels
You can use the meters and the master attenuator (output control
slider) in the Audio tool to make global level adjustments for output
from the system. These adjustments affect levels for all output tracks
to both the speakers and record devices.
556

c
You should leave this output level at the factory preset of
0 dB. Adjust the level only when necessary to raise or lower the
overall volume, based on the headroom parameters of the record
format, or for consistently overmodulated or undermodulated
source material.
Adjusting Output on Two-Channel Audio Systems
By default, the volume scales for Output sliders in the Audio tool
reflect levels for consumer-grade VCRs and recording devices.
To adjust the output parameters:
1. Choose Audio Tool from the Tools menu.
The Audio tool opens.
Show/Hide Setup
Control button
Show/Hide Output
Control button
IN/OUT toggle
buttons
Peak Hold
pop-up menu
2. Click the Show/Hide Output Control button (the Speaker icon) to
display the master attenuator (slider).
3. Click the Show/Hide Setup Control button to open the Setup
Options panel.
557

n
To
t
t
t
t
Choose a type of output from the Mix Mode Selection pop-up
menu:
Choose Stereo to mix the currently monitored audio tracks
into a stereo pair.
Choose Mono to pan all the currently monitored tracks to
center.
Choose Direct Out when the system is connected to a digital
camera. With NewsCutter XP, if you are outputting to a
camera at 48 kHz, the maximum output is two channels. If
you are outputting to a camera at 32 kHz, the maximum
output is four channels.
4. Select Clip Gain, RT EQ, or Auto Gain from the Bypass pane to
disable the customized volume, real-time EQ, or automation gain
effects you applied with the other audio tools.
5. Click the IN/OUT toggle buttons above the meters to display O
for Output.
6. Play back one of the following sources of reference audio:
t
t
Choose Play Calibration Tone from the Peak Hold pop-up
menu.
Play back a representative sequence or clip containing audio.
7. Watch the levels in the meters, and adjust the master attenuator to
the level that you want.
adjust levels for individual tracks, you must use the Audio Mix tool.
8. Close the Audio tool.
558

Preparing Record Tapes
The two basic methods of recording to tape are:
• Frame-accurate recording, using the Digital Cut tool
• Manual recording, using controls on the record deck
Each method requires different treatment of the record tapes.
Frame-Accurate Recording
Frame-accurate recording involves using the Digital Cut tool to record
your sequence onto a prestriped tape (a tape with prerecorded control
track and timecode) or a partially striped tape.
Before you can record a frame-accurate digital cut, you must prepare
the record tapes in advance by using either insert-editing recording or
assemble-edit recording.
To perform insert-edit recording:
t
Stripe the record tapes (record black with timecode for the entire
duration of the tape) in advance (prestriped tape). See the
AVIDdrive Utility User’s Guide.
To perform assemble-edit recording:
t
Record black with timecode onto the tape, including the necessary
preroll prior to the IN point plus at least 10 seconds (partially
striped tape).
559

Manual Recording
Manual recording (sometimes referred to as crash recording) involves
bypassing deck control in NewsCutter XP and using manual operation
of the record deck. Because the timing of playback is based on manual
procedures, the recording is not frame accurate. However, you do not
need to record timecode onto the tape in advance. You can also record
onto non-Avid-controlled decks, such as a consumer-grade VHS or
Hi-8 .
To record manually:
1. If the record deck has a serial control switch, set it to Local.
2. Use the controls on the deck to start the videotape recording.
3. Play the sequence.
Enabling Assemble-Edit Recording
c
Insert editing is the default setting for the Digital Cut tool. You can
also use assemble-edit settings in NewsCutter XP, along with the
assemble-editing capabilities of your record deck, to quickly record
frame-accurate digital cuts without striping entire tapes in advance.
To avoid accidentally breaking timecode on prestriped tapes during
digital cut recording, enable assemble editing only when in use, and
disable it during insert-edit recording.
To enable assemble-edit recording:
1. Click the Settings button in the Project window.
The Settings Scroll list appears.
2. Double-click Deck Preferences.
The Deck Preferences dialog box appears.
560

Assemble-edit
option
3. Select “Allow assemble edit for digital cut.”
4. Click OK.
5. Make sure the record deck has the following settings:
- The free run/rec (record) run switch should be set to record
run.
- The Ext (external)/Int (internal) sync switch should be set to
internal.
- The switch for internal timecode should be set to Regen
(regenerate) or Slave Lock, not Preset.
- After you record 15 to 30 seconds of timecode onto the record
tape for jam syncing, set the Local/Remote switch to Remote
for deck control from within NewsCutter XP.
6. When you are ready to record, set the options in the Digital Cut
tool.
561

Using the Digital Cut Tool
The Digital Cut tool provides controls when you record a sequence to
tape. The Digital Cut tool has the following operating modes:
• Remote mode allows you to control the decks by using the deck
controller in the Digital Cut tool. This mode provides
frame-accurate control when you record a sequence to tape. See
“Recording a Digital Cut to Tape” on page 565.
• Local mode allows you to manually control the record deck by
using the controls on the deck. This mode is useful when you need
to use non-Avid-controlled decks, such as a consumer-grade VHS
or Hi-8. Local mode also allows you to preview the output of a
digital cut before recording it to tape.
The Digital Cut tool allows you to:
• Select the sequence video and audio tracks to record (Sequence
Tracks pop-up menu and the Track Selection buttons).
• Select the tracks to record to on the tape (Enable Video Track
button –— Remote mode only).
• Convert mixed audio sample rates.
• Record an entire sequence.
• Add black at the end of a digital cut.
The Digital Cut tool provides several options for managing the
recording of your sequence. For example, you can:
• Record using either assemble or insert edits.
• Record a selected portion of the sequence or selected tracks.
• Record according to different timecode parameters.
You can also preview the digital cut before recording it to tape.
The Digital Cut tool includes its own deck controls for:
562

• Cueing a record deck from the Digital Cut tool (Remote mode
only).
• Cueing the tape and marking an IN point.
This capability applies when you choose Mark In Time from the
pop-up menu in the deck control area (Remote mode only).
The Mark OUT button does not appear in the deck controller section
of the Digital Cut tool because it has no effect on digital cuts. Also, the
Mark OUT and Duration text fields are read-only. You cannot alter
them.
n
Depending
on the system configuration, you might need to use the deck
controls in the Record tool to review a digital cut.
Sequence Tracks
pop-up menu
Audio Track
Selection
panel
Enable Video Track button
Preview Digital Cut button
Timecode
text boxes
Deck controls
Deck Selection pop-up menu
563

Previewing a Digital Cut
You can preview a digital cut before recording it to tape to make sure
your preparations and output settings are correct or for screening
purposes.
n
You
can preview a digital cut only if a digital camera or deck is connected to
your system.
To preview a digital cut:
1. Choose Digital Cut from the Clip menu.
The Digital Cut tool opens.
Sequence
Tracks
pop-up
menu
Play Digital Cut button
Halt Digital Cut button
Mix Mode Selection toggle button
Preview Digital Cut button
Deck control
option area
Local
option
2. Select Remote or Local in the deck control option area.
564

3. Select the options that you want for the digital cut. See “Recording
a Digital Cut to Tape” on page 565.
4. Select the audio tracks and topmost video track that you want
represented in the digital cut preview by using the Sequence
Tracks pop-up menu. The display of tracks in the Digital Cut tool
varies according to the tracks existing in the sequence.
5. Click the yellow Preview Digital Cut button.
The Digital Cut tool goes through the motions of an insert edit and
shows you how the tape will appear before, during, and after the
cut, but does not actually change the master tape. You can then
modify your digital cut, if you want, before it is committed to the
master tape.
n
To
stop the playback at any time, press the space bar or click the Halt Digital
Cut button.
Recording a Digital Cut to Tape
To record a digital cut to tape:
1. Load a sequence into the Source/Record monitor. (You cannot
access digital cut options without a sequence loaded.)
n
Make
sure the Source/Record monitor is completely visible on the desktop and
is not covered by any other windows or tools.
2. Choose Digital Cut from the Clip menu.
The Digital Cut tool opens.
565

Play Digital Cut button
Enable Video Track button
Mix Mode Selection toggle button
Sequence
Tracks
pop-up
menu
3. Switch to one of the following modes by clicking the Mix Mode
Selection toggle button as follows:
t
Switch to Stereo to mix the currently monitored audio tracks
into a stereo pair.
t
Switch to Mono to pan all the currently monitored tracks to
center.
4. Select or deselect Entire Sequence, based on the following:
t
t
Select Entire Sequence if you want the system to ignore any
IN or OUT points and play the entire sequence from start to
finish.
Deselect Entire Sequence if you have established IN points,
OUT points, or both for recording a portion of the sequence.
5. (Option) Select Add Black at Tail, and enter a timecode to add
black at the end of the digital cut.
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6. Select Remote in the deck control option area.
7. Choose either Insert Edit or Assemble Edit from the pop-up menu.
n
This
menu appears only if you selected “Allow assemble edit for digital cut”
in the Deck Preferences dialog box. For more information, see “Enabling
Assemble-Edit Recording” on page 560.
8. Choose an option from the pop-up menu in the deck control
option area to indicate where to start recording on the tape:
n
If
t
t
t
Choose Sequence Time to start the recording at a timecode
existing on tape that matches the start timecode of the
sequence. If you intend to record several sequences to tape
one after another, this option requires resetting the start
timecode on each sequence to match the appropriate IN points
on the tape.
Choose Record Deck Time to ignore the timecode of the
sequence and to start the recording wherever the record deck
is currently cued.
Choose Mark In Time to ignore the sequence timecode.
Establish an IN point on the record tape by cueing and
marking with the deck controls.
9. (Option) Select Custom Preroll and choose the number of seconds
from the pop-up menu to indicate how many seconds the tape
rolls before the digital cut starts. This option overrides the preroll
setting in the Deck Settings dialog box.
10. Select the audio and video tracks you want represented in the
digital cut preview. The display of tracks in the Digital Cut tool
varies according to the tracks existing in the sequence.
your sequence contains audio clips with different sample rates, use the
Change Sample Rate dialog box to ensure that all the clips have the same
sample rate. For more information, see “Changing the Sample Rate” on
page 539.
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11. Click the Enable Video Track button to select the audio and video
tracks to record to tape.
12. Click the Play Digital Cut button.
The system cues the record deck and then plays and records the
digital cut. The playback appears in the Source/Record monitor
and the video monitor (if you have one).
To stop the recording at any time:
n
After
n
If
t
Press the space bar, or click the Halt Digital Cut button.
assemble-edit recording, a freeze frame is usually added after the OUT
point for 1 second or more, depending on the record deck model. This provides
several frames of overlap for the next IN point before control track and
timecode break up.
you see degraded image quality in your digital cut (particularly visible as
noise during black), deselect the option “Poll deck during digital cut” in the
Deck Preferences dialog box and record the digital cut again. With this option
deselected, the timecode display in the deck controller will not update for the
duration of the digital cut.
Understanding Passthrough
When the Digital Cut tool is active, the footage you see in the monitor
is passing through from an input source to the output channels.
Passthrough uses the input device you specified in the Audio Project
Settings dialog box, the Video Input tool Audio pop-up menu, or the
Record tool Audio pop-up menu. It does not use the target device you
chose in the Digital Cut tool.
When you click the Play Digital Cut button, passthrough stops. You
see the sequence in the Timeline that you are outputting to digital cut.
Passthrough resumes when the digital cut playback is complete.
568

Using EDL Manager
EDL Manager is a standalone application with powerful features and
sorting capabilities to help you prepare an edit decision list (EDL).
For more information on specific features and capabilities of EDL
Manager, see the Avid EDL Manager User’s Guide or the Avid EDL
Manager Help.
569

CHAPTER 18
Exporting and Exchanging
Material
You can export and exchange material with another system, another
application, or another platform. Your NewsCutter XP system
provides tools for exporting clips and sequences in various formats or
for transferring projects and media between systems.
This chapter includes the following sections:
• About Exporting Files
• Preparing to Export a Sequence
• Publishing with the Avid Publishing Wizard
• Using the Review & Approval Service
• Mixing Down Video Tracks
• Exporting Frames, Clips, or Sequences
• Using Media Cleaner
• Using ProEncode
• Using AvidLinks
• Creating Files for a DVD
• Exporting Video in DV Stream Format
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• Using OMM to Export Clips
• Customizing Export Settings
• About OMF Interchange
• Exporting as an AAF File
• QuickTime Reference Movies
• Exporting as a QuickTime Movie
• Exporting as an AVI File
• About Avid Codecs
• Exporting Tracks as Audio Files
• Exporting as a Graphics File
• Exporting as an MPEG File
• Transferring a Project Between Systems
• Transferring Media to and from a Video Server
About Exporting Files
There are several reasons why you might want to export video, audio,
or both from NewsCutter XP:
• You can export files to be viewed as an AVI or QuickTime movie.
• You can export files in MPEG-2 format.
• You can export audio files for audio sweetening in a digital audio
workstation (DAW), such as a Pro Tools system.
• You can export video files for touching up or creating special
effects in third-party applications or other Avid applications.
• You can export files compatible with CD-ROM for use in
multimedia projects.
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• You can use the export process to convert audio media files from
one supported audio format to another. NewsCutter XP supports
the AIFF-C and WAVE formats.
n
If
you plan to transfer the exported files to another Avid system or third-party
application, see the appropriate section in this chapter or the Avid Products
Collaboration Guide.
The following sections describe general procedures for preparing to
export a sequence and for exporting frames, clips, and sequences.
Preparing to Export a Sequence
If you are exporting part or all of a sequence — to create an OMFI file,
an AAF file, a QuickTime file, an AVI file, or a graphic sequence, for
example — you can speed the export process by preparing the
sequence in advance, as follows:
• Make sure all media for the sequence is online. For more
information about selecting offline items in a bin, see “Selecting
Offline Items in a Bin” on page 288.
• If you want to archive the source sequence before making any
alterations, duplicate the sequence, place the duplicate in another
bin, and prepare the duplicate for export. The original sequence
will be unaffected.
For more information
on rendering, see the
Avid NewsCutter XP
Effects Guide.
• Consider rendering all effects in advance. Although any
unrendered effects are rendered on export (except for an OMFI or
AAF export), rendering effects in advance saves time during the
export process.
• Always render fast-saved titles before using OMFI or AAF to
export a sequence or before creating an EDL from the sequence. In
addition, make sure all rolling titles are rendered before using
OMFI to export a sequence.
• If your sequence contains numerous video tracks, consider mixing
down the tracks in advance for faster export, unless you need to
572

preserve the multiple-track information. For more information
about mixing down video tracks, see “Mixing Down Video
Tracks” on page 578.
• If your sequence contains numerous audio tracks with various
audio effects and level adjustments, consider mixing down the
tracks in advance for faster export, unless you need to preserve the
multiple-track information. For more information about mixing
down audio tracks, see “Mixing Down Audio Tracks” on
page 537.
• Check and adjust all pan and audio levels in advance. All current
Pan and Level settings in the sequence are carried to the exported
media. For more information on performing an audio mixdown,
see “Mixing Down Audio Tracks” on page 537.
• For OMFI or AAF files, consider consolidating the sequence to
create smaller source clips, thereby saving time and disk space.
For more information on consolidating media, see “Using the
Consolidate Command” on page 325.
• OMFI or AAF files with very complex sequences can fail during
import into some applications due to memory limitations. Try one
of the following solutions:
n
These
t
t
Break the sequence into smaller sequences, and export the
new sequences.
Add more physical memory.
solutions also help solve the exported file size limit of 2 GB.
• To export multiple clips in a single OMFI file, create a sequence
from them. For example, you can select all the clips, Alt+drag
them into the Timeline to create an instant sequence, and then
export the sequence.
573

Publishing with the Avid Publishing Wizard
The Avid Publishing Wizard is a tool that allows you to publish
encoded streaming media files to a Web site.
Use one of the following procedures to download the most recent
version of the Avid Publishing Wizard.
If you have a Goodies icon on your desktop:
1. Click the Goodies icon.
2. Double-click the Avid_Publishing_Wizard.html file, and follow
the instructions.
If you don’t have a Goodies icon on your desktop:
1. Install the NewsCutter XP application from the CD-ROM.
2. Click Browse CD.
3. Double-click the Goodies folder.
4. Double-click the Avid_Publishing_Wizard.html file, and follow
the instructions.
Using the Review & Approval Service
Your NewsCutter XP system and the Avid Production Network Web
site (www.AvidProNet.com ) provide an easy method for obtaining
the required reviews and approvals for your material during the
production process. Your selected reviewers can access the review
material at the AvidProNet Web site and can add their comments to
the material. You can view the reviewer comments by using the
Locators window in your NewsCutter XP system.
The AvidProNet Review & Approval service is a fee-based service.
574

c
Before using the review comments and approval process, you and
your reviewers must have e-mail accounts, register as AvidProNet
Review & Approval users, and install the AvidProNet
Review & Approval software.
Obtaining Review & Approval Comments
To obtain review comments and approval of material:
1. Export the sequence that you want to have reviewed as a
QuickTime Progressive-Download (Fast-Start) movie.
For information about using the Fast Start option, see “Exporting
as a QuickTime Movie” on page 615.
2. Post the QuickTime movie (the review file) to the AvidProNet Web
site, and start the review process by following the procedures on
the site.
The AvidProNet Web site sends an e-mail to your selected
reviewers. The e-mail provides a link to the AvidProNet Web site
to allow the reviewer access to the review files.
3. (Option) If a password was assigned to access the file, send the
password to the reviewers.
4. Instruct reviewers to do the following:
a. Follow the instructions on the AvidProNet Web site to access
the page containing the review file.
b. Add comments to the review material by using the review
applet available as part of the Review & Approval software.
The review applet stores the reviewer’s comments in the
AvidProNet database.
When the reviewer completes the review, an e-mail is
automatically sent to you that indicates reviewer comments
are available.
For more information about using the review applet, see the
AvidProNet Web site.
575

5. Save the review comments to a Review & Approval file on a local
drive.
n
Review
& Approval files usually have the file name extension .rna.
6. Open the Locators window and display the reviewer comments.
For procedures on displaying the reviewer comments, see
“Opening Review & Approval Files” on page 576.
Locators appear at the specific frame within the sequence where
the reviewer commented on your review material.
For more information about using the Locators window, see
“Using the Locators Window” on page 373.
Opening Review & Approval Files
You can view and edit reviewer comments in the Locators window.
There are two methods for opening Review & Approval files in the
Locators window:
• Choose Import R&A File from the Locators Window Fast menu or
from the File menu.
• Drag the Review & Approval file into the Locators window.
To open a Review & Approval file from the Locators window:
1. Choose Locators from the Tools menu.
The Locators window opens.
2. Click the Fast Menu button and choose Import R&A File from the
Fast menu, or choose it from the File menu.
A dialog box appears.
3. Navigate to the Review & Approval file and select it.
4. Click Open.
The comments in the Review & Approval file appear in the
Locators window.
576

To open a Review & Approval file by using the drag-and-drop
method:
1. Choose Locators from the Tools menu.
The Locators window opens.
2. Open the folder that contains the Review & Approval file that you
want to view, positioning the folder so the Locators window is
visible.
3. Select the Review & Approval file you want to view.
4. Drag the Review & Approval file into the Locators window, and
release the mouse button.
The comments in the Review & Approval file appear in the
Locators window.
Displaying Information in the Locators Window
You can display creation information for each locator displayed in the
Locators window. Displaying the creation information is useful when
you are using the Review & Approval process.
To display information about a locator:
n
Comments
t
Click the Locators Fast Menu button, and choose Details from the
Fast menu.
The Locators window shows the User, Date, and Time columns.
in the Review & Approval file appear as locators in
NewsCutter XP.
For more information about using the Locators window, see “Using
the Locators Window” on page 373.
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Using Locator Colors with Review & Approval Files
You can select the color for the locators in the next Review & Approval
file you open. You can also change the color of the selected locators in
the Locators window.
To select locator colors or to change the color of the selected locators
in the Locators window, do one of the following:
n
When
t
t
Click the Locators Fast Menu button, and then choose Import
R&A Color.
Choose Import R&A Color from the File menu.
The Import R&A Color command displays a menu with the
available colors. By default, the system cycles to the next color in
the list each time you open a new Review & Approval file.
there is more than one comment on a frame, NewsCutter XP colors
those comments black.
Mixing Down Video Tracks
c
Video mixdown allows you to combine several tracks into a single
new master clip. This is convenient for building multilayered effects,
for consolidating media, and for export and exchange.
When you mix down video tracks, you cannot separate them again to
work on the tracks individually. Use this function only during the
last stages of editing when you no longer need to make changes, or
to make a copy for previewing.
To perform a video mixdown:
1. Render all effects. See the Avid NewsCutter XP Effects Guide.
2. Select the tracks you want to mix down.
578

n
Make
sure the Record Track Monitor button in the Track Selector panel is in
the topmost track that you want to mix down. Video mixdown works from the
monitored track down, regardless of track selection.
3. Mark an IN point and an OUT point around the area to mix down.
4. Choose Video Mixdown from the Clip menu.
The Video Mixdown dialog box appears.
5. (Option) Choose a different bin from the Target Bin pop-up menu.
6. Choose a target drive for storing the new master clip from the
Target Drive pop-up menu.
7. Click OK.
A progress indicator appears, showing the progress of the video
mixdown. When the mixdown is completed, a new clip appears in
the bin along with the sequence, and a new media file is created on
the target drive.
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Exporting Frames, Clips, or Sequences
For information on
using the
drag-and-drop method,
see “Using the
Drag-and-Drop
Method for Export” on
page 582.
n
When
This section provides the steps for exporting frames, clips, and
sequences. For information on exporting for digital distribution on the
World Wide Web, CD-ROM, or DVD, see “Using Media Cleaner” on
page 584.
To export frames, clips, or sequences:
1. Select the material you want to export in one of the following
ways:
t
t
t
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others. Make
sure Use Enabled Tracks is selected in the Export Settings
dialog box. You can set this option before the export. See
“Customizing Export Settings” on page 597.
To export a single-frame graphic, mark an IN point to export
the marked frame from a bin or a monitor, or move the
position indicator to the frame you want to export. Make sure
Use Marks is selected and Sequential Files is deselected in the
Export Settings dialog box.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor. If you
mark an IN point and no OUT point, the system exports from
the IN point to the end of the clip or sequence. Make sure Use
Marks is selected in the Export Settings dialog box.
To export the entire clip or sequence, deselect the options
Use Enabled Tracks and Use Marks in the Export Settings
dialog box, and make sure the topmost track is monitored.
you export to an OMFI file, you do not need to select both the sequence
and its source clips. Select only the sequence to export all the necessary
information, including reference clips.
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2. Select a clip or sequence in one of two ways:
t
t
Click the monitor that displays the clip or sequence you want
to export.
Click the clip or sequence in a bin. Ctrl+click to select multiple
clips or sequences.
3. Choose Export from the File menu, or right-click and choose
Export from the shortcut menu.
The Export As dialog box appears with a default file name in the
File name text box, based on the file type.
4. Select the destination folder for the file.
5. (Option) Change the file name. In most cases, keep the default file
name extension.
6. Choose a setting from the Export Setting pop-up menu.
This setting determines the format of the exported file. The default
setting is labeled Untitled.
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n
NewsCutter
XP supplies you with several templates for Export settings. For
a list of the templates and their settings, see the Avid Products
Collaboration Guide on the Avid NewsCutter XP Online Publications
CD-ROM.
7. (Option) If you want to check the current Export setting, click
Options to open the Export Settings dialog box, view the
selections, and then click Save to return to the Export As dialog
box. For more information about Export settings, see Table 18-3.
8. Click Save.
The file is exported and appears at the chosen destination.
n
NewsCutter
c
c
XP saves the intermediate movie that it makes for some formats
in a temporary folder. Make sure the temporary folder is on a drive with
plenty of space. You can view and change the location of the temporary file in
the General Settings dialog box, which you access from the Settings scroll list.
NewsCutter XP allows a maximum exported file size of 2 GB. If you
exceed this limit, the file is unusable and an error message is
displayed. Break up large sequences or master clips into smaller
pieces.
If a power failure or application error occurs during the export
process, the entire file is unusable. You need to repeat the export
process. The only exception is a sequential file sequence, where all
frames up to the point of failure are usable.
Using the Drag-and-Drop Method for Export
To export a frame, clip, or sequence by using the drag-and-drop
method:
1. Select the material you want to export in one of the following
ways:
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others. Make
582

sure Use Enabled Tracks is selected in the Export Settings
dialog box. See step 2.
n
You
n
When
t
t
t
To export a single-frame graphic, mark an IN point to export
the marked frame from a bin or a monitor, or move the
position indicator to the frame you want to export. Make sure
Use Marks is selected in the Export Settings dialog box.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor. If you
mark an IN point and no OUT point, the system exports from
the IN point to the end of the clip or sequence. Make sure Use
Marks is selected in the Export Settings dialog box.
To export the entire clip or sequence, deselect Use Enabled
Tracks and Use Marks in the Export Settings dialog box, and
make sure the topmost track is monitored.
cannot use the drag-and-drop method to export ALE, tab-delimited, or
sequential files.
you export to an OMFI file, you do not need to select both the sequence
and its source clips. Select only the sequence to export all the necessary
information, including reference clips.
2. In the Settings scroll list of the Project window, select the setting
you want to use for export. The default Export setting, the preset
templates, and any additional Export settings you create appear in
the Settings scroll list.
After you select a setting in the Settings scroll list, the parameters
remain the default settings for all exported files, unless you
change them during the export. This is especially useful when you
batch export a number of files at the same time directly from a bin.
To view or modify the parameters, double-click the setting.
3. Export the frame, clip, or sequence by dragging the clip or
sequence you want to export to the location (folder or drive)
where you want to store the file. To select multiple objects,
Ctrl+click the objects and drag the objects to the new location.
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n
During
a drag-and-drop export, NewsCutter XP saves an intermediate file in
a temporary folder. Make sure the temporary folder is on a drive with plenty
of space. You can view and change the location of the temporary file in the
General Settings dialog box, which you access from the Settings scroll list. To
save time, assign the temporary folder to a folder on the same drive where you
will be dragging the export.
Using Media Cleaner
You can use Terran Interactive’s Media Cleaner ® to turn clips and
sequences into streaming files. To use Media Cleaner with
NewsCutter XP, you should install Media Cleaner EZ from the CD
provided by Avid.
n
If
you have Media Cleaner Pro 4.0.2 or later installed on your system, you do
not need to install Media Cleaner EZ to use Media Cleaner with
NewsCutter XP.
Media Cleaner provides you with the following settings options:
• QuickTime Progressive Download
• QuickTime Streaming
• RealG2 Web Download
• RealG2 Streaming
• Windows Media - Video
• Windows Media - Audio
• AVI CD-ROM
• QuickTime CD-ROM
• Still Image
Media Cleaner also has a Settings Wizard, which guides you through
the process of choosing the proper setting for your media.
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When NewsCutter XP exports to Media Cleaner, it creates a
QuickTime reference movie. This QuickTime reference movie uses the
setting Digital Mastering Defaults. If you want more control over the
QuickTime reference movie, you can choose different options,
manually export a QuickTime reference movie, and open it in
Media Cleaner. For more information about QuickTime reference
movies, see “QuickTime Reference Movies” on page 610.
To send a sequence or clip to Media Cleaner:
1. Select a sequence or clip to export (see “Exporting Frames, Clips,
or Sequences” on page 580).
2. Choose Send To from the File menu and Media Cleaner from the
submenu.
The Media Cleaner application starts, and the sequence or clip
appears.
n
For
help using Media Cleaner, see the documentation on the Media Cleaner
CD-ROM.
585

Using ProEncode
You can send media files to the Avid ProEncode service for encoding
in different output formats. The ProEncode option creates QuickTime
reference movies from your media files. It then distributes them to
multiple workstations where media files can be encoded for output as
MPEG-2, RealSystem , and QuickTime, or any other format available
from Terran’s Media Cleaner.
ProEncode is layered on top of the Avid Distributed Media Services
(DMS) software infrastructure. If you have installed the ProEncode
Client software on your NewsCutter XP system and configured a DMS
broker on your Avid Unity or local area network, the Send To
ProEncode command submits your media files to a DMS Broker for
processing.
ProEncode is available separately from the NewsCutter XP application. To
purchase ProEncode, see your Avid sales representative.
To send a sequence or clip to ProEncode:
1. Select a sequence or clip to export (see “Exporting Frames, Clips,
or Sequences” on page 580).
2. Choose Send To from the File menu and ProEncode from the
submenu.
586

ProEncode creates a QuickTime reference movie and prompts you for
the name of your DMS broker. For information on configuring
ProEncode, see the Avid ProEncode Setup and User’s Guide.
Using AvidLinks
AvidLinks enables you to send data from NewsCutter XP to other
Avid applications. The AvidLinks option provides you with a choice of
several OMFI Export templates. The resulting files are either
composition-only or composition with embedded audio or video. For
more information on compositions, see “Choosing an OMFI Transfer
Method” on page 601.
You can use AvidLinks to export to any of the applications listed in
Table 18-1.
587

Table 18-1
Applications for AvidLinks Export
Avid Application
Output File
Format
Options
Supported Media
Objects
AudioVision OMFI Sequence or master clip
Digidesign Pro Tools OMFI Embed Audio in
OMF Interchange ®
file
External Audio Files
(native AIFF-C only)
Media Illusion (Composition) OMFI
Sequence or master clip
Sequence only
Media Illusion (Video) OMFI Convert to 1:1 a Master clip only
Softimage|DS (Composition) OMFI
Sequence only
a. Media Illusion Release 6.0 requires uncompressed media (1:1 resolution). If your media is
not 1:1, select this option. NewsCutter XP creates uncompressed media for the exported
file.
To use AvidLinks:
1. In the bin, select the media object you want to export.
2. Choose AvidLinks from the File menu.
The AvidLinks submenu appears.
588

n
You
can also access AvidLinks by right-clicking and choosing it from the
shortcut menu.
3. Choose an application from the AvidLinks submenu.
The AvidLink Export to application name dialog box appears with a
default file name in the File name text box, based on the file type.
4. (Option) Change the file name.
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5. Select the destination folder for the file.
6. Click Save.
The file is exported and appears at the chosen destination.
Creating Files for a DVD
If you plan to put your sequence onto a DVD, choose Create DVD
from the File menu. Depending on your hardware and software, you
can:
• Burn the sequence directly to a DVD from NewsCutter XP.
• Create a DVD volume that you can move to another system.
• Use the use the Create DVD command to create the appropriate
MPEG-2 and WAVE files.
To create files for a DVD:
1. Before you begin creating the DVD files, create and select an
MPEG-2 export setting. See “Creating a New Export Setting” on
page 598.
2. Select a sequence in a bin.
3. Choose Create DVD from the File menu.
The Create DVD dialog box appears.
590

4. Choose one of the following options from the Function pop-up
menu:
- Export MPEG-2 and WAV files: Use this option if you want to
export your sequence in a format that can be used by a DVD
authoring package such as DVDit! by Sonic Solutions.
- Create DVD Volume on disk: If you don’t have DVD writing
hardware attached to your NewsCutter XP system, use this
option to create a DVD volume. Then you can move the DVD
volume to a system that has DVD writing hardware and
software.
- Create DVD volume and Write to DVD: If you have DVD
writing hardware attached to your NewsCutter XP system,
use this option to create the necessary files and send them
directly to the DVD writing hardware. Make sure that the
DVD writing hardware is connected and ready before you
execute the command.
5. Select a folder in which to store the generated files.
6. Choose an MPEG-2 export setting from the Export Setting pop-up
menu.
7. (Option) Click Modify to make any changes to the Export setting
in the Export Settings dialog box.
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8. Click OK to start the export.
A progress indicator shows the status of the export.
n
The
length of export depends on the length of the media you are exporting. For
example, it might take up to 3 hours to export a 3-minute sequence.
During the creation process, the system renders all effects and
creates MPEG-2 files from the video media. The system also
creates .wav files from the audio media.
When you select the Create DVD Volume on disk option, the system
creates a folder named DVDVolume. This folder contains the
following two folders:
• AUDIO_TS
• VIDEO_TS
Use the AUDIO_TS and VIDEO_TS folders with your DVD writing
application to create the DVD.
n
The
n
The
system creates an additional folder for storing the DVDVolume folder.
The name of this additional folder is based on the sequence name. You can
check for the name of this folder in the Create DVD dialog box.
Create DVD Volume on disk option also allows you to save the resulting
MPEG-2 and .wav files. The system prompts you with a dialog box after the
volume is created.
Exporting Video in DV Stream Format
The DV Stream format is often used for distribution on a CD-ROM or
over the Web. Use this option when exporting video that will be
combined or processed with other DV-formatted media. This option
requires a video track.
592

To export in DV Stream format:
1. Select a sequence in a bin.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Select the Export settings by doing one of the following:
t
Choose a setting from the Export Setting pop-up menu if you
have created a setting in advance, and go to step 7.
t If you want to review or edit a setting, go to step 4.
4. Click Options.
The Export Settings dialog box appears.
593

5. Choose DV Stream from the Export As pop-up menu.
6. Select options as described in Table 18-2.
594

Table 18-2
Export Settings Dialog Box
(DV Stream Options)
Option
Use Marks
Description
When you select this option, the system uses current IN and OUT points in the
selected clip or sequence to determine starting and ending frames for the export. To
export the entire clip or sequence, deselect this option.
Use Enabled Tracks When you select this option, the system uses current IN and OUT points in the
selected clip or sequence to determine starting and ending frames for the export. To
export the entire clip or sequence, deselect this option.
Format Options Click Format Options to open the DV Export Settings dialog box. See step 7.
Video and Audio
Video Only
Select this option if you want to export both the audio and video.
Select this option if you want to export only the video. For example, use this option
if you want to add effects in a third-party application or to use only the video in a
multimedia project.
Color Levels Select this option to set color to RGB or ITU-R 601.
File Field Order
These options allow you to select the field that is the upper field during export.
Odd (Upper Field First): In forming the export frame, Field 1 becomes the upper
field; that is, Field 1’s lines become the odd-numbered lines in the frame (counted
starting from 1). Field 2’s lines become the even-numbered lines.
Even (Lower Field First): In forming the export frame, Field 1 becomes the lower
field; that is, Field 1’s lines become the even-numbered lines in the frame. Field 2’s
lines become the odd-numbered lines.
Single Field: Select this option if you want the output file to consist of only Field 1.
In this case, the single field of 243 lines for NTSC will be resized to fit the frame as
specified in the width and height selection.
7. Click Format Options.
The DV Export Settings dialog box appears.
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8. Select a video format and an audio format. For compatibility with
DV cameras that require unlocked audio, deselect Locked.
9. Click OK to close the DV Export Settings dialog box.
10. Click Save in the Export Settings dialog box.
The file is exported and appears at the chosen destination.
Using OMM to Export Clips
n
OMM
is available only if you have Avid Unity.
Exporting through Open Media Management (OMM) allows you to
copy or “check in” clips from a bin to an asset manager application
such as Avid Unity MediaManager.
Avid Unity MediaManager is the asset manager used in the
Avid Unity MediaNet environment, which includes Avid Unity
storage. You can use MediaManager to help find and obtain access to
master clips, sequences, and other media objects in the Avid Unity
MediaNet environment. For more information, see the Avid Unity
MediaManager User’s Guide.
596

Exporting a Clip with OMM and the Drag-and-Drop
Method
To export a clip by using OMM and the drag-and-drop method:
1. In the Settings scroll list of the Project window, click the Settings
button.
The Settings scroll list appears.
c
n
To
2. Select an OMM setting and an export setting.
When you select an OMM setting, NewsCutter XP uses this location
for all OMM imports and exports. If you use the drag-and-drop
method to export to a different OMM location, the exported clip will
go to the location specified in the OMM setting.
change OMM settings, see “Using Open Media Management (OMM)”
on page 261.
3. Start your browser, and locate your asset manager.
4. Open the bin that contains the clip or clips you want to export.
5. In the bin, click the clip you want to export, and drag it to the asset
manager window. Ctrl+click to select multiple clips.
The exported clip appears in the asset manager database.
n
For
more information on the asset manager, see the Avid Unity
MediaManager User’s Guide.
Customizing Export Settings
In addition to selecting preset templates, NewsCutter XP allows you to
customize and name your Export settings. Use the following
procedures to customize your Export settings.
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Creating a New Export Setting
To create a new Export setting from the Settings scroll list:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Click Export.
3. Choose Duplicate from the Edit menu, or right-click and select
Duplicate from the shortcut menu.
4. Name the setting by clicking the custom name column, typing a
name, and pressing Enter.
5. Double-click the new Export setting.
The Export Settings dialog box appears.
6. Select the appropriate file type and options from the Export As
pop-up menu, as described in Table 18-3.
7. Click Save.
To create a new Export setting while exporting:
1. Select a clip or sequence to export.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Choose Untitled from the Export Setting pop-up menu.
4. Click Options.
The Export Settings dialog box appears.
5. Select the appropriate file type and options from the Export As
pop-up menu, as described in Table 18-3.
6. Click Save As.
The Save Export Setting dialog box appears.
598

7. Type a name in the Setting Name text box, and click OK.
The Export As dialog box appears, and the new setting appears in
the Export Setting pop-up menu.
8. Click Save to complete the export.
Table 18-3 summarizes the options in the Export Settings dialog box.
Table 18-3
Export Settings Dialog Box Options
Export As
Option
OMFI
AAF
QuickTime
Reference
MPEG-1 or
MPEG-2
DV Stream
Description
Select this option to export a standard OMFI composition for transfer to a
third-party workstation that supports OMFI. You can choose to export composition
only, or embed the video and audio, or both. See “About OMF Interchange” on
page 600.
Select this option to create an Advanced Authoring Format (AAF) file. You can
choose to export composition only, or embed the video and audio, or both. See
“Exporting as an AAF File” on page 604.
Select this option to create a QuickTime reference movie. A QuickTime reference
movie contains pointers (links) to movie files. This is similar to exporting as
composition only. See “QuickTime Reference Movies” on page 610.
Select one of these options to export the selected media object in the MPEG-2 file
format. See “Exporting as an MPEG File” on page 656.
Select this option to create a standard DV stream. The DV Stream format is often
used for distribution on a CD-ROM or over the Web. Use this option when exporting
video that will be combined or processed with other DV-formatted media. Requires
a video track. See “Exporting Video in DV Stream Format” on page 592.
599

Table 18-3
Export Settings Dialog Box Options (Continued)
Export As
Option
QuickTime
Movie
AVI
Audio
Graphic
Avid Log
Exchange
Tab Delimited
Description
Select this option to create a self-contained QuickTime movie. See “Exporting as a
QuickTime Movie” on page 615.
Select this option to export an AVI file through the Avid Codec for AVI or other
compression tool. For more information, see Table 18-9.
Select this option to export audio tracks in the WAVE format or AIFF-C audio
format. See “Exporting Tracks as Audio Files” on page 645.
Select this option to export a single frame, a series of frames, or a file type that
supports multiple frames as a graphic file. Choose a file type from the pop-up menu.
See “Exporting as a Graphics File” on page 647. For information about supported
file types, see Appendix B.
Select this option to export the selected bin as a shot log file that complies with Avid
Log Exchange (ALE) specifications. For information about Avid Log Exchange, see
“Converting Log Files with Avid Log Exchange” on page 139.
Select this option to export the selected bin as a shot log file in the form of a
tab-delimited ASCII text file.
About OMF Interchange
OMF Interchange (OMFI) is a platform-independent file format that
stores both the digital media (video, audio, graphics, animation) and
the information describing how the media is edited together to form a
final sequence. This editing information, called a composition, is the
OMFI representation of the sequence created in NewsCutter XP. The
OMF Interchange format is the result of cooperative efforts of many
industry and standards partners and Avid Technology, Inc.
Any other program that supports OMFI can read OMFI files, even if
the program resides on a different computer platform. As a result,
600

c
with OMFI, you can transfer among different applications on different
platforms without worrying about cross-platform translations. This
can be very effective for importing animation or audio files created on
proprietary platforms.
To avoid errors and incompatibilities when importing and exporting
OMFI files, observe the recommendations in “OMFI Files” on
page 747.
Choosing an OMFI Transfer Method
OMF Interchange, as implemented in NewsCutter XP, provides two
basic methods for exporting files:
• Exporting OMFI Compositions Only
• Exporting OMFI Compositions with Media Files
Exporting OMFI Compositions Only
NewsCutter XP can export an OMFI file that contains only the editing
information about a selected master clip or sequence. You then need to
transfer both the OMFI file and the media files or to rerecord the
media on the other system. After you have transferred the media once,
you can transfer revised composition-only files.
To export an OMFI composition only (Method 1):
1. Select the file you want to export.
2. Choose Export from the File menu, or right-click in the bin and
choose Export from the shortcut menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
4. Choose OMFI from the Export As pop-up menu and select Link to
Video Media, Link to Audio Media, or both.
601

5. Select OMFI 1.0 or OMFI 2.0. For more information about which to
select, see Table 18-4.
6. Click Save, or click Save As to create a new setting. See “Creating
a New Export Setting” on page 598.
The Export As dialog box reappears.
7. Select the destination folder for the file.
8. (Option) Change the file name. In most cases, keep the file name
extension.
9. Click Save.
The file is exported and appears at the chosen destination.
Exporting OMFI Compositions with Media Files
NewsCutter XP exports an OMFI file that contains all the editing
information for the selected master clip or sequence along with the
video and audio media files for that master clip or sequence.
To export an OMFI composition with media (Method 2):
1. Select the file you want to export.
2. Choose Export from the File menu, or right-click in the bin and
choose Export from the shortcut menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
4. Choose OMFI from the Export As pop-up menu.
5. Select options as described in Table 18-4.
6. Click Save, or click Save As to create a new setting. See “Creating
a New Export Setting” on page 598.
The Export As dialog box reappears.
7. Select the destination folder for the file.
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8. (Option) Change the file name. In most cases, keep the file name
extension.
9. Click Save.
The file is exported and appears at the chosen destination.
Table 18-4
Export Settings Dialog Box
(OMFI Options)
Option
OMFI Version 1.0
OMFI Version 2.0
Embed Video
Media
Link to Video
Media
Description
Select this option if the application to which you are exporting does not support
OMFI Version 2.0.
Select this option if the application to which you are exporting supports OMFI
Version 2.0. If you are not sure, select 1.0.
Select this option to include (embed) video media in the OMFI composition; for
example, if you plan to add video or film effects in an OMFI-compatible
application.
Select this option when you use Method 1 (composition only).
Use the Embed WAVE Audio Media or Embed AIFF-C Audio Media options if you plan to enhance
audio in an OMFI-compatible application such as a digital audio workstation.
Embed WAVE
Audio Media
Embed AIFF-C
Audio Media
Select this option to export audio tracks in the WAVE format (.WAV file name
extension) for audio files. WAVE media is embedded in the OMFI file. Use this
option if you plan to enhance audio in an OMFI-compatible application such as a
digital audio workstation.
Nearly all Windows applications that support sound use WAVE files. QuickTime
also supports the WAVE format.
Select this option to export audio tracks in the industry-standard AIFF-C format,
which is compatible with many third-party sound editing and multimedia
applications.
n
NewsCutter XP does not compress audio media. AIFF-C media is embedded in the
OMFI file.
603

Table 18-4
Export Settings Dialog Box
(OMFI Options) (Continued)
Option
Link to Audio
Media
AudioVision
Compatibility
Description
Select this option when you use Method 1 (composition only).
Select this option for exports compatible with AudioVision. When you select this
option, the system automatically selects OMFI version 1.0, Link to Video Media,
and Embed AIFF-C Audio Media.
Exporting as an AAF File
Advanced Authoring Format (AAF) is a cross-platform, multimedia
file format that allows interchange of media and composition
information between AAF-compliant applications. These applications
are primarily content creation tools such as Adobe Photoshop and
After Effects ® , Avid Symphony , Avid Media Composer ® ,
Avid Xpress ® , Softimage|DS, and Sonic Foundry’s Sound Forge ® , to
name a few.
There are two types of data in an AAF file:
• Media such as audio and video
• Composition information, or metadata, that provides the
instructions needed to combine and modify the media portions of
the AAF file to produce a complete multimedia program
As with OMFI export, there are two basic methods for exporting files:
• AAF compositions only (Method 1)
• AAF compositions with media files (Method 2)
For more information about AAF, see www.aafassociation.org.
604

Exporting AAF Compositions Only
NewsCutter XP can export an AAF file that contains only the editing
information about a selected master clip or sequence. You then need to
transfer both the AAF file and the media files or to rerecord the media
on the other system. After you have transferred the media once, you
can transfer revised composition-only files, unless you consolidated
the media (in which case, you must transport the media files as well).
For more information on consolidating media, see “Consolidating
Media” on page 322.
To export an AAF composition only (Method 1):
1. Select the file you want to export.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
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4. Choose AAF from the Export As pop-up menu.
5. Select Link to Video Media, Link to Audio Media, or both.
6. Click Save.
The Export As dialog box reappears.
7. Select the destination folder for the file.
8. (Option) Change the file name. In most cases, keep the file name
extension.
9. Click Save.
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The file is exported and appears at the chosen destination.
Exporting AAF Compositions with Media Files
NewsCutter XP exports an AAF file that contains all the editing
information for the selected master clip or sequence along with the
video and audio media files for that master clip or sequence.
To export an AAF composition with media (Method 2):
1. Select the file you want to export.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
607

4. Choose AAF from the Export As pop-up menu.
5. Select options as described in Table 18-5.
6. Click Save, or click Save As to create a new setting. See “Creating
a New Export Setting” on page 598.
The Export As dialog box reappears.
7. Select the destination folder for the file.
8. (Option) Change the file name. In most cases, keep the file name
extension.
608

9. Click Save.
The file is exported and appears at the chosen destination.
Table 18-5
Export Settings Dialog Box
(AAF Options)
Option
Description
Embed Video
Media
Link to Video
Media
Select this option to include (embed) video media in the AAF composition; for
example, if you plan to add video or film effects in an AAF-compatible
application.
Select this option when you use Method 1 (composition only).
Embed WAVE
Audio Media
Select this option to export audio tracks in the WAVE format (.WAV file name
extension) for audio files. WAVE media is embedded in the AAF file. Use this
option if you plan to enhance audio in an AAF-compatible application such as
a digital audio workstation.
Nearly all Windows applications that support sound use WAVE files.
QuickTime also supports the WAVE format.
Embed AIFF-C
Audio Media
Select this option to export audio tracks in the industry-standard AIFF-C
format, which is compatible with many third-party sound editing and
multimedia applications.
n
NewsCutter
XP does not compress audio media. AIFF-C media is embedded in
the AAF file.
Use this option if you plan to enhance audio in an AAF-compatible application
such as a digital audio workstation.
Link to Audio
Media
Select this option when you use Method 1 (composition only).
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QuickTime Reference Movies
A QuickTime reference movie is a QuickTime movie that contains
composition information but no movie data. Instead, the movie
contains pointers to the original media in the OMFI MediaFiles
directory on local or network media drives. Because the QuickTime
reference movie does not contain media, the file is much smaller than a
QuickTime movie, usually only a few kilobytes per file. Therefore,
exporting a sequence as a QuickTime reference movie is faster and
takes up less disk space than exporting a sequence as a QuickTime
movie. When you play back the movie in QuickTime Player, the movie
references the media files.
QuickTime reference movies are useful as long as you are working
with Avid OMF media files available on your local system or in an
Avid Unity workgroup environment. Advantages are speed and small
file size because the system does not copy the source media files into
the exported QuickTime file. However, if you expect to move the
exported QuickTime file to a system that does not have access to the
media, then you should use the standard QuickTime export so that the
media files and QuickTime wrapper can be moved as one file. See
“Exporting as a QuickTime Movie” on page 615.
Exporting as a QuickTime Reference Movie
To export as a QuickTime reference movie:
1. Identify the portion of the clip or sequence you want to export in
one of the following ways:
t
t
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor.
To export the entire clip or sequence, make sure the topmost
track is monitored.
610

n
For
more information, see “Preparing to Export a Sequence” on page 572.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Select the Export settings by doing one of the following:
t
t
Choose a setting from the Export Setting pop-up menu if you
have created a setting in advance, and go to step 10.
If you want to review or edit a setting or create a new setting,
go to step 4.
4. Click Options.
The Export Settings dialog box appears.
5. Choose QuickTime Reference from the Export As pop-up menu.
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6. Select options as described in Table 18-6.
7. Click Save to save the current setting, or click Save As to create a
new setting. See “Creating a New Export Setting” on page 598.
The Export As dialog box reappears with the default QuickTime
reference movie file name extension in the File name text box.
8. Select the destination folder for the file.
9. (Option) Change the file name. In most cases, keep the default file
name extension.
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10. Click Save.
c
The file is exported and appears at the chosen destination.
If a power failure or application error occurs during the export
process, the entire file is unusable. You need to repeat the export
process. The only exception is a sequential file sequence, where all
frames up to the point of failure are usable.
QuickTime Reference Export Options
Table 18-6 describes the QuickTime Reference options in the Export
Settings dialog box.
Table 18-6
Export Settings Dialog Box
(QuickTime Reference Options)
Option
Use Marks
Use Enabled Tracks
Flatten Video Tracks
Description
When this option is selected, the system uses current IN and OUT points
in the selected clip or sequence to determine starting and ending frames
for the export. To export the entire clip or sequence, deselect this option
or mark the entire clip.
When this option is selected (default), the system uses tracks that are
enabled in the Timeline. To export the entire clip or sequence, deselect
this option.
When this option is selected, the composition is exported as one video
track. When this option is deselected, one QuickTime video track is
generated for each video track in the composition, and you cannot select
Fill Spaces with Black. Because most third-party applications do not
understand multiple QuickTime video tracks, it is a good idea to select
this option. This option is automatically selected in the Fast Draft
Defaults and the Digital Mastering Defaults options.
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Table 18-6
Export Settings Dialog Box
(QuickTime Reference Options)
Option
Fill Spaces with Black
Render All Video Effects
Premix Audio Tracks
Fast Draft Defaults
Digital Mastering Defaults
Use Network Media
References
Description
When this option is selected, blank spaces in video tracks are filled with
black in the QuickTime reference movie. Because QuickTime reference
movies do not recognize blank spaces, it is a good idea to select this
option. When this option is deselected, a QuickTime reference movie
might interpret spaces in the video track as gray or the background of
the player. This option is automatically selected in the Fast Draft
Defaults and Digital Mastering Defaults options.
When this option is selected, all unrendered video effects, including
matte keys and titles, are rendered before export. When this option is
deselected, any unrendered effects are ignored. This option is
automatically selected in the Digital Mastering Defaults option.
When this option is selected, the audio tracks in the composition are
mixed to stereo AIFF-C files created at the same location as the movie.
When this option is deselected, the original audio is exported. This
option is selected automatically in the Digital Mastering Defaults
option.
Select this option for a faster export. This option automatically selects
Flatten Video Tracks and Fill Spaces with Black. It automatically
deselects Render All Video Effects and Premix Audio Tracks.
Select this option to render all video effects and premix audio tracks
before exporting the file. This option automatically selects Flatten Video
Tracks, Fill Spaces with Black, Render All Video Effects, and Premix
Audio Tracks.
When this option is selected, the exported movie uses the machine and
drive share name of the media drive in the QuickTime reference movie
instead of a drive letter. Select this option when the media files
referenced by the movie are accessed remotely over the network. If the
media files are stored on the same drive as the QuickTime reference
movie, you do not need to select this option. When this option is
deselected, you cannot select Add Shares for Media Drives.
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Table 18-6
Export Settings Dialog Box
(QuickTime Reference Options)
Option
Add Shares for Media Drives
Pixel Aspect Ratio
Description
When this option is selected, the system creates a new drive share for
referenced media files stored on unshared network drives. The drive
share is hidden, that is, other users do not see the shared drive when
browsing your computer. You do not need to select this option when
media is stored on the same drive as the QuickTime Reference movie.
The pixel aspect ratio allows you to apply a scaling to the video: square,
non-square, 4:3 non-square, or 16:9 non-square. The pixel aspect ratio
allows you to control the display format without modifying the source
file.
This feature creates metadata — additional data that is stored with the
QuickTime movie. Some applications, such as the QuickTime Player, can
interpret this metadata and scale the image at display time.
Pixel aspect ratio is useful for QuickTime reference movies because you
do not modify the source files of referenced movies. For example, if your
source movies are stored at the standard 720 x 486 for NTSC, you can
create two different QuickTime reference movies that use the same
referenced source files — one that uses 4:3 and another that uses 16:9.
Exporting as a QuickTime Movie
This section presents the procedures for exporting as a QuickTime
movie and the export options you can select.
The QuickTime export option creates a standard QuickTime movie
that combines the media files and QuickTime wrapper. The benefit of
this method is that you can move all related information as one file. If
you are working with Avid OMFI media files available on your local
system or in an Avid Unity workgroup environment, you might want
to investigate the QuickTime reference format. See “QuickTime
Reference Movies” on page 610.
615

To export as a QuickTime movie:
1. Select the material you want to export in one of the following
ways:
You can use the
drag-and-drop method
to export QuickTime
files. See “Using the
Drag-and-Drop
Method for Export” on
page 582.
n
If
t
t
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others. Make
sure Use Enabled Tracks is selected in the Export Settings
dialog box. You can select this option before the export.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor. If you
mark an IN point and no OUT point, the system exports from
the IN point to the end of the clip or sequence. If you mark
only an OUT point, the system exports from the beginning to
the OUT point. Make sure Use Marks is selected in the Export
Settings dialog box.
To export the entire clip or sequence, deselect Use Enabled
Tracks and Use Marks in the Export Settings dialog box, and
make sure the topmost track is monitored.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Choose the Export settings by doing one of the following:
t
Choose a setting from the Export As pop-up menu if you
created a QuickTime template in advance, and go to step 11.
t If you want to review or edit a setting, go to step 4.
4. Click Options.
The Export Settings dialog box appears.
5. Choose QuickTime Movie from the Export As pop-up menu.
you installed additional QuickTime Export formats, they appear in the
pop-up menu with tildes (~) before their names. This indicates that they have
not been qualified and are not supported by Avid.
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QuickTime Movie (Same as Source)
QuickTime Movie (Custom)
6. Select Same as Source to use the resolution of the source file, or
select Custom to customize your settings.
7. Select the remaining options; use Table 18-7 as a reference.
8. Click Save to save the current setting, or click Save As to create a
new setting. See “Creating a New Export Setting” on page 598.
The Export As dialog box appears with the default QuickTime file
name extension in the File name text box.
9. (Option) Change the file name. In most cases, keep the default file
name extension.
10. Select the destination folder for the file.
11. Click Save.
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c
c
The file is exported and appears at the chosen destination.
NewsCutter XP allows a maximum exported file size of 2 GB. If you
exceed this limit, the file is unusable and an error message is
displayed. Break up large sequences or master clips into smaller
pieces.
If a power failure or application error occurs during the export
process, the entire file is unusable. You need to repeat the export
process. The only exception is a sequential file sequence, where all
frames up to the point of failure are usable.
Table 18-7 describes the QuickTime Movie Export options.
Table 18-7
QuickTime Movie Export Options
Option Suboption Description
Use Marks
Use Enabled Tracks
Same as Source
Custom
When you select this option, the system uses current IN and
OUT points in the selected clip or sequence to determine
starting and ending frames for the export. To export the entire
clip or sequence, deselect this option.
When you select this option, the system exports only the
currently enabled tracks for a selected sequence or clip. To
export all tracks in the sequence, deselect this option.
When you select this option, the system copies the media files
directly with no resolution change. This method is fast and
creates output that uses the same quality as your source files.
Selecting Same as Source is the best method to use if you plan
to process the video on another system, using a third-party
application like After Effects or Media Cleaner.
When you select this option, the system decompresses the
files, processes them, and compresses the files at the
requested resolution. This method is slower and often loses
quality. You should use the Custom option only if you have to
directly export a clip or sequence in a particular file format.
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Table 18-7
QuickTime Movie Export Options (Continued)
Option Suboption Description
Format Options
Video and Audio
Video Only
Audio Only
Click Format Options to open the Movie Settings dialog box.
For more information, see “Selecting QuickTime Codecs” on
page 620.
Select this option if you want to export both the audio and
video.
Select this option if you want to export only the video. For
example, use this option if you want to add effects in a
third-party application or to use only the video in a
multimedia project.
Select this option to export only the audio. For example, use
this option if you want to use or enhance audio in a
third-party application or you want to use the audio in a
multimedia project.
Video Format Width x Height Select this option to set the width of the clip.
Size to Fit: This option sizes to fit the specified width and
height. You can type in values or choose from the predefined
values in the Fast menu.
n
The values in the Fast menu suggest a typical use for each
size. For example, 320 x 240 (Internet video, large).
Crop/Pad: This option instructs the system not to scale or
resize the frames. If necessary, it adds black lines to the top
and bottom of the frame to achieve the correct size.
Color Levels Select this option to set the color to RGB or ITU-R 601.
619

Table 18-7
QuickTime Movie Export Options (Continued)
Option Suboption Description
File Field Order
These options allow you to choose the field that will be the
upper field during export.
Odd (Upper Field First): In forming the export frame, Field 1
becomes the upper field; that is, Field 1’s lines become the
odd-numbered lines in the frame (counted starting from 1).
Field 2’s lines become the even-numbered lines.
Even (Lower Field First): In forming the export frame, Field 1
becomes the lower field; that is, Field 1’s lines become the
even-numbered lines in the frame. Field 2’s lines become the
odd-numbered lines.
Single Field: Select this option if you want the output file to
consist of only Field 1. In this case, the single field of 243 lines
for NTSC will be resized to fit the frame as specified in the
width and height selection.
Create Preview
Pixel Aspect Ratio
Select this option if you want to create a preview of the
QuickTime movie.
The pixel aspect ratio allows you to apply a scaling to the
video: square, 4:3 non-square, or 16:9 non-square. The pixel
aspect ratio allows you to control the display format without
modifying the source file.
This feature creates metadata — additional data that is stored
with the QuickTime movie. Some applications, such as the
QuickTime Player, can interpret this metadata and scale the
image at display time.
Pixel aspect ratio is useful for the Same as Source option
because that option also preserves the original format.
Selecting QuickTime Codecs
NewsCutter XP includes many codecs you can use to compress and
export your sequence. See “About Avid Codecs” on page 635.
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To access the QuickTime codecs:
1. Choose Export from the File menu.
The Export As dialog box appears.
2. Click Options.
The Export Settings dialog box appears.
3. Choose QuickTime Movie from the Export As pop-up menu.
4. Select Custom.
5. Click Format Options.
The Movie Settings dialog box appears.
6. Click Settings in the Video pane.
The Compression Settings dialog box appears.
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7. Select the options, using Table 18-8 for reference.
Table 18-8
Format Options Suboption
QuickTime Compression Settings
Description
Compressor Animation For high-quality, lossless compression (in which no picture
information is lost).
Uses a run-length-encoded (RLE) scheme to encode each pixel,
resulting in a file that is 70 to 95 percent the size of the
uncompressed file.
At maximum quality, this is a lossless compression (in which
no picture information is lost). See the description of the
Quality option in this table.
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Apple ®
Photo-JPEG
Avid ABVB
NuVista
Avid Meridien
Compressed
Avid Meridien
Uncompressed
Avid QT JPEG
Compressor
BMP
Table 18-8
Format Options Suboption
QuickTime Compression Settings (Continued)
Description
For medium quality, lossy compression (in which some picture
information is lost) requiring moderate storage space and data
throughput on playback.
Uses the Joint Photographic Experts Group (JPEG) algorithm
for image compression; results in files that are 20 to 30 percent
the size of the uncompressed files. Some data is lost during
compression, and the export process takes longer to complete
(typically six times longer than the Animation compression,
for example).
For backward compatibility with systems using AVRs.
For compression compatible with Avid products. Allows fast
import. See “Using the Avid Codecs for QuickTime” on
page 635.
For 1:1 resolution. Allows fast import. See “Using the Avid
Codecs for QuickTime” on page 635.
n
For export at the same resolution as your current clips, choose
Same as Source instead of Custom. See “Exporting as a
QuickTime Movie” on page 615.
For medium quality, lossy compression (in which some picture
information is lost) compatible with Avid applications and
requiring moderate storage space and data throughput on
playback.
Uses the JPEG algorithm for image compression; results in files
that are 20 to 30 percent the size of the uncompressed files.
Some data is lost during compression, and the export process
takes longer to complete (typically six times longer than the
Animation compression, for example).
For internal encoding of individual frames as BMP (Windows
native bitmap format) files.
623

Table 18-8
Format Options Suboption
Cinepak
Component
Video
DV-NTSC
DV-PAL
Graphics
QuickTime Compression Settings (Continued)
Description
For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for
small-screen-size playback from CD-ROM or hard drive. Uses
compression algorithm optimized for CD-ROM playback.
For high-quality, lossless compression (in which no picture
information is lost). Uses the same algorithm as the Animation
method but saves the file in YUV RLE format, which separates
the luminance from the chrominance. All QuickTime
applications can read this format, but only some can write to
this format.
For storing original or edited DV (digital video) footage in
QuickTime files.
For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for
small-screen-size playback from CD-ROM or hard drive. Uses
a limited color palette version (16 colors) of Animation
compression.
H.261 For low-quality videoconferencing.
H.263 For videoconferencing. Optimized for low data rates and low
motion.
Intel Indeo
Video 4.4
For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for
small-screen-size playback from CD-ROM or hard drive. Files
do not export at 720 x 540 and 720 x 486 frame sizes, even
though these sizes are listed.
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Table 18-8
Format Options Suboption
Motion JPEG A
Motion JPEG B
None
Planar RGB
PNG
Sorensen Video
TGA
QuickTime Compression Settings (Continued)
Description
For medium-quality, lossy compression (in which some picture
information is lost) requiring much storage space and
additional hardware support for real-time playback.
Motion JPEG (M-JPEG) is a variant of the ISO JPEG
specification for use in digital video. Considered the standard
for Motion JPEG, format A is supported by chips from Zoran
Corporation and C-Cubed, Inc.
For medium-quality, lossy compression (in which some picture
information is lost) requiring much storage space and
additional hardware support for real-time playback.
Motion JPEG (M-JPEG) is a variant of the ISO JPEG
specification for use in digital video. Format B cannot use the
markers that ISO JPEG and format A do; supported by chips
from LSI Logic Corporation.
Does not compress the file; results in very large files.
For high-quality, lossless compression (in which no picture
information is lost). Results in large files.
Encodes each image plane separately, using a
run-length-encoded (RLE) scheme. Used primarily to support
Photoshop files, which are usually stored using a planar
run-length algorithm.
Portable Network Graphics, used to replace GIF as a bitmap
still-image format for newer Internet browsers.
For medium-quality, lossy compression (in which some picture
information is lost) at a low data rate and low storage
requirements. This codec is particularly suited for Web or
CD-ROM delivery and is recommended for
Review & Approval files. See “Using the Review & Approval
Service” on page 574.
Saves exported file in Targa ® format.
625

Table 18-8
Format Options Suboption
TIFF
Video
Colors
Quality
QuickTime Compression Settings (Continued)
Description
Tagged Image Format, a cross-platform bitmap still-image
format, used often in pre-press production.
For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for
small-screen-size playback from CD-ROM or hard drive.
Choose the colors that you want included in the exported file.
The selections vary according to the codec you choose. Some
codecs have only one color setting.
If you select the Sorensen codec, Millions of Colors is selected
automatically.
Do not select the option Millions of Colors +. This option
creates an alpha channel that is not used for export from your
Avid system. If you use one of the Avid Codecs for QuickTime
with other applications that support alpha channels, you can
choose the Millions of Colors + option to create an alpha
channel that can be imported into your Avid system.
Click the option and drag this slider to adjust the image quality
for the exported file. The selections vary according to the codec
you choose. Some codecs have only one Quality setting.
If you selected Avid Meridien Compressed or Uncompressed,
a dialog box appears, allowing you to choose a resolution.
Motion
Frames per
second
Key frame every
n frames
Choose a frame rate from the pop-up menu. Choose 30 to
maintain full-motion video/animation. A frame rate of 29.97
conforms to NTSC video frame-rate standards.
Use this option to have the system use keyframes as a
reference for subsequent frames. Enter a numeric value to
specify the frequency of the keyframes.
626

Exporting as an AVI File
To export as an AVI file:
1. Identify the material you want to export in one of the following
ways:
t
t
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others. Make
sure Use Enabled Tracks is selected in the Export Settings
dialog box. You can set this option before the export. See
“Customizing Export Settings” on page 597.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor. If you
mark an IN point and no OUT point, the system exports from
the IN point to the end of the clip or sequence. If you mark
only an OUT point, the system exports from the beginning to
the OUT point. Make sure Use Marks is selected in the Export
Settings dialog box.
To export the entire clip or sequence, deselect Use Enabled
Tracks and Use Marks in the Export Settings dialog box, and
make sure the topmost track is monitored.
2. Choose Export from the File menu.
The Export As dialog box appears.
You can set these
options in advance. See
“Customizing Export
Settings” on page 597.
3. Choose the Export settings by doing one of the following:
t
If you created a setting in advance, choose a setting from the
Export pop-up menu, and go to step 13.
t If you want to review or edit a setting, go to step 4.
4. Click Options.
The Export Settings dialog box appears.
627

5. Choose AVI from the Export As pop-up menu.
6. Select AVI options from the Video Format tab as described in
Table 18-9.
7. Select an AVI codec by clicking Codec Options.
The Video Compression dialog box appears.
628

8. Select the compressor you want, and click Configure to further
configure the codec. For more information, see Table 18-10.
9. Click OK to close the Video Compression dialog box and return to
the Export Settings dialog box.
10. Select AVI options from the Audio Format tab as described in
Table 18-9.
629

11. Click Save to save the current setting, or click Save As to create a
new setting. See “Creating a New Export Setting” on page 598.
The Export As dialog box appears with a default file name in the
File name text box.
12. Select the destination folder for the file.
13. (Option) Change the file name. In most cases, keep the default file
name extension.
14. Click Save.
630

c
c
The file is exported and appears at the chosen destination.
NewsCutter XP allows a maximum exported file size of 2 GB. If you
exceed this limit, the file is unusable and the system displays an
error message. Break up large sequences and master clips into
smaller pieces.
If a power failure or application error occurs during the export
process, the entire file is unusable. You need to repeat the export
process.
AVI Settings
Table 18-9 describes the AVI Settings options in the Export Settings
dialog box. In the Video Format tab, you can also select further options
by clicking Codec Options.
Table 18-9
AVI Settings Options
Option Suboption Description
Use Marks
Use Enabled
Tracks
Video and Audio
Video Only
When this option is selected, the system uses current IN and
OUT points in the selected clip or sequence to determine
starting and ending frames for the export. To export the entire
clip or sequence, deselect this option.
When this option is selected, the system uses current IN and
OUT points in the selected clip or sequence to determine
starting and ending frames for the export. To export the entire
clip or sequence, deselect this option.
Select this option if you want to export both the audio and the
video. For more information, see “Using the Avid Codec for
AVI” on page 640.
Select this option if you want to export only the video.
631

Table 18-9
AVI Settings Options (Continued)
Option Suboption Description
Audio Only
Select this option if you want to export only the audio. For
example, use this option if you want to use or enhance audio in
a third-party application or use the audio in a multimedia
project.
Video Format Codec Options When you click this button, the Video Compression dialog box
appears. For more information, see Table 18-10.
Width x Height
This option allows you to set the width of the clip; at this time
you can only select a height of 486.
Scale to Fit: This option will size to fit the specified width and
height.
Crop/Pad: Crop/Pad never scales or resizes frames. If necessary,
the system adds black lines to the top and bottom to achieve the
correct size.
Color Levels This options allows you to set color to RGB or ITU-R 601.
FPS
File Field Order
This option sets the frame-per-second (fps) rate for AVI export.
These options allow you to choose the field that will be the
upper field during export.
Odd (Upper Field First): In forming the export frame, Field 1
becomes the upper field; that is, Field 1’s lines become the
odd-numbered lines in the frame (counted starting from 1).
Field 2’s lines become the even-numbered lines.
Even (Lower Field First): In forming the export frame, Field 1
becomes the lower field; that is, Field 1’s lines become the
even-numbered lines in the frame. Field 2’s lines become the
odd-numbered lines.
Single Field: Select this option if you want the output file to
consist of only Field 1. In this case, the single field of 243 lines
for NTSC will be resized to fit the frame as specified in the width
and height selection.
632

Table 18-9
AVI Settings Options (Continued)
Option Suboption Description
Audio Format
Mono
Stereo
Sample Rate
Sample Size
Exports audio to a single channel.
Exports audio to two channels.
Select this option to select the sample rate.
Project Rate: The native rate of the chosen audio media
(44.1 kHz or 48 kHz).
22.050 kHz: Half the sample rate of 44.1-kHz media.
11.025 kHz: One quarter the sample rate of 44.1-kHz media.
Select this option to select the sample size.
16-bit: When this option is selected, the system exports a 16-bit
audio sample size (currently the industry-standard bit rate for
audio).
8-bit: When this option is selected, the system exports an 8-bit
audio sample size for use in third-party systems that do not
support 16-bit. This option is also used to minimize the data
throughput requirements (for example, to improve playback in
multimedia projects).
AVI Video Compression Dialog Box Options
Table 18-10 describes the Video Compression dialog box for AVI
options.
633

Table 18-10
AVI Video Compression Dialog Box
Options
Option Suboption Description
Compressor
Cinepak Codec
by Radius
Microsoft Video 1
For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for
small-screen-size playback from CD-ROM or hard drive. This
codec uses a compression algorithm optimized for CD-ROM
playback.
Click Configure to open the Cinepak for Windows 32
configuration dialog box. You can then choose to compress to
color or to black and white.
Use this option when you create files that will play with Video
for Windows.
Click Configure to open the Configure dialog box. You can then
adjust the quality of the compressed file by using the Temporal
Quality Rate slider.
Microsoft MPEG-4
Video Codec V1,
V2, V3
For Web content containing both video and audio. (V3 is the
most recent version.)
Click Configure to open the Configure dialog box. You can then
adjust the frequency of the keyframes, as well as compression
control and data rate.
Avid AVI Codec
2.0d2
Full Frames
(Uncompressed)
Use this option to choose Avid resolutions. See “Using the Avid
Codec for AVI” on page 640.
For high-quality export in which no picture information is lost.
This option does not compress the file and can result in very
large files. To export an uncompressed file at 1:1, use the Avid
Codec for AVI.
Key Frame
Every n frames
Use this option to have the system use keyframes as a reference
for subsequent frames. Enter a numeric value to specify the
frequency of the keyframes. This option is not available for the
Avid Codec for AVI or for uncompressed files.
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Table 18-10
AVI Video Compression Dialog Box
Options (Continued)
Option Suboption Description
Data Rate n
KB/sec
Use this option to set a specific data rate for the compressed file,
in kilobytes per second. This option is not available for the Avid
Codec for AVI or for uncompressed files.
About Avid Codecs
You can use the following Avid codecs (compressor/decompressor)
when exporting QuickTime or AVI files from NewsCutter XP or from
third-party applications for import into NewsCutter XP:
• Avid Codecs for QuickTime
• Avid Codec for AVI
Using the Avid Codecs for QuickTime
The Avid Codecs for QuickTime create encapsulated media files for
export of high-resolution files that are readable within QuickTime
applications. The Avid Codecs for QuickTime are the Avid Meridien
Uncompressed and the Avid Meridien Compressed. The two Avid
Meridien codecs enable fast import to current Avid products.
Exporting with an Avid Meridien Codec
To export a clip or sequence with one of the Avid Meridien codecs:
1. Select the material you want to export in one of the following
ways:
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others.
635

t
t
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor.
To export the entire clip or sequence, make sure the topmost
track is monitored.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
4. Choose QuickTime Movie from the Export As pop-up menu.
5. Select Custom.
6. Click Format Options.
The Movie Settings dialog box appears.
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7. Click Settings in the Video pane.
The Compression Settings dialog box appears.
8. Choose Avid Meridien Uncompressed or Avid Meridien
Compressed from the top Compressor pop-up menu.
9. Adjust the Quality slider.
10. Click OK in the Compression Settings dialog box.
The Export Settings dialog box reappears.
11. Click Save.
The file is exported and appears at the chosen destination.
Exporting with the Avid ABVB NuVista Codec for QuickTime
To export a clip or sequence with the Avid ABVB NuVista Codec for
QuickTime:
1. Select the material you want to export in one of the following
ways:
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others.
637

t
t
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor.
To export the entire clip or sequence, make sure the topmost
track is monitored.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
4. Choose QuickTime Movie from the Export As pop-up menu.
5. Select Custom.
6. Click Format Options.
The Movie Settings dialog box appears.
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7. Click Settings in the Video pane.
The Compression Settings dialog box appears.
8. Choose Avid ABVB NuVista from the top Compressor pop-up
menu.
9. Adjust the Quality slider.
The Avid ABVB/NuVista Codec Configuration dialog box
appears.
10. Select the appropriate format for the media you want to create:
NTSC or PAL.
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11. Select the appropriate board type for the media:
- NuVista
- ABVB
12. Select or deselect Input, depending on your source.
13. Choose a resolution from the Resolution pop-up menu.
The menu is updated according to the format and system type you
choose.
14. Click OK to close the Avid ABVB/NuVista Codec Configuration
dialog box.
15. Click OK in the Compression Settings dialog box.
The Avid ABVB/NuVista Codec Configuration dialog box
reappears.
16. Click OK.
The Export Settings dialog box reappears.
17. Click Save.
The file is exported and appears at the chosen destination.
Using the Avid Codec for AVI
The Avid Codec for AVI creates encapsulated media files for export of
high-resolution files that are readable within AVI-compatible
applications.
To export a clip or sequence with the Avid Codec for AVI:
1. Identify the material you want to export in one of the following
ways:
t
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor.
640

t
To export the entire clip or sequence, make sure the topmost
track is monitored.
2. Choose Export from the File menu.
The Export As dialog box appears.
3. Click Options.
The Export Settings dialog box appears.
4. Choose AVI from the Export As pop-up menu.
5. Click Codec Options.
The Video Compression dialog box appears.
6. Choose Avid AVI Codec 2.0d2 from the Compressor pop-up
menu.
7. Click Configure.
The Avid AVI Codec Configuration dialog box appears.
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8. Select the appropriate format for the media you want to create:
NTSC or PAL.
9. Select the appropriate board set (Type) for the media: Interlaced or
Progressive.
10. Choose a resolution from the Resolution pop-up menu.
11. Click Close.
12. Click OK to close the Video Compression dialog box and return to
the Export Settings dialog box.
13. Click Save to save the current setting, or click Save As to create a
new setting. See “Creating a New Export Setting” on page 598.
The Export As dialog box appears with a default file name in the
File Name text box.
14. (Option) Change the file name. In most cases, keep the default file
name extension.
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15. Select the destination folder for the file.
16. Click Save.
The file is exported and appears at the chosen destination.
Installing an Avid Codec on Other Systems
When you install NewsCutter XP on your system, the Avid Codecs for
QuickTime and the Avid Codec for AVI are automatically installed.
You can copy the codecs and install them on other Windows
workstations where you are using QuickTime-compatible
applications. Once an Avid Codec for QuickTime is installed on the
workstation, you can export files from the QuickTime-compatible
application for reimport into NewsCutter XP. Once the Avid AVI codec
is installed on the other workstation, you can export AVI files from the
AVI-compatible application for reimport into NewsCutter XP.
Copying an Avid Codec for QuickTime
To copy an Avid Codec for QuickTime to another Windows system:
1. On your NewsCutter XP system, open the following folder:
C:\WINNT\system32
2. Copy the following to a floppy disk or network server:
• AvidQTCodec.qtx (Avid ABVB NuVista Codec for
QuickTime)
• AvidQTAVJICodec.qtx (Avid Meridien Compressed Codec for
QuickTime)
• AvidQTAVUICodec.qtx (Avid Meridien Uncompressed Codec
for QuickTime)
• AvidAVICodec.dll (Avid Codec for AVI)
3. Install the codec in the other workstation in the following folder:
C:\WINNT\system32
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Copying an Avid Codec for AVI
To copy the Avid Codec for AVI to another Windows system:
1. Insert the NewsCutter XP installation CD-ROM.
2. On the opening screen, click Browse CD.
If the installer does not start automatically:
a. Double-click the My Computer icon.
b. Double-click the CD-ROM drive icon.
3. Double-click the Installers folder.
4. Double-click the AvidAVICodec folder.
5. Double-click the Disk 1 folder.
6. Double-click Setup.exe.
The installer starts and the Welcome screen appears.
7. Click Next.
The installer installs AvidAVICodec.dll in the system’s
C:\WINNT\system32 folder. A message asks if you want to
restart your computer.
8. Click Yes and then click Finish.
Exporting from a Third-Party Application
To export files from a QuickTime-compatible application or an
AVI-compatible application on a Windows system for import (or
reimport) into NewsCutter XP:
1. Make sure the applicable codec is installed on the workstation. See
“Installing an Avid Codec on Other Systems” on page 643.
2. Conduct the export procedure according to the procedures used
by the particular software.
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3. When you get to the step where the standard Export Settings
dialog box appears, select the applicable Avid compressor.
n
If
you select a nonstandard frame size, NewsCutter XP will not import the
file quickly.
4. Complete the export.
Exporting Tracks as Audio Files
To export the audio tracks in a clip or sequence as an audio file:
1. (Option) Mark IN or OUT points to identify a particular portion of
the audio in a sequence.
2. (Option) Select the tracks you want to export.
3. Select a clip or sequence in one of two ways:
t
t
Click the monitor that displays the clip or sequence you want
to export.
Click the clip or sequence in a bin.
4. Choose Export from the File menu.
The Export As dialog box dialog box appears.
5. Choose a setting from the Export pop-up menu. If you do not have
a preset audio template, choose Untitled, and then click Options.
The Export Settings dialog box appears.
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6. Choose Audio from the Export As pop-up menu.
7. (Option) If you marked IN or OUT points, make sure Use Marks is
selected. If you selected tracks, make sure Use Enabled Tracks is
selected. To export the entire clip or sequence, deselect Use Marks
and Use Enabled Tracks.
8. Choose a format from the Audio Format pop-up menu. Use
Table 18-11.
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9. Click Save to save the current setting, or click Save As to create a
new setting. See “Creating a New Export Setting” on page 598.
The Export As dialog box appears with the audio file name
extension in the File name text box.
10. (Option) Change the file name. In most cases, keep the file name
extension.
11. Select the destination folder for the file.
12. Click Save.
The file is exported and appears at the chosen destination.
Table 18-11
Export Settings Dialog Box
(Audio Options)
Suboption
WAVE
AIFF-C
Description
Select this option to export audio tracks in the WAVE format (.wav file name
extension). Nearly all Windows applications that support sound use WAVE files.
QuickTime also supports the WAVE format.
Select this option to export audio tracks in the industry-standard AIFF-C format,
which is compatible with many third-party sound editing and multimedia
applications.
Exporting as a Graphics File
NewsCutter XP allows you to choose from a number of graphic format
options.
To export as a graphics file:
1. Mark an IN point to export the marked frame from a bin or a
monitor, or move the position indicator to the frame you want to
export.
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2. Select a clip or sequence in one of two ways:
t
t
Click the monitor that displays the clip or sequence you want
to export.
Click the clip or sequence in a bin.
3. Choose Export from the File menu.
The Export As dialog box appears.
4. Choose a setting from the Export pop-up menu. If you do not have
a preset graphic template, choose Untitled, and then click Options.
The Export Settings dialog box appears.
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Graphic Format
pop-up menu
Format Options button
5. Choose Graphic from the Export As pop-up menu.
6. Select options as described in Table 18-12.
7. Make sure Use Marks is selected if you want to export a specific
frame.
8. Choose a format from the Graphic Format pop-up menu. Use
Table 18-13 to make your selection.
9. Click Save to save the current setting, or click Save As to create a
new setting. See “Creating a New Export Setting” on page 598.
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The Export As dialog box appears with the graphic file name
extension in the File Name text box.
10. (Option) Change the file name. In most cases, keep the file name
extension.
11. Select the destination folder for the file.
12. Click Save.
The file is exported and appears at the chosen destination.
When you are working with the Format Options settings, you can click
Default to return the settings to their default values. Table 18-13
describes the additional Graphic Format options.
Table 18-12
Export Settings Dialog Box
(Graphic Options)
Option
Use Marks
Use Enabled Tracks
Graphic Format
Format Options
Width x Height
Description
When this option is selected, the system uses current IN and OUT points in the
selected clip or sequence to determine starting and ending frames for the
export. To export the entire clip or sequence, deselect this option.
When this option is selected, the system uses current IN and OUT points in the
selected clip or sequence to determine starting and ending frames for the
export. To export the entire clip or sequence, deselect this option.
This option allows you to select a graphic format for export.
The Format Options button allows you to set export parameters.
This option allows you to set the width of the clip; at this time you can only
select a height of 486.
Scale to Fit: This option will size to fit the specified width and height.
Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system
adds black lines to the top and bottom to achieve the correct size.
Color Levels This option allows you to set color to RGB or ITU-R 601.
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Table 18-12
Export Settings Dialog Box
(Graphic Options) (Continued)
Option
Sequential Files
File Field Order
Description
This option produces a series of still images, numbered sequentially. The fps
rate of the source file determines the number of still image files that are
produced.
These options allow you to choose the field that will be the upper field during
export.
Odd (Upper Field First): In forming the export frame, Field 1 becomes the
upper field; that is, Field 1’s lines become the odd-numbered lines in the frame
(counted starting from 1). Field 2’s lines become the even-numbered lines.
Even (Lower Field First): In forming the export frame, Field 1 becomes the
lower field; that is, Field 1’s lines become the even-numbered lines in the frame.
Field 2’s lines become the odd-numbered lines.
Single Field: Select this option if you want the output file to consist of only
Field 1. In this case, the single field of 243 lines for NTSC will be resized to fit
the frame as specified in the width and height selection.
Table 18-13
Graphic Format Settings Options
File Type Parameters Description
Alias
This option creates files that are compatible with
Alias|Wavefront systems.
BMP Windows This option creates files that are compatible with systems
running the Microsoft Windows operating system.
OS/2
This option creates files that are compatible with systems
running the IBM ® OS/2 ® operating system.
Chyron
Developed by Chyron Corporation for use with video
frame buffers of Chyron ® character generator titles.
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Table 18-13
Graphic Format Settings Options (Continued)
File Type Parameters Description
Cineon Blackpoint This option allows you to adjust a film exposure value that
corresponds to filming a 2% black card. Values can be
between 0 and 1022. The default value of 0 is adequate for
most uses.
Whitepoint
Gamma
This option allows you to adjust a film exposure value that
corresponds to filming a 90% white card. Values can be
between 1 and 1023.
If the files came from and will be transferred back to a
Cineon system, use a white point of 1023. The default
value of 685 is appropriate if the final destination is not a
Cineon system — for example, a video display.
This option specifies an adjustment to correct for any
gamma inconsistencies in the output display. Values can be
between 0.01 and 100.0.
Use a value of 1.0 (the default) for images displayed on a
PC monitor. Use a value of 0.59 for a Silicon Graphics ®
monitor.
Use a value of 0.45 for ITU-R 601 (CCIR 601) video.
ERIMovie Pack 24 bits This option controls whether the image data is packed into
24-bit color depth (compressed) or is saved as 32-bit (raw)
color depth.
Framestore
IFF
The Framestore format is a 16-bit video image format used
on the Amiga ® in conjunction with Newtek’s
Video Toaster hardware. HIIP supports both compressed
and uncompressed Framestore formats.
Developed by Electronic Arts. IFF (Interchange File
Format), or more specifically IFF-ILBM (InterLeaved
BitMap), is the standard file format by which applications
on the Amiga platform transfer image files.
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Table 18-13
Graphic Format Settings Options (Continued)
File Type Parameters Description
JPEG Quality This option controls the output file size and quality. Higher
values produce better images but larger file sizes.
Conversely, lower values reduce the image quality but
result in smaller file sizes.
Baseline
Progressive
This option is selected by default. To see if this option is
required, see the documentation that came with your
JPEG-supported applications.
This option allows you to save progressive JPEG files,
which divide the file into a series of scans of the image that
increase in quality. Each scan progressively improves the
recognizability of the image.
Progressive JPEG files can be recognized only by
applications with progressive JPEG support, such as some
Web browsers.
OMF Compression This option controls the compression ratio and, therefore,
the size of the file. You can choose from all the compression
ratio options used by the Avid system when rerecording.
For more information on Avid compression ratios, see
“Compression Resolutions and Storage Requirements”
on page 208.
Frame Rate
NTSC/PAL
These options appear when you select a compression ratio
that allows you to select either NTSC or PAL. When you
select an option, the system displays the required image
size and the default frame rate.
PCX
Developed by Zsoft Corporation for use with their
PC PaintBrush paint software.
Photoshop Compression This option controls the size of the file on disk. Disabling
compression creates larger files on disk.
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Table 18-13
Graphic Format Settings Options (Continued)
File Type Parameters Description
PICT
Pixar
Create
MacBinary
header
This option creates a file with a MacBinary header.
MacBinary is a file format for representing all the
information in a Macintosh file in one binary file. It is a
compact file format, useful for storing a Macintosh file on a
non-Macintosh system for later retrieval. Use a file
expander utility to decode a MacBinary file once it is back
on a Macintosh system.
This option allows you to save the file in the Pixar ® format.
PNG Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.
Interlaced
This option allows you to save the file for progressive
display, similar to progressive JPEG files. As the file is
transmitted, the recognizability of the image improves.
Interlaced PNG files can be recognized only by
applications with interlaced PNG support, such as some
Web browsers.
QRT
Rendition
Developed on the Amiga personal computer to run on
several operating systems. Used by many ray tracing
programs, such as DKB Ray Trace and the QRT ray tracer.
Developed by Numerical Design, Ltd.
SGI Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.
Softimage
Sun Raster
Developed by Softimage, Inc. for use in their Softimage
software.
Developed by Sun ® Microsystems, Inc. and supported
mainly in Sun applications.
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Table 18-13
Graphic Format Settings Options (Continued)
File Type Parameters Description
TARGA Color Depth This option controls how images are saved. The 5-bit
option saves data in Targa 16 format. The 8-bit option saves
data in Targa 24/32 format.
Compression
This setting controls the size of the file on disk. Disabling
compression creates larger files on disk.
TIFF Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.
Compression
JPEG Quality
This setting controls the size of the file on disk. With None,
image data is not compressed and can produce large file
sizes. RLE (run length encoded) produces relatively small
and fairly portable files. JPEG produces files that can vary
in size, depending on the quality you have set using the
JPEG quality slider. The higher the quality setting, the
larger the file size.
This option adjusts the image quality of the JPEG file on a
sliding scale from 0 to 100. The higher the number you set,
the higher the image quality of the JPEG file.
Wavefront Format Type This option specifies one of two output file formats
supported by Wavefront (either RLA or RLB).
Color Depth
Gamma
The 8 bits option saves 8-bit files. The 16 bits option saves
16-bit files. The Automatic option saves the image in the
same depth as the original loaded image.
This option specifies an adjustment to correct for gamma
differences between Macintosh and Windows PC output
display. This option is intended for cross-platform
applications that require adjustment.
n
To see if you need to adjust this value, check the
documentation that came with your Wavefront
application. Usually, you can use the default setting.
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Table 18-13
Graphic Format Settings Options (Continued)
File Type Parameters Description
XWindows
Developed by the MIT X Consortium, and is supported by
many X Window System applications on workstations
and some personal computers.
YUV Format This option controls the video format of saved images. If
set to NTSC, NTSC video format (720 x 486) is used. If set
to PAL, PAL video format (720 x 576) is used. Images are
either padded with black or cropped.
Smooth YUV
This option enhances the fidelity of images saved in YUV
color space (if originating in RGB color space).
Exporting as an MPEG File
MPEG-1 files are used for Web downloads, CD-ROM distribution, and
other digital formats. They have a high compression rate and are
therefore relatively small. MPEG-2 files are used by DVD authoring
packages such as DVDit! by Sonic Solutions and are larger and of
higher quality than MPEG-1 files.
If you want to output your sequence directly to a DVD-R burner
without first using a DVD authoring package, see “Exporting as an
AAF File” on page 604.
To export a clip or sequence as an MPEG-1 or an MPEG-2 file:
1. Select the material you want to export in one of the following
ways:
t
t
To export specific tracks in a clip or sequence, enable those
tracks in the Track Selector panel, and disable all others.
To export part of a clip or sequence, mark IN and OUT points
to export the marked range from a bin or a monitor.
656

n
For
t
To export the entire clip or sequence, make sure the topmost
track is monitored.
2. Select a sequence in one of two ways:
t
t
Click the monitor that displays the clip or sequence you want
to export.
Click the sequence in a bin. Ctrl+click to select multiple clips
or sequences.
more information, see “Preparing to Export a Sequence” on page 572.
3. Choose Export from the File menu.
The Export As dialog box dialog box appears.
4. Click Options.
The Export Settings dialog box appears.
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5. Choose MPEG-1 or MPEG-2 from the Export As pop-up menu.
6. Do one of the following:
t
t
t
Select Use Marks if you are exporting a marked sequence.
Select Use Enabled Tracks if you are exporting specific tracks
in a sequence.
Deselect Use Enabled Tracks and Use Marks if you are
exporting an entire sequence.
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n
Use
Enabled Tracks is selected by default.
7. Drag the Bit Rate slider to select a bit rate between 4 and
8.5 megabits per second.
Low rates produce lower quality; high rates produce higher
quality.
8. Select the aspect ratio.
9. Click Save.
The system process the sequence and creates the following file in
the destination folder:
• filename.mov.m1v for MPEG-1
• filename.mov.m2v for MPEG-2
You can use the generated MPEG-2 video file with a DVD authoring
packages such as DVDit! by Sonic Solutions.
n
To
c
obtain the audio from the sequence, perform a separate audio export using
the WAVE format. See “Exporting Tracks as Audio Files” on page 645.
If a power failure or application error occurs during the export
process, the entire file is unusable. You need to repeat the export
process. The only exception is a sequential file sequence, where all
frames up to the point of failure are usable.
Transferring a Project Between Systems
This section describes how to move projects and media folders
between NewsCutter XP systems. If you plan to transfer the files to a
different Avid system or to a third-party application, see the Avid
Products Collaboration Guide.
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There are two basic methods for transferring projects between
Windows systems:
• Moving project folders, settings, and media files between the
systems
• Moving project folders and settings between the systems, and then
rerecording the media (for information on rerecording, see
“Rerecording Your Material” on page 237)
n
If
you are using NewsCutter XP in an Avid Unity workgroup environment,
you can use Avid Unity MediaManager to share media files between systems.
You can also use Avid Unity TransferManager to share files between
workgroups. For more information, see the Avid Unity MediaManager
User’s Guide and the Avid Unity TransferManager User’s Guide.
Methods for Transferring Files Between
NewsCutter XP Systems
The type of transfer device you use depends on which method of
transfer you choose.
• Moving project folders, settings, and media files requires large
amounts of storage space because of the size of media files.
• Transferring only the project folders and settings files requires
minimal storage space.
Table 18-14 lists the recommended devices for transferring files
between systems. For more information on transfer options and
instructions for transferring, see the Avid Products Collaboration Guide.
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Table 18-14
Transfer Device
Devices for Transferring Files
For Transferring
Floppy drive or equivalent device
Removable storage device, such as a hard drive
A network storage device, such as a file server.
Project and settings files
Media, project, and settings files
Media, projects, and settings
Compatibility Requirements for Transfer
When you transfer a project between NewsCutter XP systems, make
sure:
• Both systems have the same release or a compatible release of the
application.
• The resolutions are compatible if you are transferring media files.
• The fonts used in the project are installed on both systems.
For more information about compatibility between Avid editing
applications, see the Avid Products Collaboration Guide and the Avid
NewsCutter XP Release Notes.
Transferring a Project and Associated Media Files
There are two basic methods for transferring projects with their media
files between NewsCutter XP systems:
• Back up the project files and transport the media files on a
removable storage device.
• Send sequences, clips, or entire projects to a network storage
device.
661

n
If
you are using your NewsCutter XP system in an Avid Unity workgroup
environment, you can use Avid Unity MediaManager to share media files
between systems. You can also use Avid Unity TransferManager to share files
between workgroups. For more information, see the Avid Unity
MediaManager User’s Guide and the Avid Unity TransferManager
User’s Guide.
To transfer a work in progress and associated media files to another
NewsCutter XP system:
1. (Option) Consolidate the media for the project onto an appropriate
drive for transfer to the other system.
• For more information on consolidating, see “Consolidating
Media” on page 322.
c
• For more information on transferring files by using removable
storage devices, see the Avid Products Collaboration Guide.
Do not rename the folders named OMFI MediaFiles located on the
media drive. The target system uses the folder names to locate the
media files.
2. Copy the project folder and any settings files you want to maintain
at the new location onto a floppy disk or a location on a server. For
more information, see “Transferring Projects, User Profiles, and
Site Settings” on page 663.
Alternatively, create a folder at the top level of the media drive
and copy the project folder and any settings files to that folder.
3. Close NewsCutter XP, and shut down your system.
4. Remove the drives containing the media files, and take them and
the floppy disk to the new location.
n
For
more information on moving hard drives, removable drives, and striped
sets from one system to another, see the Avid MediaDrive Utilities User’s
Guide.
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5. With the system at the new location turned off, insert or connect
the drives and start the system.
6. Copy the project folder and any settings files to the appropriate
folder on drive C. For more information, see “Transferring
Projects, User Profiles, and Site Settings” on page 663.
7. Start NewsCutter XP, open the project, and resume work.
n
NewsCutter
XP reconstructs the MediaFiles database the first time you start
the application to incorporate the new media into the system’s internal
directory.
Transferring Projects, User Profiles, and Site Settings
To open projects, bins, and user profiles created with another
Avid system, you must transfer specific folders directly into the Avid
Projects or Avid Users folder before starting the application. You can
also transfer a Site Settings file between systems.
n
For
information about these files and folders, see “About Settings” on
page 75.
When moving a project with titles, make sure that both systems have
the same fonts that were used to create the titles. For information on
adding fonts, see the Windows Help. For more information on
compatibility requirements when working with title effects, see the
Avid Products Collaboration Guide.
n
Adding
a project folder from another system does not transfer accompanying
media files.
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To transfer project files, user profiles, and site settings to another
Avid system:
1. On the source system, select the project folder, user folder, or Site
Settings file you want to transfer. The default locations are listed in
Table 18-15.
Table 18-15
Default Folder and File Locations
Folder or File
Project folder
User folder
Site Settings file
Location
drive:\Program Files\Avid\Avid NewsCutterXP\
Avid Projects
drive:\Program Files\Avid\Avid NewsCutterXP\
Avid Users
drive:\Program Files\Avid\Avid NewsCutterXP\
Settings
n
The
exact location depends on how NewsCutter XP was installed on your
system.
2. Copy the files to a floppy disk or a location on a server.
3. On the destination system, copy the project folder, user folder, or
Site Settings file to the appropriate location, as listed in step 1.
n
Do
c
not rename the project folder. The project settings will not link to the
project if you rename the project folder.
The next time you view the Select User and Project dialog box, the new
project will appear in the Projects scroll list. New User settings will
appear in the Users scroll list. Site settings are active for all projects at
the new location.
Do not open a project directly from the transfer device. You must
copy the folder to the system drive first.
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Transferring Media to and from a Video Server
A video server is an optional component used with NewsCutter XP as
part of a workgroup environment.
Setting Up a Video Server
You can transfer media to and from a video server, such as the Grass
Valley Group Profile ® , through audio, video, and serial RS-422
connections. NewsCutter XP controls the video server in much the
same way as it controls a video deck.
For information on connecting a video server, see the Avid
NewsCutter XP Setup Guide.
Configuring the Video Server
To configure the video server:
t
Select the following general settings from the video server’s user
interface:
- Select BVW as the deck protocol.
- Select the video server port used for the serial connection.
- Select the video I/O settings to match your hardware
connections.
- Select the audio I/O settings to match your hardware
connections.
For complete information, see the documentation for your video
server.
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Configuring the Video Server as a Deck
Before transferring media from the video server to NewsCutter XP,
you must configure the video server as a deck on NewsCutter XP. For
complete information on configuring a deck, see “Configuring
Decks” on page 173.
To configure the video server as a deck:
1. Click the Settings button in the Project window.
The Settings Scroll list appears.
2. Double-click Deck Configuration.
The Deck Configuration dialog box appears.
3. Click Add Channel.
The Channel dialog box appears.
4. Choose Direct from the Channel Type pop-up menu.
5. Choose a port from the Ports pop-up menu.
Make sure that this port corresponds to the port selected for the
video server’s serial connection.
6. Click OK.
A message box appears, asking if you want to Autoconfigure the
channel.
7. Click No.
n
NewsCutter
XP does not currently support the Autoconfigure function for
the video server.
8. In the Deck Configuration dialog box, click Add Deck.
The Deck Settings dialog box appears.
9. Choose the appropriate video server from the Deck Type pop-up
menus, and then click OK.
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The dialog box closes and returns you to the Deck Configuration
dialog box.
10. Click Apply.
Transferring from NewsCutter XP to the Video Server
To transfer a sequence from NewsCutter XP to the video server:
1. Add the TapeID heading to the bin that includes the sequence as
follows:
a. Click the Fast Menu button in the lower left corner of the bin
window and choose Headings.
The Bin Column Selection dialog box appears.
b. Select TapeID and click OK.
NewsCutter XP adds the TapeID column to the bin columns.
n
For
information on saving the TapeID column as a default setting or as a Site
setting, see “Working with Settings” on page 101.
2. In the TapeID column, type the name of the sequence on which
you want to perform a digital cut to the video server. The name on
the video server is restricted to 15 characters when using the BVW
controller setup. The video server will truncate any names longer
than 15 characters. For seamless integration, you should not use
special characters or spaces when naming the sequence.
3. Choose Digital Cut from the Clip menu.
The Digital Cut tool opens.
4. Select Entire Sequence.
5. Select Remote.
6. Choose Mark In Time from the Record to Tape pop-up menu.
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7. Choose a tape name as follows:
a. Click the Source Tape Display button. The Select Tape dialog
box appears.
b. Click New. A New Tape name line appears in the dialog box.
c. Type a new name, press Enter, and click OK.
8. Establish time for the IN point in the Mark IN text box. The time
for the IN point must be equal to the preroll time. The default
preroll time for the video server is 1 second. For a preroll time of
1 second, type 01:00.
9. Click the Play Digital Cut button.
For complete information on creating a digital cut, see “Using the
Digital Cut Tool” on page 562.
Transferring from the Video Server to NewsCutter XP
After you connect the video server and select the appropriate settings,
you can record media from the video server to NewsCutter XP. Some
video servers allow you to drag clips from the video server’s user
interface into the Record tool in NewsCutter XP.
n
Not
all functionality is the same in each video server’s user interface. For
details on how to transfer media, see the documentation provided with the
video server.
When the video server is playing media, click the Record button in the
Record tool to record from the video server to NewsCutter XP.
For complete information on recording, see Chapter 7.
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CHAPTER 19
Using the NRCS Tool
The Newsroom Computer System (NRCS) tool lets you use one
computer to view stories and rundowns located on the iNEWS
NRCS server and to edit sequences in NewsCutter XP.
You use the NRCS tool to connect to an iNEWS (formerly Avstar)
server, access stories from the server, and edit them on your
NewsCutter XP system. When you open a story in the NRCS tool, you
can make formatting and content changes to the story instead of
moving to an iNEWS workstation to do the editing. After you have
made changes to the story, you can save the changes, which are then
available to others using the same server.
Using the duration of the story, you can build a sequence in
NewsCutter XP. Once you have the duration of the story in the
Timeline, you can add footage to match the scripted story. After some
quick video editing, the story is ready to go to air.
The following sections describe how to use the NRCS tool:
• Configuring the NRCS Tool
• Starting the NRCS Tool
• Understanding the NRCS Tool
• Using the Directory Panel
• Editing Story Text
669

• Finding the Read Time of a Story
• Building a Sequence from a Story
• Adjusting the Story Timing
• Saving Changes to a Story
• Sending and Receiving NRCS Mail
• Disconnecting from the iNEWS Server
n
Your
iNEWS user permissions define how many of these procedures you can
perform. If you are unsure of your permissions, consult your system
administrator.
Configuring the NRCS Tool
You must configure the NRCS settings before you can connect to an
iNEWS server.
To configure the NRCS settings and connect to the server:
1. Click the Settings button in the Project window.
The Settings scroll list appears.
2. Double-click NRCS.
The NRCS Settings dialog box appears.
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n
The
NRCS Settings dialog box also appears when you connect to a server if
the active NRCS setting has a blank server name field.
3. Type the name of the server and, if you want, a default user name.
4. (Option) Select “Logout when NRCS Tool is closed” if you want to
terminate the connection to the server every time you close the
NRCS tool.
5. Click the iNEWS tab to make additional changes to the NRCS
settings.
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6. Configure the Message-of-the-Day (MOTD) settings and Mail
Directory as follows:
• If you want the MOTD to have a different file name, type the
new name in the Message-of-the-Day Directory text box.
n
SYSTEM.MESSAGE
is the standard location on the iNEWS server for the
message-of-the-day files. Enter a different location only if your system
administrator suggests doing so.
• Decide if you want to view the MOTD on every connection to
the iNEWS server, only the first connection to the iNEWS
server, or not at all, and then select the appropriate option.
• If you want the Mail Directory to have a different name, type
the new name in the Mail Directory text box.
n
SYSTEM.MAIL.OUT
is the standard location on the iNEWS server for
sending e-mail messages. Enter a different location only if your system
administrator suggests doing so.
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c
Contact your system administrator to ensure that the Mail Directory
name is appropriate for use in your newsroom environment.
7. Click OK to accept the NRCS settings.
Starting the NRCS Tool
To start the NRCS tool after it has been configured:
1. Choose NRCS Tool from the Tools menu.
The NRCS tool opens.
2. Click the Connect button.
The NRCS Login dialog box appears.
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iNEWS server name
3. Type a user name if you did not set a default name in the NRCS
Settings dialog box.
4. Type the password.
5. Click OK.
The NRCS tool connects to the iNEWS server.
If you selected Every Connection or First Connection in the NRCS
Settings dialog box, the Message-of-the-Day dialog box appears.
n
The
iNEWS administrator enters the Message-of-the-Day (MOTD).
6. (Option) Click Next to see the next MOTD.
7. Click OK to close the MOTD dialog box.
The list of directories appears in the Directory panel of the NRCS
tool.
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Understanding the NRCS Tool
The following figure shows the parts of the NRCS tool.
Connect/
Disconnect
button
Send
Mail
button
Show/Hide
Story Form
Formatting
toolbar
Story name Story form Mark Create
IN/OUT Sequence
button button
Read
time
Directory panel
Edit/Save button
Production
Cue text box
Story panel
Table 19-1 presents the options in the NRCS tool.
n
Many
of the concepts and options in the NRCS tool are similar to those of the
iNEWS client application. For more information about the iNEWS client
application, see the iNEWS Help.
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Table 19-1
NRCS Tool Options
Name
Connect/Disconnect button
Send Mail button
Directory panel
Story form
Story name
Formatting toolbar
Create Sequence button
Edit/Save Button
Read time
Story panel
Production Cue text box
Description
Establishes or releases the connection to the iNEWS server.
Opens a dialog box for sending mail to others in the iNEWS
workgroup.
Lists the contents of the news database you are accessing.
Contains summary information about the story in predefined headings.
You can alter the information only in Edit mode, and not when a gray
background appears.
Shows the directory path and name of the story.
Contains buttons used to change the appearance of story text.
Builds a sequence in NewsCutter XP by using the duration in the
Tape-Time field. If the story contains no tape time, the sequence
defaults to 30 seconds. (Tape time in the NRCS tool corresponds to
duration in the Timeline.)
Provides access to editing functions and saves changes made to the
story by either modifying the original story or creating a new story. The
changes are saved on the iNEWS server.
n
The Save button is active only in Edit mode.
Displays the amount of time to read the selected text on air, based on
the wpm rate.
Displays the text of a story. When the story is scripted, the panel
contains production cues on the left and text on the right. You can click
the divider between the two sections and horizontally expand or
contract the Story panel.
Displays production cues that have been scripted into a story.
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Using the Directory Panel
In the Directory panel, you move through the directories on the
iNEWS server. In this panel, you perform the following functions:
• Open a story.
• Make a shortcut to a directory.
• Remove a shortcut to a directory.
• Delete a story.
Opening a Story
After establishing a connection to the iNEWS server, the story panel
remains blank until you open a story.
To open a story:
1. Navigate through the directories, and find the file you want to
open.
In the Directory panel, all triangles point right when you first log
in, which indicates closed directories. Triangles that point down
indicate open directories. Directories or files within a directory are
indented below that directory. Files without a triangle next to
them are stories.
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Closed
directory
Open
directory
Story
2. Double-click the story name, or press Enter.
The story’s text appears in the Story panel.
Making a Shortcut to a Directory
To save time accessing a directory you use often, create a shortcut to
the directory:
1. Navigate to the directory.
2. Right-click the directory name.
A shortcut menu appears.
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3. Choose Make Shortcut.
The NRCS tool creates the shortcut, which appears in italic above
the server name in the Directory panel.
Shortcut
Server name
Removing a Shortcut to a Directory
If you want to remove a shortcut to a directory:
1. Right-click the directory name.
A shortcut menu appears.
2. Choose Remove Shortcut.
The shortcut is removed.
Deleting a Story
The NRCS tool allows you to delete a story without having to go
through the iNEWS workstation, if your iNEWS User settings have the
necessary permissions. If you are unsure of your settings, see your
system administrator.
To delete a story:
1. In the Directory panel, right-click the story you want to delete.
A shortcut menu appears.
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2. Choose Delete File, or press the Delete key.
A message box appears.
3. Click Delete to complete the process, or click Cancel to stop the
deletion.
Changing the Text View
You can change the screen display of the entire text of a story without
entering Edit mode. The shortcut menu that opens when you
right-click in the Story panel allows you to change the font and point
size of the text.
To alter the appearance of the text in your story:
1. Right-click in the Story panel.
A shortcut menu appears.
2. Choose a font and a point size.
n
The
font and point size are saved with the current NRCS settings. They are
not sent to the iNEWS server and apply only to the local client.
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Editing Story Text
You can perform basic editing functions on your stories by using the
NRCS tool, eliminating the need to do the work on the iNEWS
workstation and saving valuable time in the editing process.
Entering Edit Mode
You enter Edit mode by clicking the Edit button. Use Edit mode to
perform the following functions:
• Format text.
• Rearrange text.
• Mark text as Closed Caption.
• Mark text as Presenter Instructions.
• Add a production cue.
• Delete a production cue.
• Mark text as Machine Control.
• Mark text as Normal.
Formatting Text
You use a combination of the formatting buttons and the shortcut
menu to change the format of story text.
To format text:
1. Select the text you want to format.
2. Click a button in the Formatting toolbar to make the text
underlined, italic, or bold.
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To remove text formatting:
1. Select the formatted text.
2. Do one of the following:
t
t
Click a button in the Formatting toolbar to remove the
underlining, italic, or bold.
Right-click the text, and choose Bold, Italic, or Underline from
the shortcut menu.
Rearranging Text in a Story
The shortcut menu provides commands for cutting, copying, pasting,
and deleting text.
To rearrange the text in a story:
1. Select the text you want to cut, copy, or delete.
2. Right-click the text, and choose the appropriate command.
3. To paste cut or copied text, position the cursor in the story where
you want to paste the text.
4. Right-click and choose Paste from the shortcut menu.
Marking Text as Presenter Instructions
Presenter Instructions appear in red, allowing the presenter who reads
the story on camera to differentiate the instructions from the actual
script. Using this formatting option, you might tell the presenter that
the following lines are a voice-over to accompany footage.
To mark text as Presenter Instructions:
1. Select the text you want to mark.
2. Do one of the following:
t
Click the Presenter Instructions button in the Formatting
toolbar.
682

t
Right-click the text, and choose Presenter Instructions from
the shortcut menu.
The text changes to red, indicating Presenter Instructions.
Text marked as Presenter Instructions is not included in the read time
of a story. For more information, see “Finding the Read Time of a
Story” on page 686.
Marking Text as Closed Caption
Your story can also contain text marked as Closed Caption. Closed
captioned text is green in the Story panel. Like Presenter Instructions,
the presenter does not read this text on camera.
Text marked as Closed Caption is not included in the read time of a
story. For more information, see “Finding the Read Time of a Story”
on page 686.
To mark text as Closed Caption:
1. Select the text you want to mark.
2. Do one of the following:
t
t
Click the Closed Caption button in the Formatting toolbar.
Right-click the text, and choose Closed Caption from the
shortcut menu.
The text changes to light green, indicating that the text is closed
captioned.
Adding a Production Cue
Production cues are playback instructions for devices such as video
machines, still stores, and character generators. When you insert
production cues, they appear in the area to the left of the text in the
Story panel. In addition, a production cue marker appears in the story
text to indicate where each production cue belongs in the story.
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Production Cue
text box
Production Cue
marker
To insert a production cue into your scripted story:
1. In the Story panel, move the cursor next to or within the text
where you want to place the production cue.
2. Right-click and choose Insert Production Cue from the shortcut
menu.
A blue production cue marker appears within the Story panel, and
a blank box appears in the left side of the Story panel.
3. Type the cue information in the text box.
4. (Option) Select the text and mark as bold, italic, or underlined by
using the Formatting toolbar.
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Deleting a Production Cue
If you want to delete a production cue, you must delete the production
cue marker, not just the text within the Production Cue text box.
To delete a production cue:
1. Select the production cue marker in the Story panel.
2. Do one of the following:
t
t
Press the Delete key.
Right-click the marker, and choose Delete from the shortcut
menu.
Marking Text as Machine Control
You can mark text in the Production Cue as Machine Control. The
Machine Control button and the machine control text are blue.
To mark text as Machine Control:
1. Select the text in the Production Cue text box that you want to
mark.
2. Do one of the following:
n
You
t
t
Click the blue Machine Control button in the Formatting
toolbar.
Right-click the text, and choose Machine Control from the
shortcut menu.
can mark text as Machine Control only in a Production Cue text box. See
“Adding a Production Cue” on page 683.
685

Marking Text as Normal
If you have applied formatting to text, you can remove the formatting
by marking the text as Normal.
To mark text as Normal:
1. Select the text from which you want to remove the formatting.
2. Do one of the following:
t
t
Click the Normal button in the Formatting toolbar.
Right-click the text, and choose Normal from the shortcut
menu.
The text changes to black, indicating that the text contains no
formatting.
Finding the Read Time of a Story
The NRCS tool calculates the read time of a story by using the number
of words in the story and the read rate in words per minute (wpm) of
the presenter.
The default wpm rate is 180 but can differ according to the iNEWS
User settings for the presenter. For example, if the presenter listed for
the story has a reading rate of 150 wpm, the NRCS tool calculates the
read time based on that reading rate.
n
If
you want to change the wpm rate for the presenter, you must make the
changes through the iNEWS workstation. If you want to change the presenter
for a story, you can edit the name in the Presenter field and save the changes.
686

To calculate the read time of a story:
1. Move the cursor to the Story panel.
2. Do one of the following:
n
If
t
t
Right-click and choose Select All from the shortcut menu.
Select a portion of the text with the mouse.
The read time appears in the upper right corner of the NRCS tool.
you have ToolTips enabled, the current wpm rate appears in the label for the
read time display. For more information on ToolTips, see “General Interface
Settings” on page 81.
Presenter
Calculated read time
for the selected text
Selected
story text
n
The
NRCS tool does not include Closed Caption or Presenter Instructions
text in the read time. Only text marked as Normal (including bold, italic, or
underlined text) is calculated.
687

Building a Sequence from a Story
The NRCS tool allows you to create a new sequence that matches the
length specified by the tape time of a story. This feature makes it very
easy to edit in shots and to create a sequence quickly according to the
duration of the story.
n
Tape
time in the NRCS tool corresponds to duration in the NewsCutter XP
Timeline.
To build a sequence from a story:
1. Open the bin in which you want to place your sequence.
2. Do one of the following:
t
t
t
Select the story in the Directory panel, and drag the story to
the open bin.
Select the story in the Directory panel, right-click, and choose
Build Sequence from Story.
Click the Build Sequence button.
n
The
Build Sequence button is active only when a story is displayed in the
Story panel and the Tape-Time field is not blank or zero.
A sequence is created in the open bin with the same name as the
story. The duration of the sequence is determined from the
Tape-Time field of the story. If you want to build a sequence with a
different duration, you must first edit the Tape-Time field and save
the story.
n
Sequences
created with any of these methods have a fixed minimum length.
You can lengthen the sequences (by adding clips) but not shorten them.
688

n
If
you select a story from the Directory panel, NewsCutter XP creates a
sequence even if the Tape-Time field is blank or zero. If the Tape-Time field for
the story is blank, the duration of the sequence defaults to 30 seconds. If the
Tape-Time field is set to 0:00, the duration of the sequence created is
0seconds.
Story name
Build Sequence button
Tape-Time field
New sequence
generated from
the story in the
NRCS tool
Timeline with a duration time that
equals the tape time of the story
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Script-Based IN and OUT Points
A Mark IN/OUT button has been added to the NRCS tool. When text
is highlighted, and the Mark IN/OUT button is clicked, IN and OUT
points are added in the Timeline. The editor can use the IN and OUT
points as a guide to build a sequence.
Sequences are created based on Tape-Time (a manually extended
field). IN and OUT points are based on words per minute (a property
that is associated with each presenter). It is possible to create a
sequence that is longer or shorter than the actual read-time of the
story.
An enhancement to this feature enables you to change the start time of
the script in the Timeline.
Setting Timeline IN and OUT Points Based
on Story Timing
The NRCS tool can use its calculated story timing to set IN and OUT
points in the sequence loaded in the Timeline.
To set IN and OUT points based on the story timing:
1. Load the appropriate sequence in the Timeline.
2. Select a portion of the text in the Story panel.
The read time of the selected text appears in the upper right corner
of the NRCS tool.
690

Story panel
Mark IN/OUT button
Read time
3. Click the Mark IN/OUT button.
The NRCS tool places IN and OUT points in the Timeline, based
on the computed read time of the selected text.
IN and OUT points
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n
You
can use the Timecode pop-up menu to compare the IN and OUT points.
For more information on using the Timecode display, see “Displaying the
Timecode Window” on page 342.
Adjusting the Story Timing
You may want to adjust the story timing in cases where you will be
using the Mark IN/OUT button to set marks in the Timeline based on
the story text timing.
For example, if there is introductory text in a story that is not part of
the sequence you will be building, when you set IN/OUT points in the
sequence, then the computed times will be offset by the extra text. To
fix this, a Time Marker cue with a value of 0:00 can be added just
before the start of the relevant text (corresponding to the sequence
being built).
Time Marker cue
n
You
must be in Edit mode to insert timing cues to a story.
692

Adjusting the Story Timing with a Time Marker
Because the calculated story timing may not exactly match the
required sequence or clip duration, the NRCS tool allows you to add
cues that can assign a specific time to a point in the text.
To add a cue that assigns a specific story time to a point in the text:
1. In the Story panel, right-click a point in the text where you want to
add a time pad.
A pop-up menu appears.
2. Chose Insert Time Marker.
The Time Marker dialog box appears.
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3. Type that time you want to assign to that point in the text.
4. Click OK.
A Time Marker cue appears in the story text, and a corresponding
production cue appears with an “=” (equal) character and the
specified time value.
Any read time calculations will now take the assigned time into
account.
Time Marker cue
Adjusting the Story Timing with a Time Pad
Because the calculated story timing may not exactly match the
required sequence or clip duration, you can specify the duration of the
media clip by adding a Time Pad to the sequence. The Time Pad
inserts cues in the text, based on the IN and OUT points.
For example, if part of the story has a video clip but no corresponding
text, the timing of any following text will be offset. This can be fixed by
adding a Time Pad cue at the point in the story where the video clip
occurs (using the clip duration as the value).
694

Time Pad cue
n
You
must be in Edit mode to insert timing cues to a story.
To add a cue that inserts a Time Pad at a point in the text:
1. In the Story panel, right-click a point in the text where you want to
add a Time Pad.
A pop-up menu appears.
695

2. Choose Insert Time Pad, and then do one of the following:
t
t
Choose the default time, if you want the Time Pad to match
the time between the IN and OUT points in the clip loaded in
the Source/Record monitor.
Choose Other, if you want to specify a time other than what is
marked in the clip.
The Time Pad window opens.
3. (Option) If you selected Other, type in the Duration text box the
amount of time you want to assign to that point in the text.
4. Click OK.
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A Time Pad cue appears in the story text, and a corresponding
production cue appears with a “+” (plus) character and the
specified time value.
Any read time calculations will now take the assigned time into
account.
Time Pad cue
Read time display
Saving Changes to a Story
After you edit a story, you can save the changes by modifying the
original story or by creating a new story. It is important to remember,
however, that when you save a story in the NRCS tool, the story is
actually saved on the iNEWS server. Therefore, use caution when
saving a story because your changes may affect others using the same
story.
If more than one person accesses a story at the same time, the only
changes that are saved are those made by the first person to save the
story.
n
Your
iNEWS user permissions define whether you can save changes to a
story. If you are unsure of your permissions, consult your system
administrator.
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To save changes:
1. In Edit mode, click the Save button.
A message box appears.
2. Click Modify to save the changes to the original story, or click
New to save the changes to a new story.
n
The
n
If
n
You
"if possible" modifier means that if someone has already modified the
story or you do not have the permission to modify, you cannot modify the
story. A new story is saved instead.
you click New, the NRCS tool creates a new story with the same name as
the original story. You should rename the story in the NRCS tool and save it
again to avoid confusion.
can rename a story by editing the name in the Title field.
Sending and Receiving NRCS Mail
The NRCS tool contains a mail application that allows you to send
mail to other iNEWS users on the network. You can also send mail to
external addresses if your system administrator has configured your
system for this functionality.
698

n
Do
not use the NRCS tool mail as your primary e-mail application. Use the
NRCS tool mail for iNEWS NRCS-related correspondence, such as notifying
a coworker when you have edited a story.
Sending NRCS Tool Mail
To send mail from within the NRCS tool:
1. Click the Send Mail button.
The Send NRCS Mail dialog box appears.
2. Type an address in the To text box.
3. (Option) Type a subject in the Subject text box.
4. Type your message in the message area.
5. Click OK to send the message, or click Cancel to close the dialog
box without sending the message.
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Receiving NRCS Tool Mail
To receive NRCS tool mail:
1. Navigate to and open the PEOPLE directory in the Directory
panel.
2. Select the letter of the alphabet that matches the first letter in your
iNEWS user name.
3. Select your user name from the list.
4. Select the Mail directory.
5. Select the mail message from the list (if there is more than one
message).
The mail message is displayed in the Story panel of the NRCS tool.
Disconnecting from the iNEWS Server
When you have finished using the NRCS tool, you should disconnect
from the iNEWS server.
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To disconnect from the iNEWS server:
t
Click the Disconnect button.
n
If
n
You
you selected “Logout when NRCS Tool is closed” in the NRCS Settings
dialog box, the NRCS tool automatically disconnects from the server
whenever you close the tool or switch to a workspace that does not include the
NRCS tool.
can also disconnect from the server by switching to a workspace that does
not contain the NRCS tool.
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APPENDIX A
Using AudioSuite Plug-Ins
This appendix describes how to access and use the AudioSuite
plug-ins, including the set of core plug-ins that comes with your
NewsCutter XP system. It also provides a list of other plug-ins that are
supported by this release. These topics are covered in the following
sections:
• Accessing the AudioSuite Plug-Ins
• Core AudioSuite Plug-Ins
• Additional Supported Plug-Ins
• Description of Core AudioSuite Plug-Ins
For details on installing and accessing the plug-ins, see Chapter 15.
Accessing the AudioSuite Plug-Ins
To access the plug-ins:
t
Choose AudioSuite from the Tools menu.
The AudioSuite window opens.
702

Plug-in
Selection
pop-up
menu
Drive
Selection
pop-up
menu
Status display
Core AudioSuite Plug-Ins
The following basic plug-ins are installed automatically as part of the
NewsCutter XP system software installation:
• DeEsser — Reduces sibilants (“s,” “sh,” and “t” sounds) and other
high-frequency noises that can cause distortion in audio signals.
• Compressor — Reduces the dynamic range of signals that exceed
a selected threshold by a specific amount.
• Limiter — Prevents signal peaks from exceeding a chosen level so
that they don’t overload amplifiers or recording devices.
• Expander/Gate — Performs the same function as the Gate plug-in
with the addition of expander features. Expanders are particularly
useful for reducing noise or signal leakage that creeps into
recorded material as the signal level falls, which often occurs with
headphone leakage.
• Gate — Reduces noise by decreasing the gain of signals that fall
below a user-selectable threshold.
• EQ — Allows you to adjust frequency equalization on individual
audio clips.
• Invert — Inverts the polarity (phase of the audio file).
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• Duplicate — Creates a new master clip from a selected audio clip.
The plug-in uses the IN and OUT points on the selected clip to
define the boundaries of the new clip.
• Mod Delay — Provides time-delay-based effects. Effects obtained
through the use of Mod Delay include slap echo, doubling,
chorusing, and flanging.
• Normalize — Finds the peak value in the source audio file and
scales the entire file proportionally to that maximum value.
• Gain — Same as Normalize, but allows positive or negative gain
adjustment.
• Reverse — Rewrites the selected audio in reverse.
• DC Offset Removal — Removes an audio artifact that is common
in digital audio files. A DC offset is caused by poorly calibrated
analog-to-digital converters (A/Ds), and can produce clicks and
pops on clip edit transitions if not removed.
• Signal Generator — Produces audio test tones in a variety of
frequencies, waveforms, and amplitudes.
• Time Compression Expansion — Allows you to adjust the
duration of a selected clip by creating a new master clip. This
increases or decreases the selection’s length without changing
pitch.
• Pitch Shift — Changes pitch with or without changing length.
For a brief overview of each plug-in and, where appropriate, a
description of how to use the plug-in, see “Description of Core
AudioSuite Plug-Ins” on page 707.
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Additional Supported Plug-Ins
The following AudioSuite plug-ins can be purchased separately and
have been qualified for this release:
• Digidesign Intelligent Noise Reduction–Broadband Noise
Reduction
• Focusrite d3
• Maxim
• Digidesign D-Fi
• Digidesign D-fx
These plug-ins come with their own documentation. For more
information, see the Digidesign Web site at www.digidesign.com.
Digidesign Intelligent Noise Reduction–Broadband Noise
Reduction
The Digidesign Intelligent Noise Reduction –Broadband Noise
Reduction (DINR–BNR) plug-in provides broadband and
narrow-band noise reduction for suppressing unwanted elements
such as tape hiss, air conditioning rumble, and microphone
preamplifier noise.
Focusrite d3
Focusrite ® d3 is a high-quality, dynamics processor plug-in that
contains a compressor and a limiter. The d3 compressor reduces the
dynamic range of audio signals that exceed a user-selectable threshold
by a specific amount. The d3 does this by reducing output levels when
input levels increase above the threshold.
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The d3 limiter operates as a fast-attack compressor with a high
compression ratio. Like the compressor, the limiter is activated when
the signal exceeds a user-selectable threshold. The limiter then
compresses any signal above the selected threshold to the lower
threshold limit that you have set.
There are two versions of the plug-in:
• ff d3 Mono, which operates on channels (tracks) separately.
• ff d3 Stereo, which operates on a composite of the two channels of
the stereo signal. It prevents image shift when signal levels differ
between the two channels.
Maxim
The Maxim plug-in performs peak limiting and sound maximizing.
Maxim takes advantage of the random-access nature of disk-based
recording to anticipate peaks in audio material and preserve their
transient attacks when performing reduction. It helps preserve the
character of the original audio signal without clipping peaks or
introducing distortion.
Digidesign D-Fi
The set of D-Fi plug-ins provides analog synthesizer effects:
• Lo-Fi adds noise generation, bit-rate reduction, distortion, and
saturation to sound.
• Sci-Fi adds analog synthesizer-type ring modulation, frequency
modulation, and variable frequency resonator.
• Recti-Fi generates new harmonics and subharmonics through
waveform rectification.
• Vari-Fi adds tape and turntable “start up” and “slow down”
effects.
706

Digidesign D-fx
The set of D-fx plug-ins contains a selected group of basic effects:
• Chorus
• D-Verb
• Flanger
• Multi-Tap Delay
• Ping-Pong Delay
The D-Fi and D-fx plug-ins come with their own documentation. For
more information, see the Digidesign Web site at
www.digidesign.com.
Description of Core AudioSuite Plug-Ins
The following sections give a brief overview of each plug-in and,
where appropriate, describe how to use the plug-in.
DeEsser
The DeEsser plug-in isolates and attenuates sibilants (“ess” sounds:
“s,” “sh,” and “t”) and other high-frequency distortions. It removes
these sounds by using a fast-acting compression monitored by a
Threshold control that sets the frequency above which compression
starts and a Frequency control that sets the frequency band in which
the plug-in operates.
n
The
DeEsser is a monophonic-only plug-in.
707

Using DeEsser Effectively
n
For
best results, use the DeEsser before any other compressor or limiter
plug-in.
Because too much de-essing can make audio clips sound lifeless, apply
the plug-in to individual tracks rather than entire mixes. To improve
audio quality in your project:
• Set the Frequency slider to remove sibilants (typically in the 4 to 10
kHz range) and not other parts of the signal. This prevents
de-essing from changing the original character of the audio
material.
• Set the Threshold control high enough to trigger de-essing by
sibilants only. If you set the Threshold too low, a loud, nonsibilant
section of audio material could cause unwanted gain reduction or
overattenuation of sibilants.
• Automate the Threshold control so that it is lower on soft sections
when the audio material has both very loud and very soft
passages.
DeEsser Parameters
The DeEsser plug-in has the following parameters.
Input Meter
Indicates the level of the unprocessed input signal to the DeEsser.
Output Meter
Indicates the output level of the DeEsser.
Reduction
Indicates the amount of gain reduction in decibels. It remains at the
0 dB level when the input signal is below the threshold.
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Threshold
Sets the threshold level. Signals that exceed this level will be
compressed; signals that are below it will be unaffected. A setting of
0 dB is equivalent to no de-essing.
Frequency
Sets the frequency band in which the DeEsser operates. Frequencies in
the specified range will be gain-reduced. To find the optimum
Frequency setting, slide this control back and forth during playback.
Key Listen
Monitors the sibilant peaks used by the DeEsser as a key input to
trigger compression. This is useful for listening only to the sibilants
and fine-tuning settings to remove them.
Invert
The Invert plug-in reverses the polarity of the selected audio. All
positive sample amplitude values are made negative, and all negative
amplitudes are made positive. This process is useful for permanently
altering the phase (polarity) relationship of tracks. Inverting can be
useful when mixing because it alters frequency response between
source tracks recorded with multiple microphones and also allows you
to correct for audio that was recorded out of phase.
Duplicate
The Duplicate plug-in creates a new master clip from a selected audio
master clip. The plug-in uses the IN and OUT points on the selected
clip to define the boundaries of the new clip. This plug-in applies only
if you are using the Create New Master Clips features of the
AudioSuite plug-ins.
709

Normalize
In cases where a sound file has been recorded with too little
amplitude, the Normalize plug-in ensures that the inherent dynamics
of the performance remain unchanged while the overall volume level
of the passage is raised.
In addition to the standard AudioSuite parameters, the Max Peak At
controls let you specify how close to maximum level (the clipping
threshold) the peak level of your selection or file will be boosted. You
can enter this information in one of three ways:
t
t
t
Enter a numeric decibel value below the clipping threshold.
Enter a percentage of the threshold.
Adjust the on-screen slider.
Editing any of these controls automatically calculates the equivalent
value in the others.
To configure the Normalize parameters:
1. Type the amount of boost you want applied during the Normalize
process.
2. To set a specific decibel amount below maximum, double-click
and type that value in the Max Peak at: (dB) text box.
3. To set the amount of normalization as a percentage of maximum,
type the percentage you want in the Max Peak at: (%) text box. To
manually set the amount, click and adjust the Max Peak slider;
press and hold the Ctrl key before clicking and dragging the slider
to fine-adjust.
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Gain
Gain allows you to boost or lower amplitudes in a file or selection by a
specified amount. The Change Gain command is ideal for smoothing
out undesirable peaks and other dynamic inconsistencies.
To configure the Gain parameters, do one of the following:
t
t
Enter the new level as a decibel amount (dB) or percentage (%) by
double-clicking in the respective text box and typing a new value.
Use the slider to adjust the gain manually; press and hold the Ctrl
key before clicking and dragging the slider to fine-adjust.
Reverse
Reversed sounds are useful effects in many music and film and video
projects. The Reverse plug-in lets you perform this type of processing
very easily.
Signal Generator
The Signal Generator plug-in produces audio test tones in a variety of
frequencies, waveforms, and amplitudes. The plug-in has the
following options:
• Frequency: This option sets the frequency of the signal in hertz.
Values range from a low of 20 Hz to a high of 20 kHz.
• Level: This option sets the amplitude of the signal in decibels.
Values range from a low of –95 dB to a high of 0.0 dB.
• Signal: These buttons allow you to select the waveform. The
waveform choices are sine, square, sawtooth, triangle, white noise,
and pink noise.
n
The
Signal Generator produces a tone as soon as it is inserted on a track. To
mute the tone, use the Bypass button.
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DC Offset Removal
The DC Offset Removal plug-in removes DC offset from your audio
files. The term “DC offset” describes a specific type of audio artifact
that might appear in digital audio signals.
The DC Offset plug-in can be identified in a waveform overview
because it appears to have a near-vertical fade in with a constant or
“steady-state” offset from zero when the file is actually “silent” (it
contains no audible audio). The DC Offset plug-in can help remove (or
at least reduce) the DC offset from your source audio files.
Time Compression Expansion
The Time Compression Expansion plug-in allows you to adjust the
duration of any selected regions by increasing or decreasing the
selection’s length without changing pitch. This function is particularly
important in audio postproduction applications because it allows you
to adjust sounds to specific time lengths or timecode durations for
synchronization.
n
To
change duration (length) and pitch simultaneously, use the Pitch Shift
plug-in.
712

Master Clip Mode Parallel Processing
The Time Compression Expansion plug-in allows two tracks to be
time-compressed or expanded as a “stereo pair,” so that the two sides
of the stereo signal are processed relative to each other.
The Time Compression Expansion plug-in has special parameters that
let you enter time compression or expansion values in different
formats, as explained in the following sections. They are located in the
Source and Destination columns and include the Ratio slider.
Additional controls for fine-tuning the compression and expansion
process are also included.
To use the special control features:
t
t
Press and hold the Ctrl key to engage slider fine-tune mode.
Alt+click a field or slider to reset its default value.
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Time Compression Expansion Parameters
The Time Compression Expansion plug-in has the following
parameters.
Source and Destination
The Source text boxes display the length of the current selection before
processing in each of the listed formats. All the text boxes in both
columns are constantly active, and a change made to one value is
immediately reflected in the values displayed in the other text boxes.
The text boxes in the Destination column display and control the
length of the selection after processing by using the current settings.
You can enter the length of the Destination file by double-clicking the
appropriate text box in the Destination column. Type the number of
samples in min:secs:msec format or type timecode values as start and
end locations. All the Destination text boxes are constantly updated,
and a change made to one value is immediately reflected in the values
displayed in the other text boxes.
You can also enter a new tempo, bars:beats:ticks length, or time
signature for regions that have tempo or Bars & Beats settings. This
can be any region associated with a MIDI Metronome value (such as
an overdub recorded to a MIDI click) or regions that have been
processed with the Pro Tools Identify Beat command.
The Ratio slider lets you set the destination length in relation to the
source length. Dragging the slider to the right increases the length of
the destination file, and dragging the slider to the left decreases its
length.
The controls below the bar line allow you to fine-tune the time
compression and expansion process. They include the Crossfade, Min
Pitch, and Accuracy sliders.
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Crossfade
The Crossfade slider allows you to manually adjust the crossfade
length in milliseconds to optimize performance of the Time
Compression Expansion plug-in according to the type of audio
material you are processing. The Time Compression Expansion
plug-in achieves length modification by replicating or subtracting very
small portions of audio material and very quickly crossfading between
these alterations in the waveform of the audio material.
Crossfade length essentially affects the amount of smoothing
performed on audio material to prevent audio artifacts such as clicks.
In general, small narrow-range time (length) changes require longer
crossfades while larger changes in length require shorter crossfades.
The disadvantage of long crossfade times is that they smooth the
signal, including any transients. While this can be desirable for audio
material such as vocals, it is not appropriate for material with sharp
transients such as drums or percussion.
The default setting for this parameter is Auto (leftmost position), in
which crossfade times are set automatically according to the
percentage of change in length for the current process. This setting
should be sufficient for most applications; however, you can use this
slider to manually adjust and optimize crossfade times, if necessary.
For audio material with sharper attack transients, use shorter
crossfade times. For audio material with softer attack transients, use
longer crossfade times with a range in values of 1 to 200 ms.
Min Pitch
The Min Pitch slider lets you select the minimum (lowest) pitch that
will be used in the plug-in’s calculations during the time compression
and expansion process. The slider has a range of 40 Hz to 1000 Hz. By
controlling the minimum pitch, you can focus the time compression
and expansion process for maximum efficiency — it all depends on the
audio’s spectral shape.
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This slider should be set lower when you process bass guitar or
another instrument with a similarly low range. Set the min pitch
higher when processing instruments such as snare drums, violins, and
other higher range instruments and sounds. Experiment with
combinations of the other fine-tune controls in relation to the Min
Pitch slider.
Accuracy
c
n
Normalizing
Use the Accuracy slider to prioritize the processing resources allocated
to audio quality (sound) or timing (rhythm). Dragging the slider
toward sound generally results in better sonic quality and fewer audio
artifacts. Dragging the slider toward rhythm puts the emphasis on
keeping the tempo consistent. When working with loops, listen
carefully and adjust accuracy until you find the setting that keeps
timing solid within the region. Start and end times will be precise, but
the perception of beats may be “shuffled” if the Accuracy slider’s
rhythm setting is too low.
The smallest time ratio allowed for time compression/expansion is
0.25. The largest time ratio allowed is 4.0.
a selection before applying the Time Compression Expansion
plug-in can sometimes produce better-sounding results.
Pitch Shift
The Pitch Shift plug-in allows you to adjust the pitch of any source
audio file with or without a change in its duration. This powerful
function allows sounds to be transposed a maximum of a full octave
up or down in pitch with or without altering playback speed.
716

Edit the Pitch Shift parameters by double-clicking and typing in any
text box or by clicking and dragging the sliders. All Pitch Shift plug-in
controls are linked, so that changing one changes the others.
Pitch Shift Parameters
The Pitch Shift plug-in has the following parameters.
Gain
The Gain controls set the input level, in tenths of a decibel. The input
level should be set so that the plug-in can adequately handle
amplitude peaks in the selection. Dragging the slider to the right
increases gain, and dragging the slider to the left decreases gain.
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Coarse and Fine
Adjust the pitch by dragging either of the two faders or by typing
values in the Coarse and Fine text boxes. The Coarse slider transposes
in semitones (half steps); the Fine slider transposes in cents
(hundredths of a semitone).
Time Correction
c
Clicking the Time Correction check box allows you to enable or disable
time correction.
You can deselect the Time Correction check box if you are using the
Create New Master Clips feature of the AudioSuite plug-ins. The
Time Correction check box must be selected, however, when you are
applying AudioSuite plug-ins to audio clips in the Timeline.
If the Time Correction check box is deselected, it will have the effect of
“permanently varispeeding” your audio file. Like working with tape,
the file’s duration will be compressed or extended according to the
settings of the Coarse and Fine controls. Playback speed will increase
proportionally as the sound file is transposed up in pitch and decrease
proportionally as it is transposed down in pitch, just like a tape
recorder that is varispeeding.
Consider that altering a file in this way has little detrimental effect on
the fidelity of audio files, whereas time correction can affect fidelity in
a pronounced way.
Ratio
The Ratio slider lets you set the amount of transposition (pitch
change). Moving the slider to the right raises the pitch of the processed
file, and moving the slider to the left decreases its pitch. Press and hold
the Ctrl key before clicking and dragging the slider to fine-adjust.
n
For
a description of the Crossfade, Min Pitch, and Accuracy sliders, see
“Crossfade” on page 715.
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Reference Pitch
The Reference Pitch feature generates a sine wave tone that you can
adjust to match a selected portion of audio material, and then use as an
audible reference when pitch-shifting other audio material in your
session.
To use the Reference Pitch feature:
1. Select the audio material you want to use as a pitch reference.
Click the Preview button to begin playback of the selected audio.
2. Click the Reference Pitch button to activate the reference sine
wave tone.
3. Adjust the note and detune settings to match the reference tone to
the pitch of the audio playback. Adjust the level setting to change
the relative volume of the reference tone. It might also be helpful
to switch the Reference Pitch on and off to compare pitch.
4. Select the audio material to be pitch shifted.
5. Adjust the Coarse and Fine controls to match the pitch of the
audio playback to the reference pitch.
EQ
There are two EQ plug-ins:
• 1-Band EQ II
• 4-Band EQ II
The EQ II plug-ins provide an enhanced “British EQ” sound that is
favored by contemporary audio engineers and producers.
719

EQ II Parameters
The EQ II plug-ins have the following parameters.
Input
Allows you to control the input gain of the EQ to prevent the
possibility of clipping.
Phase Invert
Allows you to invert the phase (polarity) of the input signal to change
frequency response between multi-miked sources (a common
technique for miking a guitar amplifier) or to correct for miswired
microphone cables.
Type
Allows you to select an EQ type (High-Pass, Low-Shelf, Peak,
High-Shelf or Low-Pass).
Gain
Allows you to control the amount that the selected frequencies are cut
or boosted (for Peak, High-Shelf, and Low-Shelf only).
Freq
Allows you to designate the center of the frequency region to be cut or
boosted.
Q
(Peak only) Allows you to set the bandwidth of the Peak filter. Higher
values represent narrower bandwidths. Lower values represent wider
bandwidths.
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Bypass
Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for
each band (black buttons with EQ curve icons).
High-Pass
Attenuates all frequencies below the selected cutoff frequency setting
at a rate of 12 dB per octave while allowing all others above the
frequency to pass through. For this reason, no gain control is available
for this filter. High-pass filters can be useful for removing
low-frequency rumble or thinning out the lower end of a sound for
special effects, such as a “telephone simulation” effect.
Low-Shelf
Produces a lift or a cut below the specified frequency.
Peak
Boosts or cuts only those frequencies around the selected center
frequency. The Q button sets the bandwidth of the Peak filter, which
determines the width of the filter’s overall slope — from a broad
“bell” shape to a narrow notch. Broad curves tend to be most useful
for musical applications. Narrow curves are useful for special-purpose
processing such as hum removal. Higher values represent narrower
bandwidths. Lower values represent wider bandwidths.
High-Shelf
Produces a lift or a cut at the specified frequency and above it.
Low-Pass
Attenuates all frequencies above the selected cutoff frequency setting
at a rate of 12 dB per octave while allowing all others below the
frequency to pass through. For this reason, no gain control is available
for this filter.
721

Compressor
The Compressor plug-in reduces the dynamic range of signals that
exceed a selected threshold by a specific amount. The increase of input
signal needed to cause a 1-dB increase in the output signal of the
compressor is called the compression ratio. With a ratio of 4:1, for
example, an 8-dB increase of input produces a 2-dB increase in the
output.
Audio material often varies in loudness and can be above the
threshold at one moment and below it the next. The Attack slider sets
the Compressor’s response time, or attack. The Release slider sets the
amount of time that it takes for the Compressor’s gain to return to its
original level.
Using Compression Effectively
To use compression most effectively, the attack time should be set so
that signals exceed the threshold level long enough to cause an
increase in the average level. This helps to ensure that gain reduction
doesn’t decrease the overall volume.
Release times should be set long enough so that if signal levels
repeatedly rise above the threshold, they cause gain reduction only
once. If the release time is too long, a loud section of the audio material
could cause gain reduction that persists through a soft section. Of
course, compression has many creative uses that break these rules.
The Compressor has built-in metering that allows you to monitor the
amount of gain reduction taking place. The Gain Reduction meter
usually remains at 0 level when the input signal is below the
threshold, and falls to the left to show the amount of gain reduction in
decibels when the input signal exceeds the threshold.
722

Compressor Parameters
The Compressor plug-in has the following parameters.
Input Meter
Indicates the level of the unprocessed input signal to the Compressor.
Output Meter
Indicates the output level of the Compressor, including any gain
compensation added via the Gain parameter.
Reduction
Indicates the amount of gain reduction in dB.
Phase Invert
Allows you to invert the phase (polarity) of the input signal in order to
change frequency response between multi-miked sources or to correct
for miswired microphone cables.
Gain
Provides overall output gain adjustment. It allows you to compensate
for heavily compressed signals.
Threshold
Allows you to set the threshold level. Signals that exceed this level will
be compressed. Signals that are below it will be unaffected. A level
setting of 0 dB is equivalent to no compression. Unlike scales on
analog compressors, metering scales on a digital device reflect a 0-dB
value, which indicates full scale (FS) — the full-code signal level.
There is no headroom above 0 dB.
723

Ratio
Allows you to set the compression ratio. The range is based on
decibels above the threshold. If this parameter is set to 2:1, for
example, it will compress changes in signals above the threshold by
one half.
Attack
Allows you to set the Compressor’s attack time. The smaller the value,
the faster the attack. The faster the attack, the faster the Compressor
applies attenuation to the signal. If you use fast attack times and heavy
limiting, you should use a proportionally longer release time,
particularly with material that contains many peaks in close proximity.
Release
Allows you to control how long it takes for the Compressor to be fully
deactivated after the input signal drops below the threshold level. If
you use heavy compression, you should use proportionally longer
release times. This will prevent pumping, which may occur when the
Compressor is forced to jump back and forth between compressed and
uncompressed signal levels. Lengthening the release time will help
smooth these changes in level by introducing a lag in the ramp-up and
ramp-down times of attenuation. Use shorter release times on material
with few peaks that do not occur in close proximity to each other.
Knee
Allows you to set the rate at which the compressor reaches full
compression once the threshold has been exceeded. This parameter
ranges from 0 (hardest response) to 200 (softest response).
Graph
Displays the response curve set by the Compressor’s Threshold, Ratio,
and Knee settings. As you adjust these parameters, refer to the graph
724

to see how the shape of this curve changes. It allows you to see the
effect of your settings.
External Key
This parameter has no effect on the AudioSuite plug-ins.
Key Listen
This parameter has no effect on the AudioSuite plug-ins.
Limiter
The Limiter plug-in is used to prevent signal peaks from exceeding a
chosen level so that they don’t overload amplifiers or recording
devices. Most limiters have ratios of 10:1 or 20:1, although some
provide ratios of up to 100:1. Large ratios effectively limit the dynamic
range of the signal to a specific value by setting an absolute ceiling for
the dynamic range.
Limiting is used to prevent short-term peaks from reaching their full
amplitude. Used carefully, limiting allows you to achieve higher
average levels while avoiding overload (clipping or distortion) by
limiting some short-term transients in the source audio. To prevent the
ear from hearing the gain changes, use extremely short attack and
release times.
Limiting is used to remove occasional peaks because gain reduction on
successive peaks wouldn’t be noticeable. If audio material contains
many peaks, the threshold should be raised and the gain manually
reduced so that only occasional, extreme peaks are limited.
The Limiter’s ratio is internally set to 100:1, and the attack time is
automatically set to 0 milliseconds. The Limiter is similar to heavy
compression. It can be useful for reducing pops and clicks or for
hard-limiting dynamic range for broadcast or band-limited media
such as cassette.
725

Limiter Parameters
The Limiter plug-in has the following parameters.
Input Meter
Indicates the level of the unprocessed input signal to the Limiter.
Output Meter
Indicates the output level of the Limiter, including any gain
compensation added via the Gain parameter.
Reduction
Indicates the amount by which the signal is being attenuated.
Phase Invert
Allows you to invert the phase (polarity) of the input signal in order to
change frequency response between multi-miked sources or to correct
for miswired microphone cables.
Gain
Provides overall output Gain adjustment.
Threshold
Allows you to set the threshold level. Signals that exceed this level will
be limited. Signals that are below it will be unaffected.
Attack
Allows you to set the Limiter’s attack time. The smaller the value, the
faster the attack. The faster the attack, the faster the Limiter applies
attenuation to the signal. If you use fast attack times and heavy
limiting, you should use a proportionally longer release time,
particularly with material that contains many peaks in close proximity.
726

Release
Allows you to control how long it takes for the Limiter to be fully
deactivated after the input signal drops below the threshold level. If
you use heavy limiting, you should use proportionally longer release
times. This prevents pumping, which can occur when the Limiter is
forced to jump back and forth between limited and unlimited signal
levels. Lengthening the release time helps smooth these changes in
level by introducing a lag in the ramp-up and ramp-down times of
attenuation. Use shorter release times on material with few peaks that
do not occur in close proximity to each other.
Graph
Displays the response curve set by the Limiter’s Threshold setting. As
you adjust this parameter, refer to the graph to see how the shape of
this curve changes. It allows you to see the effect of your settings.
External Key
This parameter has no effect on the AudioSuite plug-ins.
Key Listen
This parameter has no effect on the AudioSuite plug-ins.
Gate
The Gate plug-in reduces noise by decreasing the gain of signals that
fall below a user-selectable threshold.
Gate Parameters
The Gate plug-in has the following parameters.
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Phase Invert
Allows you to invert the phase (polarity) of the input signal in order to
change frequency response between multi-miked sources or to correct
for miswired microphone cables.
Gating (Reduction Meter)
Indicates the amount of reduction in dB.
Threshold
Allows you to set the threshold level. Signals that exceed this level will
pass through. Signals that are below it will be gated, depending on the
settings of the Attack, Hold, Decay, and Range parameters (explained
in the following sections).
Attack
Allows you to set the attack time of the Gate.
Hold
Allows you to specify a duration (in seconds or milliseconds) that the
Gate will stay open after the initial attack cycle. This parameter can be
used as a one-time function to keep the Gate open for longer periods
of time with a single crossing of the threshold. It can also be used to
prevent gate chatter, which may occur if varying input levels near the
threshold cause the Gate to open and close very rapidly.
Decay
Allows you to control how long it takes for the Gate to close after the
signal falls below the threshold level.
Range
Sets the depth of the Gate when closed. This parameter has a
maximum depth of –80 dB. Setting the Gate to higher range levels
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allows more of the gated audio that falls below the threshold to peek
through the gate at all times. This is useful for problems such as drum
leakage, where you might want to suppress the overall drum kit
sound by a specific amount while emphasizing the gated instrument
such as a snare.
Graph
Displays the response curve set by the Gate’s Threshold and Range
settings. As you adjust these parameters, refer to the graph to see how
the shape of this curve changes. It allows you to see the effect of your
settings.
External Key
This parameter has no effect on the AudioSuite plug-ins.
Key Listen
This parameter has no effect on the AudioSuite plug-ins.
Expander/Gate
The Expander/Gate plug-in reduces noise by decreasing the gain of
signals that fall below a user-selectable threshold. Expanders are
particularly useful for reducing noise or signal leakage that creeps into
recorded material as the its level falls, which often occurs with
headphone leakage.
Expanders can be thought of as soft-noise gates because they provide a
gentler way of cutting off noisy low-level signals than the typically
abrupt cutoff of a gate. If you want, however, you can use this plug-in
as Gate by setting the Ratio to its maximum value and using short
Attack, Decay, and Hold settings.
729

Expander/Gate Parameters
The Expander/Gate plug-in has the following parameters.
Phase Invert
Allows you to invert the phase (polarity) of the input signal in order to
change frequency response between multi-miked sources or to correct
for miswired microphone cables.
Reduction Meter
Indicates the amount of signal reduction in dB.
Threshold
Allows you to set the threshold level. Signals that fall below the
threshold will be reduced in gain. Signals that are above it will be
unaffected. (When adjusting the Threshold slider, be sure that audio
material is playing through the Expander/Gate to see changes
reflected in the Reduction meter.)
Ratio
Allows you to set the amount of expansion. If this parameter is set to
2:1, for example, it will lower signals below the threshold by one half.
At higher ratio levels (30:1 or 40:1, for example), the Expander/Gate
functions as a gate by reducing lower level signals dramatically. As
you adjust the Ratio parameter, refer to the built-in graph to see how
the shape of the expansion curve changes.
Attack
Allows you to set the Expander’s attack time. This parameter
determines how quickly a signal’s level is reduced once it falls below
the threshold. This setting, along with the Ratio setting, allows you to
control how soft the Expander’s gain reduction curve is.
730

Hold
Allows you to specify a duration (in seconds or milliseconds) that the
Expander/Gate will stay open after the initial attack cycle. This
parameter can be used as a one-time function to keep the
Expander/Gate open for longer periods of time with a single crossing
of the threshold. It can also be used to prevent gate chatter, which may
occur if varying input levels near the threshold cause the Gate to open
and close very rapidly.
Decay
Allows you to control how long it takes for the Gate to close after the
input signal falls below the threshold level and the hold time has
passed.
Range
Sets the depth of the Gate when closed. This parameter has a
maximum depth of –80 dB. Setting the Gate to higher range levels
allows more of the gated audio that falls below the threshold to peek
through the Gate at all times.
Key HPF
This parameter has no effect on the AudioSuite plug-ins.
Key LPF
This parameter has no effect on the AudioSuite plug-ins.
Graph
Displays the response curve set by the Expander/Gate’s Threshold,
Ratio, and Range settings. As you adjust these parameters, refer to the
graph to see how the shape of this curve changes. It allows you to see
the effect of your settings.
731

External Key
This parameter has no effect on the AudioSuite plug-ins.
Key Listen
This parameter has no effect on the AudioSuite plug-ins.
Mod Delay
The Mod Delay plug-ins provide time-delay-based effects. Effects
obtained through the use of Mod Delay include slap echo, doubling,
chorusing, and flanging.
There are four Mod Delays, each of which is capable of a different
maximum delay time:
• Short Delay provides 1024 samples of delay (23.2 ms at 44.1 kHz or
21.3 ms at 48 kHz).
• Slap Delay provides 7186 samples of delay (162 ms at 44.1 kHz or
149 ms at 48 kHz).
• Medium Delay provides 16384 samples of delay (371 ms at
44.1 kHz or 341 ms at 48 kHz).
• Long Delay provides 162474 samples of delay (3.68 seconds at
44.1 kHz or 3.38 seconds at 48 kHz).
Mod Delay Parameters
The Mod Delay plug-ins have the following parameters.
Input
Allows you to control the input volume of the delay to prevent
clipping.
732

Wet/Dry
Allows you to control the balance between the delayed signal and the
original signal. If you are using a delay for flanging or chorusing, you
can control the depth of the effect somewhat with the Wet/Dry setting.
LPF (Low-Pass Filter)
Controls the cutoff frequency of the low-pass filter. This parameter
allows you to attenuate the high-frequency content of the feedback
signal. The lower the setting, the more high frequencies are attenuated.
Delay
Allows you to set the delay time between the original signal and the
delayed signal.
Depth
Allows you to control the depth of the modulation applied to the
delayed signal.
Rate
Allows you to control the rate of modulation of the delayed signal.
Feedback
Allows you to control the amount of feedback applied from the output
of the delay back into its input. It also controls the number of
repetitions of the delayed signal. Negative Feedback settings give a
more intense “tunnel-like” sound to flanging effects.
733

APPENDIX B
File Format Specifications
To be compatible with a variety of imaging standards, your
NewsCutter XP system accommodates many file types and formats.
For import and export procedures, see Chapter 8 and Chapter 18. This
appendix contains descriptions, specifications, and notes for
importing and exporting specific file formats.
To ensure usability and high quality, the files in some formats require
preparation before being imported to the NewsCutter XP application.
Consequently, this appendix contains many more notes for import
than for export. When you export a file, you choose a file format from
the Export Settings dialog box and select options appropriate to the
format. For descriptions of the dialog box options, see “Creating and
Using Import Settings” on page 245 and “Creating a New Export
Setting” on page 598.
734

Graphics (Image) Files
NewsCutter XP uses Image Independence ® to produce usable files
from a large number of graphics formats. Once you have imported a
format, you can export it.
n
You
cannot export a file to Photo CD .
The following list briefly describes the supported graphics (image) file
formats:
• Alias : Alias PIX image format, developed by Alias Research, Inc.
(now Alias|Wavefront, a division of Silicon Graphics Limited) for
use with their animation and visualization software.
• BMP: Developed by Microsoft Corporation as the standard image
file format used by Microsoft Windows.
• Chyron: Developed by Chyron Corporation for use with video
frame buffers of Chyron character-generated titles.
• Cineon: Developed by Eastman Kodak for use in the
Cineon Digital Film System. It is a subset of the SMPTE DPX
(Digital Picture Exchange) format.
• Framestore: Developed by NewTek Incorporated for use with
their Video Toaster system.
• IFF: Developed by Electronic Arts. IFF (Interchange File Format),
or more specifically IFF-ILBM (InterLeaved BitMap), is the
standard file format by which applications on the Amiga platform
transfer image files.
• JPEG: Developed by the Joint Photographic Experts Group
(JPEG). This format is highly suited for image storage and
transmission purposes because of its ability to dramatically reduce
the storage requirements for a file. JFIF files (JPEG File Interchange
Format, the standard for constructing JPEG files) can also be
imported and exported.
735

• OMFI (import only): Developed by Avid Technology, Inc. and
many industry and standards partners for the interchange of
digital media data between platforms and applications.
• PCX: Developed by Zsoft Corporation for use with their
PC PaintBrush paint software.
• Photoshop: Developed by Adobe Systems Incorporated for use
with their Adobe Photoshop image-editing software.
• PICT: Developed by Apple Computer, Inc. as the format for
Macintosh QuickDraw ® images.
• Pixar: Developed by Pixar for stored pictures.
• PNG: Developed by the PNG Development Group originally as
an alternative to the GIF image format. PNG is an acronym for
Portable Network Graphics and is pronounced “ping.”
• QRT: Developed on the Amiga personal computer to run on
several operating systems. This format is used by many ray
tracing programs, such as DKB Ray Trace and the QRT ray tracer.
• Rendition: Developed by Numerical Design Ltd.
• SGI: Developed by Silicon Graphics, Inc. for use as the standard
format on their line of workstations.
• Softimage: Developed by Softimage, Inc. (a division of Avid
Technology, Inc.) for use in their Softimage software.
• Sun Raster : Developed by Sun Microsystems, Inc. and
supported mainly in Sun ® applications.
• Targa: Developed by Truevision, Inc. (now Pinnacle Systems) and
originally intended for support of the Truevision image-capturing
hardware.
• TIFF: Developed by Aldus Corporation (now Adobe Systems
Incorporated) and Microsoft Corporation. TIFF is an acronym for
Tag Image File Format.
• Wavefront : Developed by Wavefront Technologies, Inc. (now
Alias|Wavefront, a division of Silicon Graphics Limited) for
storing pictures in a machine-independent manner.
736

• XWindows: Developed by the MIT X Consortium and supported
by many X Window System applications on workstations and
some personal computers.
• YUV: Defined by Abekas Video Systems (now Accom, Inc.), the
YUV format is the raw data sent to the Abekas ® machines.
Preparing Graphics Files for Import
Before you import a graphics file to NewsCutter XP, you can use
third-party image-editing software, such as Adobe Photoshop, to
make adjustments such as the following:
• Convert the file to the appropriate size, resolution, and bit depth.
• Crop or color-correct an image.
• Eliminate jagged edges in an image by using the image-editing
application’s anti-aliasing or high-quality option.
• Add transparency (to some formats) by setting the resolution to
32 bits per pixel to add an alpha channel.
• In some cases, you can convert an image file that does not support
an alpha channel to a format that does, in order to add
transparency.
n
You
can import and key the image over video by using key effects within the
NewsCutter XP application. However, importing an image with an existing
alpha channel provides the best results.
For specific procedures and file formats, see the documentation that
accompanies the image-editing software.
737

Graphics File Import Specifications
Table B-1 contains graphics file import specifications. The table uses
the following terms:
• Full-screen image size: These numbers describe the
recommended width and height, in pixels, to create a source
image that will be displayed full-screen after import. Using these
dimensions helps minimize distortion after conversion to the Avid
application native resolution of 720 x 480 non-square pixels for
NTSC or 720 x 576 for PAL. An image with smaller dimensions
will take up less of the screen or will be distorted, while an image
that exceeds these dimensions might appear distorted. Avid
recommends an image resolution of 72 pixels per inch.
• Bit depth: These numbers refer to color-depth resolution of the
image based on the number of bits per pixel. For example, 2-bit
images are displayed in black and white; 8-bit images are
displayed in 256 colors; 16-bit images are displayed in thousands
of colors; 24-bit images are displayed in millions of colors; and
32-bit images are displayed in millions of colors with an alpha
channel.
• Alpha channel: This column states whether or not alpha channel
import is supported. An alpha channel determines regions of
transparency in the picture when it is keyed over a background.
• NA: This notation means Not Applicable.
738

Table B-1
Graphics File Import Specifications
Format
Default
File
Name
Extension
Recommended
Full-Screen
Size (Pixels)
Bit Depth
Support
Alpha
Channel
Support
Notes
Alias .als 720 x 480 NTSC
720 x 576 PAL
24-bit color,
8-bit grayscale
No
BMP .bmp 720 x 480 NTSC
720 x 576 PAL
1-, 4-, 8-, and 24-bit No Dots-per-inch (dpi)
information is preserved.
Four-bit BMP files saved
with run-length-encoded
compression are not
supported.
Photoshop does not
support four-channel BMP
files.
Chyron .chr 720 x 480 NTSC
720 x 576 PAL
32-bit
Yes
Cineon .cin 720 x 480 NTSC
720 x 576 PAL
Framestore .fs 720 x 480 NTSC
720 x 576 PAL
10-bit (logarithmic) NA Dots-per-inch (dpi)
information is preserved.
24-bit No Pixel aspect information is
saved with image data.
When importing files
generated from
Video Toaster, select the
option Force to Fit Screen.
739

Table B-1
Graphics File Import Specifications (Continued)
Format
Default
File
Name
Extension
Recommended
Full-Screen
Size (Pixels)
Bit Depth
Support
Alpha
Channel
Support
Notes
IFF .iff 720 x 480 NTSC
720 x 576 PAL
1-bit through 24-bit
color;
1-bit through 8-bit
grayscale;
64-color EHB;
4096-color HAM;
262,144-color HAM8;
SHAM;
A-HAM;
A-RES
1-bit
alpha
only
Dots-per-inch (dpi)
information is preserved.
Pixel aspect information is
saved with image data.
JPEG .jpg 720 x 480 NTSC
720 x 576 PAL
24-bit color,
8-bit grayscale
No
OMFI .omf 720 x 480 NTSC
720 x 576 PAL
See “OMFI Files” on
page 747.
PCX .pcx 720 x 480 NTSC
720 x 576 PAL
Color-mapped and
24-bit color
NA
Dots-per-inch (dpi)
information is preserved.
PCX files with 1-bit color
depth or odd-numbered
pixel widths are not
supported.
Photoshop .psd 720 x 480 NTSC
720 x 576 PAL
Grayscale, indexed
color, RGB, and
duotone variations
Yes
Duotone files are loaded as
grayscale.
Multichannel (more than
four channels) files are not
supported.
PICT .pct 720 x 480 NTSC
720 x 576 PAL
2-, 4-, 8-, 16-, and
32-bit
Yes
Dots-per-inch (dpi)
information is preserved.
If no dpi is specified,
72 dpi is used.
740

Table B-1
Graphics File Import Specifications (Continued)
Format
Default
File
Name
Extension
Recommended
Full-Screen
Size (Pixels)
Bit Depth
Support
Alpha
Channel
Support
Notes
Pixar .pxr 720 x 480 NTSC
720 x 576 PAL
24-bit, 36-bit
Yes
PNG .png 720 x 480 NTSC
720 x 576 PAL
1-bit through 32-bit
Yes
QRT .dbw 720 x 480 NTSC
720 x 576 PAL
24-bit
No
Rendition .6rn 720 x 480 NTSC
720 x 576 PAL
32-bit
Yes
SGI .rgb 720 x 480 NTSC
720 x 576 PAL
8-bit or 16-bit
grayscale;
8-bit grayscale plus
8-bit alpha channel;
24- and 48-bit color;
24-bit color plus 8-bit
alpha channel;
64-bit (16 bits per
component)
Yes
Softimage .pic 720 x 480 NTSC
720 x 576 PAL
24-bit plus
8-bit alpha
Yes
Pixel aspect information is
saved with the image.
cDouble-clicking a
Softimage file will
start the application
associated with
PICT files because
they use the same
extension. Avoid
double-clicking
Softimage files to
view them.
741

Table B-1
Graphics File Import Specifications (Continued)
Format
Default
File
Name
Extension
Recommended
Full-Screen
Size (Pixels)
Bit Depth
Support
Alpha
Channel
Support
Notes
Sun Raster .sun 720 x 480 NTSC
720 x 576 PAL
1-, 8-, or 24-bit No
TARGA .tga 720 x 480 NTSC
720 x 576 PAL
8-, 15-, 16-, or 24-bit;
32-bit
Yes
TIFF .tif 720 x 480 NTSC
720 x 576 PAL
8-bit color-mapped;
8-bit or 16-bit
grayscale;
24- and 48-bit color;
24-bit color plus 8-bit
alpha;
36-bit color plus
12-bit alpha;
42-bit color plus
14-bit alpha;
48-bit color plus
16-bit alpha
Yes
Dots-per-inch (dpi)
information is preserved.
The following types of files
are not supported:
Multichannel (greater than
four channels) files;
Group 3-compressed (fax)
files; CMYK files with
extra channels; and
JPEG-compressed files.
Four-channel files from
Avid Matador are
imported as three-channel
files.
Wavefront .rla 720 x 480 NTSC
720 x 576 PAL
32-bit and 64-bit
Yes
XWindows .xwd 720 x 480 NTSC
720 x 576 PAL
1-, 2-, 4-, 8-, 16, 24-,
and 32-bit
No
YUV .yuv 720 x 480 NTSC
720 x 576 PAL
24-bit No Pixel aspect information
(based on the video
format) is saved with
image data.
When importing, select the
option Force to Fit Screen.
742

Animation Files
NewsCutter XP supports the following animation file formats:
• AVI (Audio Video Interleave): Developed by Microsoft for
storing video and audio information as part of its Video for
Windows standard.
• ERIMovie: Developed by Elastic Reality, Inc. (a division of Avid
Technology, Inc.) for quick playback of rendered movies on Silicon
Graphics, Inc. platforms.
Table B-2 lists animation file import specifications. QuickTime and
AVI import and export information appears in Table B-3 and
Table B-4.
n
NewsCutter
XP assumes a 29.97-fps frame rate (25-fps for PAL). Set the
appropriate frame rate for the project when you export from a third-party
application.
Table B-2
Animation File Import Specifications
Format
Default
File Name
Extension
Bit Depth
Support
Alpha
Channel
Support
Notes
ERIMovie .eri 24-bit
packed
and 32-bit
raw movie
files
Yes
QuickTime for Windows also uses the .mov
extension. However, QuickTime does not support
ERIMovie, and double-clicking an ERIMovie file
will cause an error.
n
There is no player for ERIMovie on Macintosh or
Windows platforms; the mview program
supports ERIMovie on Silicon Graphics systems.
PICS
Animation
.pcs 2-, 4-, 8-,
16-, and
32-bit
Yes
Only uncompressed data can be stored in PICS
format. PICS export does not allow PICS containers
larger than 16 MB.
743

Table B-2
Animation File Import Specifications (Continued)
Format
Default
File Name
Extension
Bit Depth
Support
Alpha
Channel
Support
Notes
Sequenced
image files
Various Yes Name each file in the sequence NameN.ext, with
Name identifying the animation, N indicating the
file order, and .ext indicating the file type (for
example, Image1.PIC, Image2.PIC, Image3.PIC).
The numbering can start at any number except 0 or
use any numbering format (for example,
Image010.PIC, Image012.PIC, or Imagef28.PIC,
Imagef29.PIC).
The information in Table B-3 applies to using QuickTime files with
NewsCutter XP.
Table B-3
QuickTime File Import and Export
Specifications
QuickTime File
Import Specifications
QuickTime files
Avid files for QuickTime
Resolution
Notes
QuickTime import and export requires QuickTime software, Version 4.0 or
later. QuickTime software is installed when you install the NewsCutter XP
application.
Use the Avid Codec for QuickTime for importing QuickTime files into an
Avid system when you export from NewsCutter XP or a third-party
application.
Use Export settings to specify the compression ratio of a QuickTime file for
export. For more information, see Table 18-3.
The resolution of a QuickTime file is set at export time from a third-party
application equipped with the Avid Codec for QuickTime. NewsCutter XP
imports the file at this resolution.
744

Table B-3
QuickTime File Import and Export
Specifications (Continued)
QuickTime File
Import Specifications
Image Size
File name extension
QuickTime alpha
Notes
720 x 480 pixels for NTSC images (non-square pixels)
720 x 576 pixels for PAL images (non-square pixels)
After you import a QuickTime file, the file maintains the .mov file name
extension, which is visible in a bin. The .mov file name extension is the
default for export.
To save a QuickTime movie with alpha channel in a third-party QuickTime
application, use the Avid Codec for QuickTime or a codec that supports a
color depth of “millions+.” TheNewsCutter XP application does not support
matte key or alpha channel for QuickTime export; it does import alpha
channel when one exists.
The information in Table B-4 applies to using AVI files with
NewsCutter XP.
Table B-4
AVI File Import and Export Specifications
AVI File Import and
Export Specifications
Avid Codec for AVI
Notes
You can export Avid AVI files by using standard AVI conversion or by using
the Avid Codec for AVI. Importing AVI is done by the Avid codec for
QuickTime.
Use the Avid Codec for AVI for importing AVI files into an Avid system
when you export from NewsCutter XP or a third-party application. Files
created by the codec are readable within applications also equipped with the
codec. For more information on using the codec and making it available to
Avid AVI-compatible applications, see “Using the Avid Codec for AVI” on
page 640.
745

Table B-4
AVI File Import and Export Specifications
AVI File Import and
Export Specifications
Resolution
File size
File name extension
AVI alpha
Notes
Use Export settings to specify the compression ratio of an AVI file for export.
For more information, see Table 18-10.
The resolution of an AVI file is set at export time from a third-party
application equipped with the Avid Codec for AVI. For more information on
exporting from a third-party application, see “Using the Avid Codec for
AVI” on page 640.
Avid AVI files can be quite large, especially at high video resolutions. They
require adequate storage and transfer capabilities.
After you import an AVI file, the file maintains the .avi file name extension,
which is visible in a bin. The .avi file name extension is the default for export.
NewsCutter XP does not support alpha channel for AVI import or export.
Audio File Formats
The supported audio file formats include:
• Audio Interchange File Format (AIFF-C): Format for audio files
developed by Apple Computer, Inc.
• WAVE Format (WAV): Format for audio files developed jointly by
Microsoft and IBM. WAV files are playable by nearly all Windows
applications that support sound.
n
You
can record, render, and edit audio in AIFF-C or WAV file formats.
746

OMFI Files
OMF Interchange (OMFI) was developed by Avid Technology, Inc.
and many industry and standards partners for the interchange of
digital media data between platforms and applications. For
information about creating an OMFI file on a non-Avid application,
see the documentation for the application.
The information in Table B-5 applies to importing OMFI files.
.
Table B-5
OMFI File Import Specifications
OMFI File
Import Specifications
Notes
Resolution
Frame or Edit rate
OMFI version
For optimum import speed and quality, export or render the file from the
source application at the resolution you want, and then import the file into
the NewsCutter XP application at that resolution. To do this, click Options in
the Select Files to Import dialog box, and then select Use Source from the
OMFI Resolution area of the Import Settings dialog box. The system
disregards the resolution setting in the Select Files to Import dialog box and
automatically imports at the file’s existing resolution.
You must import sequences and clips to projects that have the same edit rate
(29.97 fps for NTSC, 25 fps for PAL). If the edit rates do not match, you will
receive an error message.
n
NewsCutter XP cannot import an OMFI audio file that was produced with
an edit rate equal to the audio sample rate. Trying to import such a file results
in the error message Unrecognized file type. Create the source
file with an edit rate at the project edit rate, most likely 29.97.
NewsCutter XP recognizes and supports OMFI 1.0 composition and media
files and OMFI 2.0 composition files.
The following OMFI 2.0 effects are supported generally:
• Video effects: dissolves, wipes, freeze frame, slow motion, fade to black
• Audio effects: pan and volume, audio dissolves
Other effects can be imported from other Avid applications.
747

Table B-5
OMFI File Import Specifications (Continued)
OMFI File
Import Specifications
Notes
Audio sample rate
Avid MCXpress for
Windows files
File transfer
Reimporting Avid
media files
Audio media is imported at the sample rate that is set on the NewsCutter XP
system.
n
NewsCutter
XP cannot import an OMFI audio file that was produced with
an edit rate equal to the audio sample rate. Trying to import such a file results
in the error message Unrecognized file type. Set the edit rate to
the project edit rate, most likely 29.97.
If you are importing OMFI compositions from Avid MCXpress for
Windows, you might receive an error if the sequence includes video or audio
effects. If this happens, create a cuts-only version of the sequence in
Avid MCXpress and export it again. You cannot import video media from
Avid MCXpress for Windows; if you import a composition, you must
rerecord the media.
If you are transferring an OMFI file over a network, transfer it as a binary
file.
If you import OMFI files containing media that you exported from the same
NewsCutter XP system, you need to delete the original media. Otherwise,
the new media will not overwrite the original media. To learn how to locate
the original media for a sequence, see Chapter 10.
Field Ordering in Graphics Imports and Exports
Graphics images are composed of one or more image files, each of
which contains a full frame. These frames contain fields (formed from
the odd-numbered and even-numbered lines of the image frame) that
have three basic arrangements:
• Progressive or still frame: The upper and lower fields in the frame
originated at the same instant of time, or are coherent with each
other, as shown in the following illustration.
748

f 1
f 2
Dashed lines = field 1
Solid lines = field 2
Field 1
&
Field 2
Frame Unit
Time
• Upper field is first: The upper field in the frame (odd-numbered
lines, when the frame lines are numbered starting from 1) occurs
temporally before the lower field, as shown in the following
illustration. This arrangement can be termed “upper field first” (or
“lower field second”).
f 1
f 2
Dashed lines = field 1
Solid lines = field 2
Field 1 Field 2 Time
Frame Unit
• Lower field is first: The lower field in the frame (even-numbered
lines) occurs temporally first, as shown in the following
illustration. This arrangement is termed “lower field first” (or
“upper field second”).
749

f 1
f 2
Dashed lines = field 1
Solid lines = field 2
Field 1 Field 2 Time
Frame Unit
Preventing a Spatial Field Mismatch on Import
Table B-6 shows the proper spatial field position for each of the
common video formats in NewsCutter XP systems.
Table B-6
Recommended Field Settings for Two-Field Import
and Export
Avid Video Format
Import/Export
Frame Size
Upper/Lower Field
Spatial Setting
Field Setting for
Import and Export a
AVR NTSC 720 x 243 x 2 Upper field is first. Odd Field
AVR PAL 720 x 288 x 2 Upper field is first. Odd Field
NTSC 720 x 243 x 2 Lower field is first. Even Field
PAL 720 x 288 x 2 Upper field is first. Odd Field
a. Odd Field or Even Field specifies whether the temporally first field in the frame has the odd
or even numbered lines, starting from 1.
Graphics utilities, such as Adobe After Effects, permit selection of
either spatial relation for the fields when rendering a sequence of
interlaced fields. If the rendering is performed as shown in Table B-6,
then the import will be correct.
750

If the spatial positions of the two fields are reversed (for example, the
upper field should be a lower field), the import cannot be done
without correcting the spatial relationship. In this spatial mismatch
situation, the NewsCutter XP system will convert the upper field to a
lower field by deleting the top line of the upper field and replicating
the bottom line. The field will thus be converted to a lower field
relative to the other field. The import operation can now proceed.
Spatial Field Relationship on Export
The default export operation is automatically carried out as shown in
Table B-6. The fields will be properly interleaved in the export frames
(one frame per file).
If an import comes in mismatched and the dropping of the top line
and repeating of the bottom line is performed, you might choose to
have the export operation performed to prevent a shift up or down by
a line. The Export Settings dialog box permits you to select the spatial
arrangement that is the opposite of what is otherwise recommended.
This option should rarely be used.
Field Dominance
Editing in Avid systems is frame based. All timecode is expressed in
frame numbers, and all cuts are at frame boundaries. A raw video
stream has no concept of frames (ignoring color framing) until the
frame unit is defined. Defining the dominant field for the system defines
the “frameness” of the video stream, as shown in the following figure.
f2 f1 f2 f1 f2 (Time) f1 f2 f1 f2
f1
Field-1
Dominant
Frame
Field-2
Dominant
Frame
751

Avid editing systems all use field 1 as the dominant field. This means
that the first field temporally in the edit frame will always be field 1.
Field 2 will always be the second frame in the edit frame. Cuts will
always precede field 1.
Fields in Video
In the video signal, fields have a temporal position that is
unambiguously and uniquely tied to the details of the video signal,
regardless of whether the signal is analog or digital (SDI). This means
that working around a field spatial mismatch should be done by
correcting the spatial relation between the two fields rather than the
temporal position. In some cases, it is possible to modify the field
dominance of the input image files, but this is cumbersome, results in
the loss of two fields, and is more difficult to carry out than either the
workaround provided in Avid systems or rerendering properly to the
other spatial relationship.
752

APPENDIX C
Avid Log Specifications
This section explains the Avid log file format. The NewsCutter XP
application can import logs that meet Avid log specifications. These
logs must follow the formatting requirements described here.
• Log Formats
• Understanding Avid Log Specifications
• Describing an Avid Log File
• Sample Avid Log
Log Formats
Table C-1 lists the log formats that can be imported directly into the
NewsCutter XP application. You can use Avid Log Exchange to adapt
other log formats so that they meet Avid log specifications.
753

Table C-1
Log
Avid logs
Log right
Compatible Log Formats
File Name Extension
.ale
.ale
Understanding Avid Log Specifications
This section contains tables that show how to enter headings and data
to create an Avid log. The tables use the following conventions:
• is surrounded by angle brackets.
appear underneath, also in angle
brackets. You must enter exactly one of these values. For example,
is one of the supported values for the FPS heading; to
specify that value, type 29.97.
• is also surrounded by angle brackets. For
example, is the data entry for the Start heading; type
the correct timecode, in the format 08:19:10:00 (or
08;19;10;00, for drop-frame timecode).
• [Tab] and [Enter] keys are surrounded by brackets.
• The fifth column contains the word “Required” if the heading
must be included in the log.
• The final column contains notes about the heading or values.
754

The following is a sample heading from the format table:
Table C-2
Avid Log Sample Table
FPS [Tab]
[Enter] Required Capture rate is 25 fps
for PAL and 29.97 fps
for NTSC video.
n
FPS
is a required heading.
To make a log entry for the FPS heading:
1. Type FPS.
2. Press the Tab key.
3. Type one of the supported values (25 or 29.97).
4. Press Enter.
Describing an Avid Log File
An Avid log is composed of three or four sections, in this order:
• Global headings
• Standard column headings
• Custom column headings (optional)
• Data headings
The tables in this section adhere to this order. When you create an Avid
log, you must follow the order precisely.
You might choose not to display a defined heading (including a
required heading), except for Name. Name must always be displayed.
755

The maximum number of combined global, standard, and custom
headings in a log file is 64.
Global Headings
The global headings must come first in an Avid log file, and you must
enter one value for each heading.
Table C-3 shows the format for the global headings and the supported
values for each heading.
Table C-3
Avid Log Global Headings
GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown.
Include all required headings. Other headings are optional but might be necessary for your project. The
maximum number of combined global, standard, and custom headings in a log file is 64.
Heading [Enter] Required This marks the start of the
global headings.
FIELD_DELIM [Tab] [Enter] Required Enter TABS to show that
the file is Tab delimited.
VIDEO_FORMAT [Tab]
[Enter]
Required
AUDIO_FORMAT [Tab]
[Enter] Audio sample rate for
recording. You can override
this for individual clips.
756

Table C-3
TAPE [Tab]
Avid Log Global Headings
[Enter] Required Name of the videotape reel
you are logging. If you
omit this heading, the file
name becomes the global
tape name. You can
override this for individual
clips.
FPS [Tab]
[Enter]
[Enter]
Required
Capture rate is 25 fps for
PAL and 29.97 fps for
NTSC video.
Press Enter a second time
after entering the FPS
value. This marks the end
of the global headings.
Column Headings
The standard column headings come after the global headings in the
Avid log file.
n
You
do not enter the data for a column heading along with the heading. You
will enter the data later, in a separate data section.
You must include the five required standard column headings; they
are listed in the top five rows of Table C-4.
You can create your own custom column headings. Enter them after
the standard headings (see the last heading in this table). To create a
custom heading, substitute the custom heading name for
. You can create several custom headings, as long as
the total number of global, standard, and custom headings does not
exceed 64.
757

Table C-4
Avid Log Column Headings
COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note
that the first five headings are required. Other headings are optional but might be necessary for your
project. The maximum number of combined global, standard, and custom headings in a log file is 64.
Column [Enter] Required Indicates the start of the column headings.
Name [Tab] Required Heading for clip name.
Tracks [Tab] Required Heading for tracks you select for recording.
Start [Tab] Required Heading for video timecode of sync point — the
timecode IN for clip (from address track of video).
End [Tab] Required Heading for timecode OUT for clip (from address
track of video).
AUDIO_FORMAT [Tab] Heading for audio sample rate for recording the
individual clip. If omitted, the global entry for
AUDIO_FORMAT applies.
Color [Tab] Heading for color.
Creation Date [Tab] Heading for date of clip creation.
Disk [Tab] Heading for target disk ID.
Duration [Tab] Heading for timecode Start to timecode End, the
length of the video clip.
IN-OUT [Tab] Heading for duration between clip’s IN point and
OUT point (if present).
Mark IN [Tab] Heading for timecode of clip’s IN point (if
present).
Mark OUT [Tab] Heading for timecode of clip’s OUT point (if
present).
Offline [Tab] Heading for tracks currently without recorded
media files online.
758

Table C-4
Avid Log Column Headings (Continued)
Tape [Tab] Heading for source tape ID for the individual clip.
If omitted, the global entry applies.
Video [Tab] Heading for video resolution.
COMMENTS [Tab] Heading for comments about clip.
[Tab]
[Enter]
Press the Tab key between each heading. Do not
press the Tab key after the last heading. Add any
category of information you want. Add as many
headings as you want, but do not use more than a
total of 64 global and column headings in the file.
Press Enter twice (not Tab) after the last heading.
[Enter]
Data Headings
Some data, such as
Creation Date, is
gathered by the system.
Table C-5 does not
include entries for such
data.
The data headings come after the Custom column headings. Table C-5
shows the format for entering data. Enter a line of data in this format
for every clip. Be sure to start the data section for each clip with the
word Data [Enter].
You must enter data so that it aligns with its column heading. For
example, the data that goes with the ninth column heading must be
the ninth data entry.
Be sure to enter data for all the required values. To leave a data
position unfilled, press the Tab key instead of typing data. Press Enter
at the end of each line.
759

Table C-5
Avid Log Data Headings
DATA HEADINGS: The word “Data” marks the start of the data for each clip.
Data [Enter] Required Enter the word “Data” to mark the start of the logged
clip entries.
DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column
heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to
enter data for all the required values. To leave a data position unfilled, press the Tab key instead of
typing data. Press [Enter] at the end of each line. Note that NewsCutter XP supports up to four audio
tracks in imported and exported logs.
[Tab] Required Under Name heading. Enter a clip identifier
(32 characters maximum).
[Tab] Required Under Tracks heading. Enter the tracks you want
recorded for the clip. Enter V for MOS takes. Enter A1,
A2, or A1A2 for wild sound.
[Tab] Under AUDIO_FORMAT heading. Enter the audio
sample rate for this clip only. If omitted, global entry
applies.
[Tab] Under Tape heading. Enter the source videotape ID
for this clip only.
760

Table C-5
Avid Log Data Headings (Continued)
[Tab] Required Under Start heading. Enter the video timecode for
sync point, the first frame in clip. Use colons for
non-drop-frame (for example, 01:00:12:20). Use one or
more semicolons for drop-frame (for example,
01;18;00;02).
[Tab] Required Under End heading. Enter the video timecode for the
last frame of clip.
[Tab] Under Duration heading. Enter the length of the
video clip, Start to End.
[Enter]
Press Enter (not Tab) after the last entry for the clip.
Enter an additional line of data for each remaining clip.
761

Sample Avid Log
This section contains a sample Avid log for an NTSC video project.
Formatting keys, such as [Tab] and [Enter], are shown in brackets.
Heading [Enter]
FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44.1 kHz [Enter]
TAPE [Tab] 001 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Tab]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter]
762

Index
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A
Absolute timecode 343
Add Channel button (Deck Configuration
dialog box) 174
Add Deck button (Deck Configuration dialog
box) 175
Add Edit, when trimming 551
Adding
filler to a sequence 389
locators while editing 368
Production cues (NRCS tool) 683
Adjust Pan/Vols command (Audio Mix Fast
menu) 475
Adjust Pan/Vols command (Automation Gain
Fast menu) 492
Adjusting
digital audio scrub parameters 465
pan in the Audio Mix tool 470, 475
volume in the Audio Mix tool 470
volume in the Timeline 481
AIFF-C file format
described 746
option in General settings 80, 196, 197
ALE (Avid Log Exchange), converting shot log
files with 139
Alias file format
brief description of 735
import specifications for 739
Alpha channel
adding to a graphic image 737
defined 738
in imported animation 743
options in Import settings 251
support in graphic formats 739
Anti-aliased images 737
Appearance Interface settings
button separation 92
button shading depth 91
button style 94
color 86
dialog box 84
Arrow keys, navigating with 116
Aspect Ratio options (Import settings) 249
Assemble-edit recording 559, 560
Attic files setting (Bin settings) 78
Attic folder
defined 71
retrieving bin files 71
Audio
adjusting output on two-channel systems
557
applying EQ templates 508
763

AudioSuite plug-ins
D-fx and D-Fi plug-ins 706
Auto VO 530
calibrating global output levels 556
creating EQ templates 509
crossfading 534
dipping 536
dissolves 534
eight-channel input 196
EQ templates 507
exporting 645
fading 534
file formats (General settings) 80, 196, 197
file information, displaying 290
format heading in Avid logs 758
input 187, 196
levels
fine-tuning with add edit 533
locked 80
mixdown 538
monitoring while editing 395
pan
adjusting in Audio Mix tool 470, 475
pitch shift 518
scrub 460, 467
selecting source tracks 186
setting pan defaults 467
soloing tracks 460
time compression 518
tracks
mixing down 537
volume
adjusting in Audio Mix tool 470
adjusting in the Timeline 481
adjusting while playing 479
waveform plots, displaying 468
Audio clips, marking 363
Audio effect tools, accessing 459
Audio EQ (Equalization)
adjusting while playing 511
templates 509
Audio EQ command (Tools menu) 495
Audio EQ tool
adding EQ templates to Fast menu 510
adjusting EQ 500
applying EQ templates 508
creating EQ templates 509
EQ effect in 498
examples of uses 505, 506
Fast menu options 501
features of 498
opening 495
options 496
removing effects 505
saving effects 503
Audio File information
displaying in bins 290
Audio file types, described 746
Audio Gain Automation
deleting keyframes in 486
enabling and adding keyframes in 484
moving keyframes 486
recording 492
tool 487
Track Solo button 489
Audio IN and OUT points, removing 364
Audio input
adjusting levels in Audio tool 203
Audio leader, creating 314
Audio levels
adjusting in Audio tool 203
checking with Console window 206
Audio Mix command (Tools menu) 470
Audio Mix tool
adjusting volume and pan
on a single track 472
on multiple tracks 474
Fast menu options 474
764

Audio Mixdown command (Special menu) 538
Audio Mixdown Parameters dialog box 538
Audio output
preparing 553
Audio Project Settings
adjusting 198
Audio Project settings
access and description 99
Audio sample rate, changing 539
Audio sample rates 554
Audio settings
access and description 99
adjusting 198
Digital Scrub options 465
Audio Settings dialog box 465
Audio tool
adjusting audio input levels 203
digital scale, defined 202
features, described 201
using for mixing and monitoring audio 200
volume meters, defined 202
volume unit scale, defined 202
Audio volume
adjusting in Audio Mix tool 474
adjusting in the Timeline 484
adjusting while playing 480
improving response time 481
limitations on adjusting 480, 481
Audio volume rubberbanding 481
AudioSuite plug-ins
applying 512, 514
Compressor 722
Compressor parameters 723
controls 518
core plug-ins 703
creating new master clips 518, 522
DC Offset Removal 712
described 512
D-fx and D-Fi plug-ins 706
Digidesign D-Fi 706
Digidesign D-fx 707
DINR-BNR (Digidesign Intelligent Noise
Reduction-Broadband Noise
Reduction) 705
Duplicate 709
effect templates 524
EQ 719
EQ parameters 720
Expander/Gate 729
Expander/Gate parameters 730
Focusrite d3 705
Gain 711
Gate 727
Gate parameters 727
installing 512
Invert 709
limitations 525
Limiter 725
Limiter parameters 726
Maxim 706
Mod Delay 732
mono processing 521
multichannel processing 521
Normalize 710
options 519
Pitch Shift 716
Pitch Shift parameters 717
Reverse 711
Signal Generator 711
stereo processing 521
supported 703, 705
templates 524
Time Compression Expansion 712
troubleshooting 525
Auto VO 530
Automation Gain
Fast menu 491
keyboard shortcuts 494
selecting tracks in 491
sliders 493
Autorecording 223
765

Auto-Save options (Bin settings) 77
AutoSync command (Bin menu) 542
Autosyncing clips 541
Auxiliary timecode 344
AVI
file format description 743
import and export specifications for 745
AVI (Avid Codec for AVI)
export specifications 745
exporting 627
exporting files with 640
import specifications 745
installing 643
settings options 631
video compression options 633
Avid Calculator
using 126
Avid Codec for QuickTime
described 635
exporting with 635
import and export specifications 744
Avid Log Exchange
See ALE
Avid logs
audio format heading in 758
clip data in 759
creating 755
custom headings in 757
data headings in 759
described 131
formatting guidelines 754
global headings in 756
importing 753
Log Right format 754
sample created with text editor 762
specifications 754
standard headings in 757
Avid MCXpress for Windows
importing files from 748
Avid Production Network
accessing 53
Review & Approval service 574
Avid Publishing Wizard 574
Avid QuickTime files 744
Avid Unity 660
AvidLinks 587
AvidProNet
accessing 53
described 53
Review & Approval service 574
AvidProNet Review & Approval 53
B
Background color, changing
in bins 304
Backing up
project information 47
Backtiming edits 439
Backup options (Bin settings) 77
Bandwidths in Audio EQ tool 498
Batch importing
options 267
procedure 265, 268
Batch Record
command 235
dialog box 235
Batch recording
procedure 235
unattended 234
Bin Column Selection dialog box 283
Bin Fast menu, opening 278
Bin settings
access and description 99
Attic files setting 78
Auto-Save options 77
backup options 77
described 76
options 77
sticky bins option 78
Bin View settings, access and description 99
766

Bin views
customizing 276
types of 276
Bins
adding colors 283
adding customized columns in 295
aligning columns 292
arranging text columns 291
background color
changing 304
Bin View pop-up menu 276
changing custom column headings in 297
closing 66
creating 64
deleting 66
deleting columns in 294
display view for 273
displaying audio information in 290
displaying in Project window 62
duplicating clips and sequences in 280
duplicating columns in 294
editing to sequences 425
editing to Timeline 424
hiding columns in 293
identifying media relatives 289
limiting colors 286
logging directly into 148
modifying clip information 298
modifying creation date 73
opening 64, 65
organizing a project with 270
preparing for recording 214
printing 309
renaming 64
retrieving from Attic folder 71
saving automatically 69
saving manually 70
selecting as target 188
selecting clips and sequences in 279
selecting offline items in 288
setting clip display in 271
setting the font 279
sifting by colors 286
sorting by colors 286
sticky bins option 78
trash 67
viewing a list of 58
Bins display
in Frame view 60
in Project window 62
in Script view 61
in Text view 59
Bit depth, defined 738
Black holes in Timeline
described 419
finding 419
Blank button, using 123
BMP file format
additional export options 651
described 735
import specifications for 739
Buttons
Blank 123
Build Sequence (NRCS tool) 676, 688
changing separation 92, 94
changing shading depth 91
Disconnect (NRCS tool) 676
Edit mode (NRCS tool) 676, 681
In/Out (Audio tool) 202
mapping user-selectable 122
Mark Locator 372
Output Control (Audio tool) 201
Reset Peak (Audio tool) 202
Save Story (NRCS tool) 676
Send Mail (NRCS tool) 676
Bypass volume settings 479
767

C
Calculator, using 126
Calibrating
global output levels 556
Calibration tone, setting 555
CCIR video levels, Import settings 251
Change Sample Rate dialog box 539
Changing interface component button
separation 92
Changing interface component button style 94
Changing interface component color 86
Changing interface component shading depth
91
Channel dialog box 174
Choosing a user 42
Chunking 171, 222
Chyron file format
described 735
import specifications for 739
Cineon file format
additional Export options 652
described 735
import specifications for 739
Clear Menu command (Monitor menus) 349
Clear Monitor command (Monitor menus) 349
Clearing clips from monitors 349
Client monitor
configuring Video Display settings 357
connecting to 356
supporting cameras without video input
358
Clip data in Avid logs 759
Clip information
displaying 341
modifications table 156
modifying 298
moving 341
Clip Name menus, using 347
Clip names
adding during recording 215
setting the font and point size 345
Clipboard
copying to 399, 400
recovering material from 401
Clips
See also Group clips, Master clips, Subclips
clearing from monitors 349
copying 282
cueing, viewing, and playing back 350
deleting 282
duplicating 280
exporting 570
group clips 326
loading in pop-up monitor 346
locating using Match Frame 380
marking IN and OUT points 359
moving 281
sifting 287
sorting 301
subcataloging 121
Closed Caption, marking text as (NRCS tool)
683
Codecs
Avid Codec for AVI 640
Avid Codecs for QuickTime 635
third-party 644
Color
changing in interface 86
Color bars
importing 311
Color scheme 34
Columns
adding customized in bins 295
aligning in bins 292
arranging in bins 291
changing custom column headings 297
deleting in bins 294
duplicating in bins 294
hiding in bins 293
768

Command palette
activating commands from 126
for quick edits in Timeline 426
mapping 124
mapping buttons from 122
using 120
Compression
defined 208
in relation to disk space 208
in relation to image quality 208
Compressor AudioSuite plug-in
described 722
parameters 723
Configuring
decks 173
Configuring a video server 665
Console window
checking audio levels 206
getting information with 128
using 127
Consolidating media files
defined 322
group clips 326
procedure 325
Converting shot log files with Avid Log
Exchange 140
Copy to Clipboard button 400
Copying
clips 282
to Clipboard 399
Crash recording procedure 560
Creating
audio leader 314
autosynced subclip 542
instant rough cut 393
tone media 205
video leader 313
Creating a new tape name with a keystroke 242
Creating DVD files 590
Crossfading audio 534
Custom headings in Avid logs 757
Custom Sift command (Bin menu) 287
Customizing bin views 276
Customizing the Timeline 412
Cutaways, marking with locators 368
D
DAE (Digidesign Audio Engine)
starting and quitting 513
Data headings in Avid logs 759
DC Offset Removal AudioSuite plug-in 712
Deck Configuration settings
Add Channel options 174
Deck Configuration settings, access and
description 99
Deck configurations
changing settings 177
deleting 179
settings for 173
Deck control
from the keyboard 241
Deck controller
Deck Selection menu 119, 183
defined 118
opening 120
status indicator 119
Deck Preferences settings, access and
description 99
Deck Selection menu (Record tool) 119, 183
Deck settings
Fast Cue option 179
for configuring decks 175
Preroll option 179
Deleting
clips and sequences 282
locators 373, 377
Production cues (NRCS tool) 685
stories (NRCS tool) 679
Dialog boxes
AAF export options 609
769

audio export settings 647
Audio Mixdown parameters 538
Audio Settings 465
AVI export options 631
AVI Video Compression 633
Avid Codec for QuickTime Configuration
639
AvidLinks Export to 589
Batch Import 265
Batch Record 235
Bin Column Selection 283
Export As 581, 616, 621, 627, 636, 638, 645,
648
Export As, MPEG-2 Settings 641
Export Settings 598, 599, 627
Export Settings, QuickTime 618
Movie settings 621
navigating in 116
OMFI Settings 603
Quick Transition 534
QuickTime Movie Settings 621
Set Bin Display 271
Sync Selection 542
Video Compression 641
Video Mixdown 579
View Name (bin) 278
Digidesign D-Fi plug-in 706
Digidesign D-fx plug-in 707
Digital audio scrub
adjusting parameters for 465
compared to smooth audio scrub 461
performing 466
using 464
Digital Audio Scrub options (Audio settings)
465
Digital cut
passthrough pausing during 568
previewing 564
recording to tape 559, 565
Digital Cut tool 562
Digital scale (Audio tool), defined 202
Digital video (DV) 160
DINR-BNR plug-in 705
Dipping audio 536
Directory panel
deleting stories 679
making shortcuts 678
opening a story 677
removing shortcuts 679
saving stories 697
using 677
Disconnecting from the iNEWS server (NRCS
tool) 700
Displaying
frames in Locators window 376
locator comments 373
Dissolves, audio 534
Dominance, Import settings options 250
Drag-and-drop method
exporting with 582
importing with 260
Drives
filtering 209
Media Creation settings 171, 208
mounting and ejecting 51
removing from list 209
selecting for recording 171, 189, 208
Duplicate AudioSuite plug-in 709
Duplicating clips and sequences 280
DV Stream export 592
DVD, creating 590
E
Edit decision list (EDL) 569
Edit mode, entering (NRCS tool) 681
Editing stories (NRCS tool) 681
770

Edits
adding (match-framing) 437
backtiming 439
beginning 391
copying to Clipboard 399
Extract 399
from bins 424
instant rough cut procedure 393
Lift 398
nesting, defined 428
overwrite 396
removing (match-framing) 438
Segment mode 416, 421
splice-in 395
EDL Manager 569
Effects
Audio EQ 495
mapping buttons for 121
Eight-channel audio input 196
Ejecting tapes with a button or key 242
Emergency repair disk 31
End key 356
Entering Trim mode 442
EQ AudioSuite plug-ins
described 719
parameters 720
EQ effect
adjusting while playing 511
applying 498
applying EQ templates 508
creating EQ templates 509
removing 505
templates for 507
ERIMovie file format
additional export options 652
described 743
import specifications for 743
Expander/Gate AudioSuite plug-in
described 729
parameters 730
Export settings
access and description 99
creating new 598
options for specific file types 649
Video Compression options 647
Exporting
AAF compositions and media files 607
AAF compositions only 605
Advanced Authoring Format (AAF) 604
audio files 645
AVI files 627
DV Stream files 592
DVD files 590
encoded streaming media files 574
graphic files 647
graphic files, specifications for 738
Media Cleaner files 584
MPEG-1 or MPEG-2 files 656
OMFI files, described 600
OMFI files, methods for 601
preparing for 572
QuickTime Movies 615, 618
QuickTime Reference Movie files 610
QuickTime reference options 613
Targa files 655
Wavefront files 655
with the Avid Publishing Wizard 574
YUV files 656
Exporting Avid AVI files 627
Exporting files
creating new settings 598
preparing for 572
preparing for OMFI export 572
procedure for 580
reasons for 571
settings 597
using drag-and-drop method 582
using OMM 596
using OMM and drag-and-drop 597
with Avid Codec for AVI 628
with Avid Codec for AVI, described 640
771

with Avid Codec for AVI, procedure for 640
with Avid Codec for QuickTime, installing
643
with Avid Codecs for QuickTime 616, 621,
635
Exporting shot log files 158
External video sources
configuring 357
Extract button 399
Extract edits 399
F
Fading audio 534
Fast Cue option (Deck settings) 179
Field dominance
defining 751
Import Settings options 250
Field ordering 748
File management 315
Files
exporting
procedure for 580
reasons for 571
using drag-and-drop method 582
guidelines for importing 244
importing using drag-and-drop method 260
procedure for importing 256
specifications for importing animation 743
specifications for importing graphics 738
specifications for importing OMFI 747
Filler
adding during a trim 453
adding to a sequence 389
setting duration of 427
Filter Automation Gain command (Automation
Gain Fast menu) 492
Filtering drives 209
Finding
black holes in Timeline 419
flash frames in Timeline 419
frames 380
related media files 328
FireWire
See IEEE Standard 1394
Focusrite d3 plug-in 705
Font
setting for bins 279
setting for clip name 345
Footage
clearing marks from 361
displaying current position 338
loading into monitors 346
marking and subcataloging 359
viewing and playing 336
Frame count, total 126
Frame offset timecode 379
Frame view
changing frame size in 305
defined 274
in Media tool 316
rearranging frames 306
using 303
Frame View button 274
Frame-accurate recording 559
Frames
accessing in footage 351
aligning in bin 292
cueing 379
enlarging or reducing 305
exporting 572
finding 380
flash frames, finding 419
rearranging in Frame view 306
Framestore file format
described 735
import specifications for 739
772

Frequencies (audio), adjusting 495
Full-screen image size
defined 738
G
Gain AudioSuite plug-in 711
Ganging
multiple tracks in the Audio Mix tool 476
Gate AudioSuite plug-in
described 727
parameters 727
General interface settings 81
General settings 79
access and description 99
audio file formats 80, 196, 197
Global headings in Avid logs 756
Global settings, Import 245
Graphics (image) files
exporting as 647
field ordering in 748
recommended field settings 750
Grass Valley Group Profile video server 665
Group clips, consolidating 326
H
Hardware command (Tools menu) 129
Hardware tool
displaying 110
using 129
Head leader
creating audio 314
creating video 313
Headings command (Bin menu) 283
Hiding
bin columns 277
video in Source/Record monitor 349
High shelf in Audio EQ tool 498
Home key 356
I
i.LINK
See IEEE Standard 1394
IEEE Standard 1394 161
IFF file format
described 735
import specifications for 740
Ignoring pan settings 478
Ignoring volume settings 479
Import settings
access and description 99
alpha channel options 251
aspect ratio options 249
CCIR video levels 251
creating 245
dominance options 250
RGB graphics levels 251
Importing
animation files 743
color bars 311
graphics files 738
OMFI files 740, 747
Targa files 742
TIFF files 742
Wavefront files 742
XWindows files 742
YUV files 742
Importing files
before you begin 244
guidelines for 244
procedure for 256
reimporting 265
using drag-and-drop method for 260
using OMM 261
Importing shot log files 137
In/Out buttons (Audio tool), defined 202
773

iNEWS server
configuring (NRCS tool) 672
disconnecting from (NRCS tool) 700
setting up (NRCS tool) 671
Info Display window
displaying Hardware 110
displaying Memory 108
displaying project information 108
Input
audio 187, 196
video 187
Insert-edit recording 559
Installing
Avid Codec for QuickTime 643
Interface components
changing button separation 92
changing button shading depth 91
changing button style 94
changing color of 86
Interface settings
access and description 100
dialog box 80
Invert AudioSuite plug-in 709
J
J-K-L keys 354
JPEG file format
additional Export options for 653
described 735
import specifications for 740
K
Keyboard
controlling decks with 241
mapping user-selectable buttons to 122
settings, access and description 100
Keys
navigating in dialog boxes with 116
Keystroke
creating a tape name with 242
L
Layering
mapping buttons for 121
L-cut
See Overlap edit
L-edit
See Overlap edit
Left Arrow key 356
Lift button 398
Lifting material 398
Limiter AudioSuite plug-in
described 725
parameters 726
Load Filler command (Clip Name menus) 389
Loading
clips and sequences 346
footage 346
Locators
accessing in sequence or clip 376
adding while editing 370
adding while recording 215
deleting 373, 377
displaying comments 373
icon, changing color of 376
marking an area with 372
moving to previous or next 372
removing from source material 372
Review & Approval process 574
using 368
Locators window
displaying frames in 376
Fast menu 373
774

printing 377
sorting locators 375
using 374
Locked audio 80
Locking tracks 433
Log Right log format 754
Logging
and recording at the same time 216
guidelines for 131
preroll 132
procedures for 131
tape names 133
timecodes 133
with a non-Avid-controlled deck 152
with an Avid-controlled deck 148
Logs
creating 135
described 131
importing 137
preparing for import 135
Low shelf in Audio EQ Tool 498
M
Mail
configuring directory for NRCS tool 672
receiving (NRCS tool) 700
sending (NRCS tool) 698, 699
Maintaining sync with Add Edit 551
Managing
bins 68
folders 68
media files 315
Mapping
menu commands 124
modifier keys 123
user-selectable buttons 122
Mark Locator button 372
Marking
audio clips 363
entire clips or segments 359
IN and OUT points 359
text as Closed Caption (NRCS tool) 683
text as machine control (NRCS tool) 685
text as normal (NRCS tool) 686
text as Presenter Instructions (NRCS tool)
682
with locators 368, 373
Master clips, rerecording 238
Match Frame, locating clips with 380
Match-frame edits
adding 437
removing 438
Maxim plug-in 706
Media Cleaner
described 584
Media files
backing up 328
consolidating
defined 322
procedure 325
deleting 319
finding related 328
loading the database 326
managing 315
manipulating with Media tool 315
moving between systems 661
relinking 329
unlinking 333
Media offline, relinking 329
Media relatives 289
Media Tool Fast menu 316
Media tool, basic features of 316
MediaDrive
calculations 211
MediaManager, described 334
Memory marks
adding to tape locations 134
775

Menu commands
Adjust Pan/Vols (Audio Mix Fast menu)
475
Adjust Pan/Vols (Audio Mix tool) 475
Adjust Pan/Vols (Automation Gain Fast
menu) 492
Audio EQ (Tools menu) 495
Audio Mix (Tools menu) 470
Audio Mixdown (Special menu) 538
AutoSync (Bin menu) 542
Custom Sift (Bin menu) 287
Filter Automation Gain (Automation Gain
Fast menu) 492
Hardware (Tools menu) 129
Headings (Bin menu) 283
Load Filler (Clip Name menu) 389
mapping 124
Modify (Clip menu) 154
Remove Automation Gain (Automation
Gain Fast menu) 492
Remove Clip Gain (Audio Mix Fast menu)
476
Remove Clip Gain (Audio Mix tool) 476
Remove Pan (Audio Mix Fast menu) 476
Remove Pan (Audio Mix tool) 476
Remove Pan (Automation Gain Fast menu)
492
Remove Pan/Vols (Audio Mix Fast menu)
476
Remove Pan/Vols (Automation Gain Fast
menu) 492
Set Level (Audio Mix tool) 475
Set Pan (Audio Mix Fast menu) 475
Set Pan (Automation Gain Fast menu) 492
www.AvidProNet.com (Help menu) 53
accessing Web site 53
Message-of-the-Day options, configuring
(NRCS tool) 672
Meters, volume 202
Microphone
audio settings 199
Mixing and monitoring audio 200
Mixing down audio 537
Mod Delay AudioSuite plug-ins
described 732
parameters 732
Modifier keys, mapping 123
Modify command (Clip menu) 154
Monitoring audio while editing 395
Monitors
clearing 349
resizing 349
Mono option (audio) 538
Moving
clips and sequences 281
projects between systems 661
settings between systems 663
MPEG-1 or MPEG-2 Export 656
N
Navigating in dialog boxes 116
Normalize AudioSuite plug-in 710
NRCS tool
adding production cues 683
building a sequence from a story 688
deleting a story 679
deleting production cues 685
disconnecting from the server 700
editing stories 681
elements of, described 676
entering Edit mode 681
finding read time of a story 686
formatting text 681
Logging out option 671
Mail Directory options 672
making shortcuts to directories 678
marking text as Closed Caption 683
marking text as machine control 685
marking text as normal 686
marking text as Presenter Instructions 682
776

Message-of-the-Day options 672
opening a story 677
overview 669
rearranging text 682
receiving mail 700
removing shortcuts to directories 679
saving a story 697
sending mail 698, 699
starting 673
understanding the NRCS tool 675
using the Directory panel 677
WPM rate 686
NTSC frame resolution for imported files 739
O
Offline media, selecting in bins 288
OHCI
audio input 184
audio project setting 199
described 162
OMFI file format
described 736
OMFI files
additional export options for 653
described 600, 601
format, described 736
import specifications for 740, 747
methods for exporting 601
preparing to export 572
OMM
described 261
importing files with 261
Open Host Controller Interface (OHCI) 162
Opening
stories (NRCS tool) 677
Optional equipment
video server 665
Output
options 552
preparing for 552
selecting 553
Output Control button (Audio tool), defined
201
Overlap edits
creating 451
Overwrite button 397
Overwrite edits 396
P
Page Down keys, navigating with 116
Page Up keys, navigating with 116
PAL frame resolution for imported files 739
Palette
Command 120
Tool 364
Pan
adjusting in Audio Mix tool 475, 492
modifying 478
Pan adjustment
ignoring 478
single tracks 472
Parametric midrange in Audio EQ tool 498
Passthrough
described 568
Patching 435
PCX file format
described 736
import specifications for 740
Peak Hold pop-up menu (Audio tool)
defined 202
Photoshop file format
additional export options for 653
described 736
import specifications for 740
PICS sequence import specifications 744
777

PICT file format
additional export options for 654
described 736
import specifications for 740
Pitch Shift AudioSuite plug-in 518
described 716
parameters 717
Pixar file format
described 736
import specifications for 741
Play Length “In Use” indicator 358
Play tab
Play Length Toggle button 358
Playback
improving performance 403
in client monitor 356
J-K-L keys 354
sequences 402
supporting cameras without video input
358
with audio scrub 460
Playback loop
starting 402
Playing
Play Length function 358
Plug-ins
AudioSuite 512
dialog box 515
Fast menu 517
PNG file format
additional export options for 654
described 736
import specifications for 741
Position bar, using in the Timeline 351
Position indicator, using in the Timeline 351
Preparing
to record 160
Preparing, sequences for export 572
Preroll option (Deck settings) 179
Presenter Instructions, marking text as (NRCS
tool) 682
Printing
bins 309
locators 377
the Timeline 440
Production cues
adding (NRCS tool) 683
deleting (NRCS tool) 685
Profile video server 665
Project window
bins display 57
closing 56
Info display, using 108
opening 56
settings display 74
working with 55
Projects
changing names 37
closing 47
creating new 44
deleting 37
folders 36
moving between systems 661
nesting in folders 45
opening 43
restoring from backup 48
saving 47
selecting 43
Publishing with the Avid Publishing Wizard
574
Q
QRT file format
described 736
import specifications for 741
Quick Transition dialog box 534
QuickTime export
described 635
QuickTime file format
import and export specifications for 744
778

QuickTime movies
export options 618
exporting 616
format options 622
QuickTime reference movies
export options 613
exporting 610
Quitting the NewsCutter XP application 49
R
Read time, finding (NRCS tool) 686
Rearranging clips 309
Receiving mail (NRCS tool) 700
Record settings
access and description 100
batch 166
edit 168
general 164
media files 169
selecting 163
Record tool
deck selection 184
opening 183
time remaining display 192
video resolution 188
Recording
See also Autorecording, Batch recording,
Rerecording
and logging at the same time 216
assemble-edit 559
defined 213
digital cut 559, 565
frame-accurate digital cuts 559, 560
from a non-Avid-controlled deck 225
from IN to OUT points 217
from music CDs 229
insert-edit 559
manually 560
master clips and subclips 238
multiple media files 192
on-the-fly 219
patching during 232
preparing for 160
selecting drives for 171, 189, 208
selecting separate audio and video drives
191
selecting target bins 188
setting marks 218
setting only mark IN 219
single video frame (General Record Settings)
165
to the Timeline 231
using time-of-day 228
Reimporting imported files 265, 268
Relinking
consolidated clips 332
media files 329
selected clips 332
Remove Automation Gain command
(Automation Gain Fast menu) 492
Remove Clip Gain command (Audio Mix Fast
menu) 476
Remove Pan command (Audio Mix Fast menu)
476
Remove Pan command (Automation Gain Fast
menu) 492
Remove Pan/Vols command (Audio Mix Fast
menu) 476
Remove Pan/Vols command (Automation Gain
Fast menu) 492
Removing audio IN and OUT points 364
Removing drives from list 209
Renaming
bins 64
sequences 386
settings 104
Render settings
access and description 100
779

Rendition file format
described 736
import specifications for 741
Repair disk
creating 31
Rerecording
See also Batch recording
saving duplicated versions 239
sequences 239
Reset Peak button (Audio tool)
defined 202
Resizing
monitors 349
Source/Record monitor 350
Resolutions
video, setting 171, 188, 208
Restricted characters, file names 42
Reveal File command (File menu) 328
Reverse AudioSuite plug-in 711
Reverse Match Frame 381
Review & Approval files
described 53, 574
displaying locator creation information 577
opening 574
using locator colors with 578
Review and approval files
displaying locator creation information 378
RGB graphics levels, Import settings 251
Right Arrow key 356
Rollers
See Trim mode
Rough cut
creating 393
Rounding buttons and toolbars 91
Rubberbanding in Audio Gain Automation 481
S
Sample rate, changing 539
Saving custom bin views 277
Scanning for tapes 227
Screen resolution
setting 34
Script view
defined 307
entering 308
rearranging clips in 309
Script View button 308
Scrubbing (audio) 460, 463, 466
Segment mode
deleting segments 424
deselecting segments 418
Extract/Splice-in edits 421
Lift/Overwrite edits 422
selecting by lassoing 417
selecting segments 417
Segments
cutting, copying, and pasting in Timeline
428
Select Tape dialog box
finding a tape in 227
returning to previous 243
Selecting
projects 43
Sending mail (NRCS tool) 698, 699
Sequenced PICS files
import specifications for 744
Sequences
adding tracks to 387
building from a story (NRCS tool) 688
changing audio sample rate 539
changing start timecode for 387
cueing, viewing, and playing back 350
deleting 282
deleting tracks from 389
duplicating 280
exporting 570
780

loading in Source/Record monitor 346
moving 281
new 383
output options for 552
playback loop in 402
renaming 386
rerecording 239
setting customized timecode 386
sifting 287
starting 383
Set Bin Display command 271
Set Bin Display dialog box 271
Set Level commands (Audio Mix Fast menu)
475
Set Pan command (Automation Gain Fast
menu) 492
Set Pan commands (Audio Mix Fast menu) 475
Settings
AAF export 609
Appearance Interface 84
Audio export 647
audio pan default 467
Audio project 99
basic 76
bin 76
bin display 271
button 74
copying 106
deck 177
deck configuration 173
deck preferences 180
defined 74
defining 75
deleting 105
displaying 96
duplicating 103
export 599
general 79
general, locked audio 80
import 245, 248
in Settings scroll list 98
interface 80, 81
keyboard 354
modifying 102
moving between systems 106, 663
naming 104
OMFI export 603
selecting 101
selecting for recording 162
Settings folder 35
site settings 107
Timeline 408
trim 441
types of 75
video server 665
working with multiple 103
workspace 113
Settings scroll list
Bin view 99
changing display 97
described 99
display 97
table of settings 98
Timeline View 101
using 75
Setup Control button (Audio tool), defined 201
SGI file format
additional export options for 654
described 736
import specifications for 741
Shared volume segmentation (”chunking”) 171,
222
Shortcuts
making (NRCS tool) 678
removing (NRCS tool) 679
Shot log files
converting with Avid Log Exchange 140
exporting 158
importing 137
Shot logs 131
Shuttling with the J-K-L keys 354
781

Signal Generator AudioSuite plug-in 711
Site settings
moving between systems 663
Slipping and sliding clips
in Trim mode 448, 450
Smooth audio scrub
compared to digital audio scrub 461
performing 463
Softimage file format
described 736
import specifications for 741
Soloing audio tracks 460
Sorting clips 301
Source material
loading into monitors 346
Source timecode for audio tracks 344
Source/Record monitor
16:9 display 337
resizing 350
Space bar
navigating with 116
Specific File Type options (Export settings) 649
Specifications for Avid log 754
Splice-in button 392
Split edit, creating 451
Standard heading in Avid logs 757
Start timecode, changing 387
Sticky bins option 78
Stories
building a sequence (NRCS tool) 688
deleting (NRCS tool) 679
editing (NRCS tool) 681
finding read time (NRCS tool) 686
saving (NRCS tool) 697
Story panel, adding production cues (NRCS
tool) 683
Striped tape 559
Subclips
creating with Make Subclip button 368
rerecording 238
Sun Raster file format
described 736
import specifications for 742
SupportingFiles folder, defined 35
Sync
maintaining during trim 452
sync-locked tracks, trimming with 454
Sync breaks
avoiding 544
fixing 545
managing 544
Sync lock
described 436
maintaining 547
using 547
Sync locking tracks 433
Sync Selection dialog box
options in 542
Syncing
with locators 549
with tail leader 548
T
Tab key, navigating with 116
Tail leader
creating audio 314
creating video 313
Tape deck
See Video deck
Tape name
creating new with a keystroke 242
finding 227
Tapes
ejecting 242
naming 133
naming from keyboard 242
recording a digital cut to 559, 565
returning to previous tape 243
selecting 185
782

Targa file format
additional Export options 655
described 736
import specifications for 742
Text
copying (NRCS tool) 682
cutting (NRCS tool) 682
deleting (NRCS tool) 682
formatting (NRCS tool) 681
marking as Closed Caption (NRCS tool) 683
marking as machine control (NRCS tool) 685
marking as normal (NRCS tool) 686
marking as Presenter Instructions (NRCS
tool) 682
pasting (NRCS tool) 682
rearranging (NRCS tool) 682
Text editor
creating Avid logs with 755
Text view (bin display)
defined 273
in Media tool 316
moving between columns 297
Text View button 273
TIFF file format
additional Export options 655
described 736
import specifications for 742
Time Compression Expansion AudioSuite
plug-in 518, 712
Timecode
changing 387
custom starting 386
default starting 79
displaying 342
displaying multiple timecodes 344
finding frames 380
recording with time-of-day 228
table of display options 343
Timeline
access and description of settings 100
changing color 412
customizing 405
default view 413
displaying detail in 415
enlarging tracks 412
Fast menu 409
first edit displayed in 392
moving position indicator 415
recording to 231
reducing tracks 412
saving a custom view 412
scroll bar 414
settings 406
settings, Edit tab 408
Top and Tail commands 426
Timeline top toolbar 366
Timeline View settings
access and brief description 101
Tips, logging 131
Tone
setting calibration 555
Tool palette
opening 364
showing labels 365
tearing off 365
using 364
Tools
Audio EQ 481, 495
Audio Mix 470
Avid Calculator 126
Console 127
Digital Cut 562
Hardware 129
Media 315
Top and Tail commands
in Timeline 426
using 426
Track selector panel 429
783

Track Solo button (Audio Gain Automation
tool) 489
Tracking format options 339
Tracking information
displaying 338
Tracks
adding 387
audio, mixing down 538
audio, selecting 186
audio, soloing 460
deleting 389, 437
deselecting 418
ganging in the Audio Mix tool 476
locking 433
monitoring audio 431
monitoring solo track 433
monitoring video 431
patching 435
selecting 430
sync locked 436
sync locking 433
sync-locked, trimming with 454
TransferManager, described 334
Transferring
projects between systems 661, 663
settings between systems 663
Transferring video
to a video server 667
to an Avid system 668
Transitions, audio, fine-tuning 533
Transparency
adding to a graphic image 737
Trash
emptying 67
viewing contents 66
Trim
maintaining sync during 452
sides, selecting 444, 448
slip and slide
procedures 448, 450
with sync-locked tracks 454
Trim edit, reviewing 447
Trim mode
basic procedures in 446
defined 441
entering 442
exiting 444
selecting transitions 445
Trim settings
access and description 101
Trimming edit, for video tracks 447
Turnover points in Audio EQ tool 498
U
Unlinking media files 333
User
selecting 42
selecting another 101
User folder 36
User profiles
changing 37
creating 42
deleting 37
User-selectable buttons
Add Dissolve 534
Add Edit 533
mapping 122
Mark Locator 372
V
Video
data rate 211
hiding in Source/Record monitor 349
input 187
leader
creating 313
using to maintain sync 548
784

Video compression
defined 208
Video Compression options (Export settings)
647
Video deck
logging with a non-Avid-controlled 152
logging with an Avid-controlled 148
Video Display settings (Client monitor)
configuring 357
Video mixdown 578
Video output
selecting 553
Video servers
configuring 665
described 665
transferring media from 668
transferring media to 667
Video tracks, trimming 447
Video transfers with video server 665
View mode (NRCS tool), editing in 680
View Name dialog box (bin) 278
Views
saving a custom Timeline 412
script 307
script, entering 308
VITC (vertical interval timecode)
NTSC 208
Voice-over narration
about media files 529
creating 527
Volume
adjusting in the Audio Mix tool 472
bypassing adjustments 479
improving response while adjusting 481
in the Timeline 484
limitations on adjusting 480
recording audio gain 492
while playing an effect 480, 481
Volume meters
in the Audio tool, defined 202
Volume meters, in the Timeline 485
Volume unit scale (Audio tool), defined 202
VTR
See Video deck
W
WAVE file format
described 746
option in General settings 80, 196
Waveform plots (audio) 468
Wavefront file format
additional Export options 655
described 736
import specifications for 742
Windows taskbar, using 32
Workgroup support 334
Workspace
access and description 101
assigning buttons to 110
assigning windows to 110
customizing 110
deleting 110, 115
linking to user setting 113, 114
settings 111
switching between workspaces 114
WPM rate, finding (NRCS tool) 686
Writing DVD files 590
www.AvidProNet.com command (Help menu)
accessing Web site 53
X
XWindows file format
described 737
import specifications for 742
785

Y
YUV file format
additional Export options for 656
described 737
import specifications for 742
Z
Zooming in the Timeline 415
786