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CHAPTER 6: IMPORTING, EXPORTING, AND DIGITAL CUT ■
Editing Bars and Tone
A lot of people skip this task, but I highly encourage putting bars and tone before your
edited work. SMPTE bars work like the ISO rating on a roll of film. Using bars, you tell
the recipient of your work how to adjust the brightness, contrast, hue, and saturation
of the picture for optimal viewing. When we add tone to the sequence, we are giving
the recipient of this digital cut a level to use when setting up the audio for playback.
Of course, there are some situations in which you wouldn’t add bars and tone—
when a client receives a “viewing copy.” I’ve never been a fan of the viewing copy,
because it usually ends up creating situations in which the client comes back to the
editing suite, only to discover that the finished piece looks good, but his or her televi-
sion needs to be calibrated.
Case in point: A client came back to me, complaining that the images were too
green. After we played back the same tape on a calibrated monitor, the client realized
that his television hue had been tweaked by his four-year-old son, who apparently was
trying to make the Teletubbies change colors. But whether we like it or not, the client is
always the boss, so things like this can happen.
Some production companies have standard formats for their bars and tone.
These choices depend on who you work for and the type of finished work produced.
For example, the quiz show Jeopardy records bars and tone at timecode 58:30:00 for
one full minute, cuts to black for 10 seconds, displays the slate with announce for 10
seconds, and then cuts to black for another 10 seconds. So its setup looks like Table 6.1.
Table 6.1 Bars and Tone Formatted for Television
Source TC In TC Out Duration
Bars and Tone 00:58:30:00 00:59:30:00 00:01:00:00
Black 00:59:30:00 00:59:40:00 00:00:10:00
Slate 00:59:40:00 00:59:50:00 00:00:10:00
Black 00:59:50:00 01:00:00:00 00:00:10:00
Program 1:00:00:00
If you do the math, you will note that the show begins at 1:00:00:00. There’s a
very good reason for this: When editing the show, timing has to be precise. When the
show begins at 1:00:00:00 and you edited 20 minutes of material, the timecode will
read 1:20:00:00.
When editing commercials, the format changes. First, we edit commercials in
non–drop frame timecode because most commercials run 30 seconds, so there’s no need
to use drop frame to stay in time. Commercials (see Table 6.2) usually have a minute
of bars, an eight-second countdown slate, and two seconds of black, followed by the
commercial.
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- AVID MADE EASY: 2
- AVID MADE EASY 4
- Acknowledgments 10
- About the Author 11
- Contents 12
- Chapter 3 Basic Editing 81 13
- Chapter 4 The Timeline 135 14
- Chapter 5 Trimming 169 14
- CONTENTS ■ 15
- ■ CONTENTS 16
- Glossary 291 17
- Introduction 18
- INTRODUCTION ■ 19
- How to Use this Book 20
- The Companion DVD 20
- How to Contact the Author 20
- Introduction to 22
- Avid and Editing 22
- Into Nonlinear Editing 23
- ■ INTO NONLINEAR EDITING 24
- The Avid Product Line 25
- ■ THE AVID PRODUCT LINE 26
- NuBus Avids 27
- PCI Avids 29
- Meridien Avids 30
- DNA Avids 31
- Figure 1.7 An Adrenaline box 32
- Editing Workflow 33
- ■ EDITING WORKFLOW 34
- Figure 1.10 Editing the media 37
- Figure 1.11 Trimming 38
- Figure 1.13 Designing 39
- Figure 1.12 Prepping 39
- Figure 1.15 Output 41
- Capturing 42
- System Recommendations 43
- Xpress Pro 44
- 2: CAPTURING ■ 45
- Allotting Proper Drive Space 46
- Tape-Naming Conventions 49
- Choosing a Resolution 49
- Determining the Final Product 50
- Using a Deck for Capture 51
- FireWire 51
- ■ USING A DECK FOR CAPTURE 52
- RS-422 into Mac serial 53
- Figure 2.7 RS-422 connector 53
- Video Connectors 54
- BNC CONNECTORS 54
- RCA OR PHONO CONNECTORS 54
- Figure 2.11 A 55
- Figure 2.10 RCA/phono 55
- The Capture Button 60
- The Trash Can Button 60
- The Deck Button 62
- Audio Tool 64
- Passthrough Mix tool 64
- Audio Project Settings 67
- Setting Audio Input Levels 68
- Choosing Recording Tracks 70
- Naming and Commenting Clips 71
- The Message Bar 72
- Choosing the Target Bin 73
- Selecting Media Resolution 73
- Selecting Target Drives 74
- DV Capture Offset 75
- Identifying the Source Tape 77
- Figure 2.31 Selecting a tape 78
- The Marks Registers 82
- Capture Keyboard Shortcuts 84
- DV Scene Extraction 85
- > DV Scene Extraction 86
- Logging with the Capture Tool 88
- Understanding Frame Code Mode 88
- Capturing with Mojo 94
- Opening the Capture Tool 96
- Adjusting Audio Levels 97
- Naming the Tape 98
- Setting Points 98
- Choosing a Drive 98
- Basic Editing 102
- How to Make Editing Fun 103
- 3: BASIC EDITING ■ 105
- A Quick Walk Around the GUI 106
- The Toolsets 108
- Basic Toolset 109
- Source/Record Editing Toolset 110
- Effects Editing Toolset 111
- Audio Editing Toolset 112
- Capture Toolset 112
- A Tour of the Interface 113
- Bins Tab 114
- Figure 3.11 Hamburger menu in 116
- Figure 3.14 Audio Project 118
- Settings window 118
- Figure 3.19 Desktop Play 120
- Delay Settings window 120
- ■ A TOUR OF THE INTERFACE 122
- Effects Tab 127
- Info Tab 128
- Clip Menu 129
- Mini-Timeline 130
- Source and Record Buttons 130
- Figure 3.44 Locator window 133
- Continues 134
- Timecode Registers 136
- Brief View 137
- Text View 137
- > Headings 138
- Script View 139
- The Timeline 140
- Audio Meters 145
- Prepping the Project 147
- Loading Clips 148
- Marking Clips 148
- Navigating through Media 150
- Making the Edit 151
- 1. Mark In Source 154
- 2. Mark Out Source 154
- 3. Mark In Record 154
- 4. Splice 154
- Source Track Panel 157
- I Want My Filmstrip! 159
- MONITORING 160
- SCRUBBING AUDIO 161
- Patching Tracks 162
- The Rules of Patching Tracks 163
- Sync Locks 163
- Figure 4.10 (left) Sync locks 164
- 3. The track is unlocked 165
- Adding Audio Tracks 166
- Deleting Tracks 167
- The Audio Tool 168
- Reset Peaks 169
- Set Reference Level 169
- Tone Media 170
- Bars and Tone Standards 171
- Figure 4.20 Bars and tone in 172
- Audio Settings 173
- Input Settings 173
- Output Settings 173
- Sampling Rates 174
- Lift/Overwrite Mode 175
- 2. Click the B shot 175
- ■ THE AUDIO TOOL 176
- 4: THE TIMELINE ■ 177
- Video Quality Previewing 178
- Timeline Scroll 179
- Other Options 181
- Timeline Settings menu 182
- Tutorial: Building a Timeline 184
- 3. Click the New Bins button 184
- Analog Scrub 186
- Moving a Segment 187
- Deleting Clips 188
- Trimming 190
- What Is Trimming? 191
- Trim Selection 192
- Figure 5.2 Trim mode 193
- Trim Loop 194
- A-Side Source Trimming 195
- B-Side Source Trimming 196
- Trimming Both Sides 196
- Trimming Methods 197
- Adding Rollers 198
- Button Trimming 198
- Trimming by Numerical Entry 199
- Trimming on the Fly 200
- J-K-L Trim (Xpress Pro Only) 200
- Figure 5.12 J-K-L Trim option 201
- Slipping 202
- Figure 5.13 Slipping 203
- Figure 5.16 Sliding 204
- More Trimming Considerations 205
- Adding Filler While Trimming 206
- Extend Function 206
- Maintaining Sync 207
- Tutorial: Trimming Sequences 209
- 1. Take a deep breath 209
- Sync Breaks 210
- Trimming Using Rollers 210
- Trimming Using Digital Scrub 211
- Using the Trim Buttons 211
- Importing, Exporting 212
- Still Graphics 213
- Frame Size 214
- ×486; that 214
- ×480. Digital video (DV) 215
- Pixel Aspect 216
- Figure 6.4 Small image 217
- Color Levels and Color Space 218
- Field Ordering 219
- ■ STILL GRAPHICS 220
- Alpha Channel 221
- Importing Graphic Files 222
- Single Frame Import Duration 223
- Importing Audio from a CD 227
- Importing QuickTime Files 228
- Exporting 229
- Macintosh Image 230
- Windows Image 230
- Creating Your Own Settings 231
- Graphic Exports 231
- Single-Frame Graphic Exports 232
- Exporting Audio Files 233
- Figure 6.15 Audio sampling 234
- Two Types of QuickTime Movies 235
- ■ EXPORTING 236
- Using and Copying Codecs 237
- Exporting Sequences 238
- Saving the Export Settings 239
- Drag-and-Drop Exporting 239
- Exporting QuickTime Movies 240
- Audio Codecs 242
- Other Movie Exports 243
- Exporting OMFI Files 244
- Exporting AAF Files 244
- Digital Cut 246
- Editing Bars and Tone 247
- Adding the Slate 248
- Rendering Effects 249
- Convert Audio Sample Rates 249
- Look Busy! 250
- Assemble Edit 251
- Crash Recording 251
- Configure the Record Deck 252
- Figure 6.25 Selecting a deck 253
- Deleting Deck Configurations 254
- ■ DIGITAL CUT 256
- Figure 6.30 Selecting a 257
- Digital Cut with Mojo 258
- Tutorial: Import and Export 259
- 3. Select Create Tone Media 259
- Adding Bars 260
- Adding a Slate 261
- Render Effects 262
- Rendering with Mojo 263
- Converting Audio Sample Rates 264
- Calibrating for Output 264
- Effects and Transitions 266
- Motion Effects 267
- Motion Effects Interpolation 268
- Freeze Frames 269
- Standard Motion Effects 270
- Object and Alignment Menus 271
- Title Tool GUI 272
- Figure 7.7 Customizing 273
- Figure 7.6 Title styles tear 273
- Figure 7.9 Jaggy fonts 274
- Figure 7.8 Color 274
- 7: EFFECTS AND TRANSITIONS ■ 275
- ■ TITLES 276
- Palette Effects 277
- Applying Effects 278
- Removing Effects 278
- Real-Time Playback of Effects 278
- Transition Effects 279
- ■ PALETTE EFFECTS 280
- The Effect Editor 281
- Adjusting Parameters 282
- BORDER COLOR 283
- BORDER BLEND COLOR 283
- Acceleration 284
- Background 285
- Saving Effect Templates 287
- Timecode Navigation 288
- Editing with Keyframes 289
- Adding a Keyframe 290
- Selecting Multiple Keyframes 290
- Deleting a Keyframe 290
- Moving Keyframes 291
- ■ EDITING WITH KEYFRAMES 292
- Building Vertical Effects 293
- Real-Time Effect Playback 294
- The Laws of Rendering 296
- Submaster Effect 297
- Step Nesting 299
- Expansion Nesting 300
- Nesting Order and Autonesting 302
- Autonesting 302
- Effect Priority 302
- 3D Warp (Xpress Pro) 303
- Experimenting with Effects 304
- What’s New in 306
- Xpress Pro HD 306
- HD output 307
- New Resolutions 309
- AVX 2.0 Support 311
- Marquee Titles 311
- Film Enhancements 311
- Glossary 312
- GLOSSARY ■ 313
- ■ GLOSSARY 314
- INDEX ■ 341
- 54–55, 55 348
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