Media Composer® and Film Composer - Avidresources.avid.com/SupportFiles/attach/MC_RN_10_0_Mac.pdfNew File Extension for PICT Files. . . . . . . . . . . . . . . . . . . . . . .

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a

Important Information

Avid recommends that you read all the information in these release notes thoroughly before installing or using any new software release.

The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in this documentation.

c Only Mac® OS 9.0.4 is supported at this time. If you do not have Mac OS 9.0.4 on your system, you must install it. A copy of Mac OS 9.0.4 is included with your Media Composer or Film Composer system. You should reinstall Media Composer or Film Composer after updating to Mac OS 9.0.4.

c Media Composer and Film Composer require 384 MB of built-in RAM (random-access memory). Your system must have the required amount of RAM before you install Media Composer or Film Composer. New memory kits are available from Avid for updating your existing RAM configuration. For details, contact your Avid sales representative.

Media Composer® and

Film Composer®

Release 10.0 Release Notesfor the Macintosh® Operating System

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Contents

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6New Features in Release 10.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Installation Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25About the USB Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Connecting the USB-to-MIDI Converter . . . . . . . . . . . . . . . . . . . 27Connecting the Avid Application Key (Dongle). . . . . . . . . . . . . 27About the Two-Button Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27USB Mouse Not Responding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Changing USB Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Hardware and Software Requirements . . . . . . . . . . . . . . . . . . . . . . . . 28Qualified Platforms for Release 10.0. . . . . . . . . . . . . . . . . . . . . . . 29Built-in RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Changing the Memory Allocated to the Application. . . . . . . . . 32Troubleshooting Memory Allocation Problems . . . . . . . . . . . . . 33Required Libraries and Extensions . . . . . . . . . . . . . . . . . . . . . . . . 34PCI Board Revision History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Using Avid System Test Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Using the Macintosh Operating System . . . . . . . . . . . . . . . . . . . . . . . 39Verifying the Macintosh Operating System Version . . . . . . . . . 39Obtaining the Macintosh Operating System. . . . . . . . . . . . . . . . 39Guidelines for Installing the Macintosh Operating System . . 40Guidelines for Using Mac OS 9.x . . . . . . . . . . . . . . . . . . . . . . . . . 40Choosing the Avid Drive and Restarting . . . . . . . . . . . . . . . . . . . 43

Installing Software Drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43USB-to-MIDI Software Installation . . . . . . . . . . . . . . . . . . . . . . . 44

Installing or Upgrading Media Composer or Film Composer

and EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Checking Virtual Memory and Cache Size . . . . . . . . . . . . . . . . . 48Disabling Hard Disk Sleep Mode . . . . . . . . . . . . . . . . . . . . . . . . . 48

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Preliminary Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Installation Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Custom Installations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Running the Updater for the SCSI Board . . . . . . . . . . . . . . . . . . 55Updating the Video I/O Firmware . . . . . . . . . . . . . . . . . . . . . . . . . 57Updating Your Application Key (Dongle) . . . . . . . . . . . . . . . . . . 58Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Software Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Downloading Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . 61

Installing FilmScribe and MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . 62Special Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Warning Regarding Your Application Key . . . . . . . . . . . . . . . . . 63Support for AvidNet and Avid TransferManager in an

Avid Unity Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Audio Hardware Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64MPEG-2 and DVD Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66MediaDock LVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Optimize for Batch Speed Option . . . . . . . . . . . . . . . . . . . . . . . . . 66Keyboard Shortcut for Saving Titles. . . . . . . . . . . . . . . . . . . . . . . 67Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Supported Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67AVX Plug-ins and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68MultiCamera Edit Mode Playback . . . . . . . . . . . . . . . . . . . . . . . . 68Importing QuickTime Files Created with an Avid Codec . . . . 68Striping Fibre Channel Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Fibre Channel Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Using FilmScribe or EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . 70Changes to the Timing of Video Signals . . . . . . . . . . . . . . . . . . . 71Black Levels When Outputting SDI from NTSC Input . . . . . . 73Changes in Output Blanking in SDI Format . . . . . . . . . . . . . . . . 74New File Extension for PICT Files. . . . . . . . . . . . . . . . . . . . . . . . . 76Setting Up the Edit Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Review and Approval Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

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Opening Review and Approval Files . . . . . . . . . . . . . . . . . . . . . . 78Displaying Locator Creation Information in the

Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Drive Striping Configurations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Obtaining the Latest Drive Striping Configurations . . . . . . . . . 86List of Effects for Media Composer and Film Composer Models . 87Compatibility with Avid Video-Based Editing Products . . . . . . . . . 96Documentation Changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Changing the Representative Frame for a Take . . . . . . . . . . . . . 96Change Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Returning to Previous Place in the Select Tape Dialog Box . . . 97Naming a New Tape from the Keyboard . . . . . . . . . . . . . . . . . . . 97Controlling a Freeze Frame with a Single Button or Key . . . . . 98Monitoring Previously Recorded Tracks While Recording a

Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Change for Goodies.html File . . . . . . . . . . . . . . . . . . . . . . . . . . . 100MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Installing the 24p and 25p Tutorial Files . . . . . . . . . . . . . . . . . . 101Screen Resolution for Imported Graphics and Sequences . . . 102

Sharing Bins and Projects on Avid Unity MediaNet. . . . . . . . . . . . 104Mapping Workspaces on the Avid Unity Network . . . . . . . . . 105Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Hardware and Software Limitations . . . . . . . . . . . . . . . . . . . . . . . . . 112Limitation When Using Consumer Decks or Decks

Without Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . 112Avid/Mezzo Archiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Unrendered 3D Effects with Drop Shadow . . . . . . . . . . . . . . . . 113Multiformat Titles Must Be Real-Time DSK . . . . . . . . . . . . . . . 114

Fixed Bugs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Known Bugs and Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

24p and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

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Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Compatibility with Other Products and Releases . . . . . . . . . . 118Consolidating. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132StorEx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Workgroups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Technical Support Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

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Symbols and Conventions

These release notes use the following special symbols and conventions:

In this document, Avid drive refers to the Macintosh system’s internal hard drive. Apple Computer, Inc. names the internal hard drive Macintosh HD. Depending on your system’s setup, the internal hard drive might have a different name.

Look here in the margin for tips.

In the margin, you will find tips that help you perform tasks more easily and efficiently.

✔ A check mark indicates a bug that has been fixed.

✘ An X indicates a known bug or limitation. Where appropriate, a workaround is provided.

n A note provides important related information, reminders, recommendations, and strong suggestions.

c A caution means that a specific action you take could cause harm to your computer or cause you to lose data.

The k symbol refers to the Apple or Command key. Press and hold the Command key and another key to perform the keyboard equivalent.

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New Features in Release 10.0

Table 1 through Table 12 list the new features available in this release. The following manuals are abbreviated in the tables:

• Avid Media Composer and Film Composer Input and Output Guide

• Avid Media Composer and Film Composer Effects Guide

• Avid Media Composer and Film Composer Editing Guide

Table 1 24-fps Progressive Media Features

Feature Description For More Information

24-fps progressive media This release introduces 24-fps progressive (24p) media. Working in 24p simplifies digital editing of film or other 24-fps-originated content, such as HDTV video that has been downconverted to ITU-R 601 digital video.

See “About 24p Media” in the “Planning a Project” chapter of the input and output guide.

Film-tape-film-tape (FTFT) feature

The film-tape-film-tape (FTFT) feature lets you re-create an offline, film-originated sequence as a final finished sequence by using the key numbers of the original film footage.

See the “Film-to-Tape Transfer Methods” chapter of the input and output guide.

Multiformat output When you are working in a 24p project, you can output multiple formats for NTSC video, PAL video, and audio, all from the same 24p media.

See “24-fps Film Source, SDTV Transfer, Multiformat Output” in the “Planning a Project” chapter of the input and output guide.

Output options for 24p projects

There are new output options for 24p projects.

See “Choosing Output Formats for 24p and 25p Projects” in the “Generating Output” chapter of the input and output guide.

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Performing an insert edit with pulldown

If you are working in an NTSC 24p project, and you need to insert a segment into a sequence that has already been cut to tape, the Avid system automatically adjusts the insert edit to maintain the correct pulldown.

See “Performing an Insert Edit with Pulldown” in the “Generating Output” chapter of the input and output guide.

Table 1 24-fps Progressive Media Features (Continued)


Table 2 25-fps Progressive Media Features


25-fps progressive media

This release introduces 25-fps progressive (25p) media. Working in 25p simplifies digital editing of film or other 25-fps-originated content, such as HDTV video that has been downconverted to ITU-R 601 digital video.

See “About 25p Media” in the “Planning a Project” chapter of the input and output guide.

Multiformat output When you are working in a 25p project, you can output multiple formats for NTSC video, PAL video, and audio, all from the same 25p media.

See “25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output” in the “Planning a Project” chapter of the input and output guide.

Output options for 25p projects

There are new output options for 25p projects.

See “Choosing Output Formats for 24p and 25p Projects” in the “Generating Output” chapter of the input and output guide.

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Table 3 Audio Features


Audio Loop Play button

An Audio Loop Play button has been added to the Audio Mix, Automation Gain, Audio EQ, and Audio Punch-in tools, and AudioSuite™ Plug-ins windows.

See “Adjusting Volume While Playing an Audio Mix Effect” in the “Working with Audio” chapter of the editing guide.

Resizable Audio Mix tool and Audio Gain Automation tool

You can resize the Audio Mix and Audio Gain Automation tools.

See “Resizing the Audio Mix Tool” and “About the Automation Gain Tool” in the “Working with Audio” chapter of the editing guide.

Audio Mix tool change The Render Effects button has been added to the Audio Mix tool.

See “Rendering an Audio Effect” in the “Working with Audio” chapter of the editing guide.

Audio Project settings You can set options on a per-project basis. See “Adjusting Audio Project Settings” in the “Preparing to Digitize” chapter of the input and output guide.

Audio Punch-In tool enhancement

You can monitor all previously recorded audio tracks at once during an Audio Punch-In tool session.

See “Monitoring Previously Recorded Tracks While Recording a Voice-Over Narration” on page 99 of these release notes.

Audio sample rate conversion options

Audio Sample Rate Conversion options have been added to the Audio Projects Settings dialog box.

See “Adjusting Audio Project Settings” in the ”Preparing to Digitize” chapter of the input and output guide.

AudioSuite plug-in changes

Working with AudioSuite plug-ins that support stereo processing is now more straightforward. You can now render or remove AudioSuite plug-ins from all tracks. You can also create custom templates for AudioSuite plug-ins.

See “Digidesign AudioSuite Plug-Ins” in the “Working with Audio” chapter of the editing guide.

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Automation gain and Clip gain changes

Automation gain and Clip gain are now additive.

See “Automation Gain Values and System Clip Gain Values” in the “Working with Audio” chapter of the editing guide.

Default audio calibration setting

The default audio calibration setting for 8-channel audio devices is now –20 dB.

See “Calibrating the Eight-Channel Audio I/O Device” in the ”Preparing to Digitize” chapter of the input and output guide

Modify default audio hardware setting

You can change the default audio hardware setting to –14 dBFS, –18 dBFS, or –20 dBFS.

See the “Calibrating the Eight-Channel Audio I/O Device” in the “Preparing to Digitize” chapter of the input and output guide.

Off-speed play monitors Offspeed play monitors are now gold and not green.

See “Monitoring Audio” in the “Using the Timeline” chapter of the editing guide.

Project settings Output settings are now Project settings. See “Adjusting Audio Project Settings” and “Using the Audio Tool” in the ”Preparing to Digitize” chapter of the input and output guide.

Remove Pan feature added

The Remove Pan feature has been added to the Audio Mix and Automation Gain Fast menus.

See “Adjusting One Audio Track at a Time” and “Automation Gain Tool Fast Menu” in the “Working with Audio” chapter of the editing guide.

Soloing audio tracks You can solo multiple audio tracks in the Timeline.

See “Soloing Audio Tracks in the Timeline” in the “Using the Timeline” chapter of the editing guide.

Table 3 Audio Features (Continued)


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Table 4 Digital Cut Features


Previewing a digital cut You can now preview your digital cut in Remote mode as well as Local mode before actually making the cut.

See “Previewing a Digital Cut” in the “Generating Output” chapter of the input and output guide.

Transferring media to and from a video server

You can transfer media to and from a video server through audio, video, and serial RS-422 connections.

See “Transferring Media to and from a Video Server” in the “Exporting and Exchanging Information” chapter of the input and output guide.

Table 5 Digitizing Features


Adding locators while digitizing

You can now add locators while you digitize. When the Digitize tool is active, eight colored locators are mapped to Function keys on the keyboard.

See “Adding Locators On-the-Fly” in the “Digitizing” chapter of the input and output guide.

Controlling decks from the keyboard

You can use the J-K-L keys to control a deck from the Digitize tool, the Digital Cut tool, and the Deck Controller window.

See “Controlling Decks from the Keyboard” in the “Digitizing” chapter of the input and output guide.

Digitize tool changes New items include the Video and Audio pop-up menu and the Color/Monochrome Selection button.

See “Methods for Setting the Video and Audio Input” and “Choosing Color or Monochrome in the Digitize Tool” in the “Preparing to Digitize” chapter of the input and output guide.

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Digitizing to the Timeline with handles

You can digitize footage directly from tape to a sequence loaded in the Timeline with handles in one step.

See “Digitizing to the Timeline” in the “Digitizing” chapter of the input and output guide.

Digitizing with external timecode

You can use the Toggle Source button in the Digitize tool to access the External Timecode icon. Choose LTC Input from the TC Source pop-up menu.

See “Digitizing with External Timecode” in the “Digitizing” chapter of the input and output guide.

Ejecting tapes after batch digitizing

You can select “Eject tape when finished” in the Batch tab of the Digitize Settings dialog box.

See Table 5-3 “Digitize Settings — Batch Tab” in the “Digitizing” chapter of the input and output guide.

Ejecting tapes with a button or key

You can use the Command palette to map the Eject button to any button in the Tool palette or any key on the keyboard.

See “Activating Commands from the Command Palette” in the “Using Basic Tools” chapter of the editing guide.

Naming a new tape while digitizing

You can name a new tape from the keyboard while in Digitize mode.

See “Naming a New Tape from the Keyboard” on page 97 of these release notes.

New digitize settings The following options are included in the Edit tab of the Digitize Settings dialog box:

• Enable Edit to Timeline

• Handles

See “Digitizing to the Timeline” in the “Digitizing” chapter of the input and output guide.

New general Digitize settings options

The new options are “Stop deck after digitize,” “Pause deck after digitize,” “Force unique clip name,” “Activate bin window after digitizing,” “Space Bar Stops Digitize,” and “Ask for name when a new tape is seen.”

See Table 4-1 “Digitize Settings — General Tab” in the “Preparing to Digitize” chapter of the input and output guide.

Table 5 Digitizing Features (Continued)


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Returning to previous place in the Select Tape dialog box

If you leave the Select Tape dialog box and reenter it, you now return to your previous location in the list of tape names.

See “Returning to Previous Place in the Select Tape Dialog Box” on page 97 of these release notes.

Rewinding tapes when finished

You can now select a setting to automatically rewind tapes after batch digitizing is finished.

See Table 5-3 “Digitize Settings — Batch Tab” in the “Digitizing” chapter of the input and output guide.

Table 5 Digitizing Features (Continued)


Table 6 Editing Features


Archiving and restoring media files using videotapes

You can archive to videotape the source media associated with sequences, master clips, subclips, and group clips.

See “Archiving and Restoring Media Files Using Videotapes” in the “Managing Media Files” chapter of the editing guide.

Bin editing directly into a sequence

The new Bin option “Enable edit from bin (Splice, Overwrite)” allows you to bypass the process of loading clips into the Source monitor, setting marks, and clicking the Splice-in button or the Overwrite button.

See “Bin Settings” in the “Working with the Project Window” chapter of the editing guide.

Changing the start timecode for sequences

You can now change the start time of a sequence that has already been created, directly in a bin.

See “Changing the Sequence Name and Timecode” in the “Editing in Source/Record Mode” chapter of the editing guide.

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Configuring a controller Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage. Avid supports two types of controllers:

• JL Cooper Media Control Station3 (MCS3)

• Avid controller

See “Configuring a Controller” in the “Using Basic Tools” chapter of the editing guide.

Connecting to the Avid Production Network™ Web site

You can access AvidProNet™ from the Help menu. The Avid Production Network (AvidProNet.com™) Web site is a Web community site designed for professionals in the media creation business.

See “Accessing Information from the Help Menu” in the “Starting a Work Session” chapter in the editing guide.

External fader boxes for recording audio gain information

This release adds support for the Yamaha® 01V digital mixing console.

See “Using an External Fader Controller or Mixer to Adjust Volume” in the “Working with Audio” chapter of the editing guide.

Interrupting Render On-the-Fly

Dragging through the Timeline doesn’t render non-real-time effects on-the-fly until you release the mouse button.

See “Interrupting Render On-the-Fly” in the “Preparing to Work with Effects” chapter of the Effects guide.

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 Hole

• Find Flash Frames

See “Finding Black Holes and Flash Frames” in the “Using the Timeline” chapter of the editing guide.

Table 6 Editing Features (Continued)


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Go to Previous Locator and Go to Next Locator buttons

The Command palette contains these two new buttons.

See “Moving to the Previous or Next Locator” in the “Viewing and Marking Footage” chapter of the editing guide.

Locators The Locators window has been redesigned to show both the locators and the text for the locators.

See “Using the Locators Windows” in the “Viewing and Marking Footage” chapter in the editing guide.

LTC Output The LTC OUT connector on the Meridien™ I/O box provides SMPTE or EBU timecode that you can use as a sync source.

See “Establishing Sync for Output” in the “Generating Output” chapter of the input and output guide.

Media Creation Settings dialog box

The Media Creation Settings dialog box allows you to set the video resolution and to select drives for digitizing, creating titles, importing, and performing audio and video mixdowns. This dialog box replaces the Compression tool.

See “Media Creation Settings” in the “Preparing to Digitize” chapter of the input and output guide.

MultiCamera editing The MultiCamera editing tools allow you to incorporate multiple camera angle sources into the nonlinear editing process.

See Chapter 6, “Multicamera Planning and Digitizing,” in the input and output guide.

Navigating in dialog boxes and menus

You can now use the space bar and the Page Up, Page Down, Tab, Right Arrow, Left Arrow, Up Arrow, and Down Arrow keys on the keyboard to navigate in many dialog boxes and menus and to select and deselect options.

See “Exploring Dialog Boxes and Menus” in the “Using Basic Tools” chapter of the editing guide.



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Performing a quick edit using the Top and Tail commands

The Top and Tail commands allow you to perform quick edits to segments in the Timeline. The Top button and the Tail button appear in the Edit tab of the Command palette.

See “Performing a Quick Edit Using the Top and Tail Commands” in the “Using the Timeline” chapter of the editing guide.

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 highlights in white. This reminds you to turn off the Play Length function before an important play and review session.

See “Playing a Limited Duration of a Sequence” in the “Editing in Source/Record Mode” chapter of the editing guide.

Playing selected clips in a loop

You can view several clips one after another in a continuous loop by selecting the clips in the bin and then choosing Loop Selected Clips from the Bin Fast menu.

See “Playing Selected Clips in a Loop” in the “Viewing and Marking Footage” chapter of the editing guide.

Reviewing an edit The Edit Review command allows you to review an edit or other change that you have just made to a transition. You can set how far the position indicator backs up in the Pre-roll option in the Trim Settings dialog box. The Edit Review button appears in the Play tab of the Command palette.

See “Reviewing an Edit” in the “Working in Trim Mode” chapter of the editing guide.

Selecting a bin for video mixdown

You can now select a bin for video mixdown rather than having the mixdown automatically assigned to the sequence bin.

See “Mixing Down Video Tracks” in the “Exporting and Exchanging Material” chapter of the input and output guide.

Serial (COM) Ports tool The Serial (COM) Ports tool has been redesigned. It allows you to view and assign serial ports for the following peripheral devices: VTR Emulation, Controller, and Deck Control.

See “Using the Serial (COM) Ports Tool” in the “Using Basic Tools” chapter of the editing guide.



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Showing locators in the Timeline

When you add locators to a sequence, the locators are displayed in the Timeline. You can modify which locators are displayed in the Timeline by choosing Show Locators from the Timeline Fast menu.

See “Showing Locators in the Timeline” in the “Using the Timeline” chapter of the editing guide.

Start Filler Duration option

This is a new option in the Edit tab of the Timeline Settings dialog box, which can be accessed from the Settings scroll list.

See “Adding Filler” in the “Editing in Source/Record Mode” chapter of the editing guide.

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. If you want to set only the trim rollers on the video tracks, press the Option key and click either the A-side or the B-side. The trim rollers appear only on the video tracks of the selected side.

See “Selecting Video Tracks in Trim Mode” in the “Working in Trim Mode” chapter of the editing guide.

Undo Only Record Events

The Undo Only Record Events option, available in the Edit tab of the Composer Settings dialog box, limits the undo to only record actions.

See “Undoing or Redoing Edits” in the “Editing in Source/Record Mode” chapter of the editing guide.



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Table 7 EDL Manager Features


EDL Manager determines standard when opening a file

If you open an OMFI file or a file from a bin, EDL Manager automatically determines whether the EDL you are generating should be NTSC, PAL Video, or PAL Film 1 or 2. However, if you open an EDL other than from an OMFI file or file from a bin, you must select a standard suboption.

See “Setting Up Standards“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

Finding the timecode field where an edit occurred

While field dominance is generally consistent for video-originated material, the pulldown of the film transfer determines field dominance for 24p material. This field information, which is important for color correction of 24p material, is indicated in the timecode display.

See “Finding the Field Where an Edit Occurred” in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

New edit controller formats

There are five new edit controller formats: CMX_DigitalCut, MCX_Pulldown, Sony_DigitalCut, Sony_Pulldown, Sony Transfer. Each has four audio channels.

See “Selecting an Edit Controller Format“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

New mode for sorting the order of events

The new mode, C (SourceStart, Source IN), sorts by Source IN timecode, then by individual source reel.

See “Sorting the Order of Events“ in the “Customizing EDLs chapter” of the Avid EDL Manager User’s Guide.

Locator text preserved as comments in the EDL

Text added to a locator during editing can be converted to comments when you create an EDL.

See “Showing or Hiding Comments and Other Information“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

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New source and output timecodes

The new source timecode is 30 TC. The new output timecodes are 30D (30 fps drop frame) and 30ND (30 fps non-drop frame).

See “Adjusting the Source and Output Timecodes“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

Options in the Site Settings dialog box

You can change serial transmission, list font, and printer font options in the Site Settings dialog box.

See “Changing Options in the Site Settings Dialog Box“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

Setting the pulldown start frame

The Pulldown Start Frame area of the Options window, used with 24p projects, allows you to choose the start frame for your generated EDL.

See “Setting the Pulldown Start Frame“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

Setting the tapename truncation

The Tapename Truncation area of the Options window allows you to determine which part of the tapename you want to save.

See “Setting the Tapename Truncation“ in the “Customizing EDLs” chapter of the Avid EDL Manager User’s Guide.

Table 7 EDL Manager Features (Continued)


Table 8 Effects Features


Multiformat titles You can generate multiple formats for titles in a 24p or 25p project.

See “Working with Titles on Systems with 24p or 25p Support” in the “Creating Titles and Graphic Objects” chapter of the effects guide.

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3D effect parameter: Defocus

Defocus now provides four options in addition to the standard Internal Defocus parameter. FG Only, Key Only, FG and Key, and KeyBlur provide enhanced defocus capabilities.

See “Defocus” in the “3D Effects Reference” chapter of the effects guide.

3D effect parameter: Scaling

The Scaling parameter category now includes a Fixed Aspect button. The Scaling parameters allow you to adjust the size of the image or effect.

See “Scaling” in the “3D Effects Reference” chapter of the effects guide.

Controlling a freeze frame with a single button or key

The Freeze Frame command now allows users who have mapped it to a button or key to be able to quickly call up the exact same type of freeze frame every time.

See “Controlling a Freeze Frame with a Single Button or Key” on page 98 of these release notes.

Deleting and revealing effect clip and motion effect media

You can now delete imported media effect clip (titles and matte keys) media and motion effect media from the Delete dialog box instead of having to go into the Media tool. You can also now reveal effect clip media and motion effect media.

See “Deleting Effect Media Files from a Bin” and “Revealing Effect Media Files” in the “Customizing Effects in Effect Mode” chapter of the effects guide.

Motion effect options The motion effect has a new option, VTR-Style, for rendering effects with two-field media.

See “Creating a Variable Speed Effect” in the “Basics of Effects Editing” chapter of the effects guide.

Nesting depth displayed

The system displays the nesting depth in the Timecode track. Nesting controls can be mapped to the keyboard.

See the “Expanding Nested Effects in the Timeline” in the “Creating Layered and Nested Effects” chapter of the effects guide.

Quick Dissolve dialog box enhancement

The Quick Dissolve dialog box has a new graphic representation of the media available for the effect. You can manipulate the graphic representation directly to make changes to the Dissolve effect parameters.

See “Using the Add Dissolve Button” in the “Basics of Effects Editing” chapter of the effects guide.

Table 8 Effects Features (Continued)


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Real-time moving mattes

If you import a moving matte as a 32-bit QuickTime™ file or a graphic sequence, the Avid system will play the matte in real time.

See “About Real-Time Moving Mattes” in the “Creating Layered and Nested Effects” chapter of the effects guide.

Reformat effects (including Pan and Scan)

The Pan and Scan effect is now in the Reformat category, with three new effects for conforming media of different aspect ratios. Reformat effects allow you to reformat media to different aspect ratios. Pan and Scan allows you to select a portion of the media to reformat and provides other parameters.

See “Using the Reformat Effects and the Pan and Scan Effect” in the “Creating Layered and Nested Effects” chapter of the effects guide.

Render Ranges for Partial Render

You can save a partial render if you decide to cancel a render before the effect is finished.

See “Saving a Partially Completed Render” in the “Customizing Effects in Effect Mode” chapter of the effects guide.

Scratch removal Scratch removal allows you to paint with a section from an earlier or later frame or field to cover a scratch.

See “Scratch Removal” in the “Intraframe Editing” chapter of the effects guide.

Title templates Title templates let you create a standard format for text and graphics that you use regularly. The template prevents you from changing the position, colors, shadows, or graphics, which ensures consistency.

See “Creating and Using Title Templates” in the “Creating Titles and Graphic Objects” chapter of the effects guide.

Table 8 Effects Features (Continued)


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Table 9 Export Features


AAF export Your Avid system now supports AAF export.

See “Exporting as an AAF File” in the “Exporting and Exchanging Material” chapter of the input and output guide.

AvidLinks Export to other Avid applications has been streamlined by AvidLinks, which can be accessed from the File menu.

See “Using AvidLinks” in the “Exporting and Exchanging Material” chapter of the input and output guide.

Export workflow enhancements

The Export workflow has been simplified and the number of dialog boxes a user encounters during export has been reduced.

See “Exporting Frames, Clips, or Sequences” in the “Exporting and Exchanging Material” chapter of the input and output guide.

Media Cleaner® link Your Avid system links to Media Cleaner to turn clips and sequences into streaming files.

See “Using Media Cleaner” in the “Exporting and Exchanging Material” chapter of the input and output guide.

OMM Settings dialog box enhancements

The OMM Settings dialog box has been enhanced.

See “Using OMM to Export Clips” in the “Exporting and Exchanging Material” chapter of the input and output guide.

QuickTime™ reference movie export

You can now export your media as a QuickTime reference movie.

See “Exporting QuickTime Reference Movies” in the “Exporting and Exchanging Material” chapter of the input and output guide.

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Table 10 FilmScribe Features


Formatting and editing lists

The List window functions as a basic text editor. You can edit and format your lists in a variety of ways to customize them for your particular needs. You can add comments; cut, copy, and paste material; or use typographical distinctions (font type or style, text size, or color) to highlight parts of the list.

See “Editing and Formatting Lists“ in the “Working with FilmScribe” chapter of the Avid FilmScribe User’s Guide.

New assemble list options

The new assemble list option, “Last frame of action,” determines the duration of a sequence at the last frame that is part of the sequence, minus the length of the head or tail. Select the option and enter the length of the head or tail.

See Table 3-3 in the “Film List Options” chapter of the Avid FilmScribe User’s Guide.

New templates in Cut List tool and Change List tool global options

New templates for controlling the appearance and format of all generated lists are available in the Template list in the Global Options area of the Cut List tool and Change List tool.

See “Cut List Global Options“ in “Film List Options” chapter of the Avid FilmScribe User’s Guide.

New timecode options New timecode options for 24p and 25p projects are available in the Cut List and Change List tools. The new options are 24 TC, 25P TC, 25 TC, and 30 TC.

See Table 3-2 in the “Film List Options” chapter of the Avid FilmScribe User’s Guide.

QuickTime movie support

If the sequence with which you are working is available to FilmScribe™ as a QuickTime movie, and you select the Frame Images option in the Global Options area of the Cut List tool or Change List tool, the list that you generate includes a thumbnail image of the head frame for each event in the list.

See “Cut List Global Options“ in the “Film List Options” chapter of the Avid FilmScribe User’s Guide.

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Table 11 Import Features


AAF import Your Avid system now supports AAF import.

See “Importing AAF Files” in the “Importing Files” chapter of the input and output guide.

Changes to Import Settings dialog box

The Import Settings dialog box is now divided into three tabbed sections: Image, OMFI, and Shot Log.

See “Import Settings Options” in the “Importing Files” chapter of the input and output guide.

Changes to OMM Settings dialog box

The OMM Settings dialog box has been enhanced.

See “Specifying OMM Settings in the “Importing Files” chapter of the input and output guide.

Changes to the Select Files to Import dialog box and the Batch Import dialog box

The Select Files to Import dialog box and the Batch Import dialog box have been enhanced. These changes include the new Single/Dual Drives button, which allows you to store audio and video media on a single drive or on two separate drives.

See “Importing Files” and “The Batch Import Dialog Box” in the “Importing Files” chapter of the input and output guide.

Table 12 Media Management Feature


Refresh Media Directories command

This command (accessed from the File menu) instructs the system to reexamine all the media databases on the system.

See “Refreshing Media Databases” in the “Managing Media Files” chapter of the editing guide.

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Installation Check List

This check list covers the major steps required to install the Media Composer or Film Composer applications. For more detailed information about each step, see the section referenced in these release notes.

1. Read these release notes completely.

2. If you use AvidNet™ Transfer tool, see “Support for AvidNet and Avid TransferManager in an Avid Unity Environment” on page 63.

3. Check the configuration of the Universal Serial Bus (USB) devices; see “About the USB Devices” on page 26.

4. Turn on the system components as described in the Avid Composer Products Setup Guide, which is shipped with your Avid system.

5. Ensure the USB hub is turned on, if available.

6. Update the Avid application key, if necessary; see “Updating Your Application Key (Dongle)” on page 58.

7. Verify the version of the Macintosh operating system; see “Verifying the Macintosh Operating System Version” on page 39.

8. Check with your Avid Reseller to see if the Media Composer or Film Composer software is already installed.

9. For deck control and other peripheral devices, install any software drivers for the USB devices connected to the Avid system; see “Installing Software Drivers” on page 43.

10. Check the size of virtual memory and cache; see “Checking Virtual Memory and Cache Size” on page 48.

11. Disable hard disk sleep mode; see “Disabling Hard Disk Sleep Mode” on page 48.

12. Remove any prior release of Media Composer or Film Composer; see “Preliminary Information” on page 49.

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13. Install Media Composer or Film Composer; see “Installation Procedure” on page 50.

14. Update the code on the SCSI board; see “Running the Updater for the SCSI Board” on page 55.

15. If you are upgrading an existing system to the new release, you must update the video I/O firmware; see “Updating the Video I/O Firmware” on page 57.

16. If you are upgrading from a prior release of Media Composer, the audio calibration level of your hardware might not match the default value in Media Composer Release 10.0 or Film Composer Release 10.0. For information on changing the Avid application’s default audio hardware calibration for analog 0 Volume Unit (VU), see “Audio Hardware Calibration” on page 64.

About the USB Devices

The Avid Composer Products Setup Guide describes how to connect the USB devices. This section covers additional information about the USB devices.

n Because the keyboard is connected to the USB hub, you must turn on the USB hub before you can start the Macintosh system from the keyboard.

n The USB technology is rather new to the marketplace. While it offers some major benefits in terms of connectivity and choice of peripherals, Avid has experienced some intermittent problems with some USB devices. Avid is continuing to work with Apple® and a number of USB peripheral vendors to improve overall USB reliability.

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Connecting the USB-to-MIDI Converter

To reduce the traffic on the USB bus, connect the USB-to-MIDI converter (MIDISPORT converter) only if you plan to use one of the following devices to control audio gain automation on your Avid system:

• JL Cooper FaderMaster Pro™ MIDI automation controller

• JL Cooper MCS-3000X MIDI automation controller

• Yamaha 01V digital mixing console

If you plan to use any of these devices, see “Installing Software Drivers” on page 43.

Connecting the Avid Application Key (Dongle)

You need to connect the Avid application key (dongle) to a USB port on the USB hub.

For more information about the application key, see “Updating Your Application Key (Dongle)” on page 58 and “Warning Regarding Your Application Key” on page 63.

About the Two-Button Mouse

Your Avid system ships with a two-button USB mouse. This release does not support the right mouse button.

n Only Macally software drivers version 3.0 or later support shuttling and scrubbing with the mouse.

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USB Mouse Not Responding

If your Avid system is not used for a period of time (approximately 1 hour), the mouse might not respond when you move it. If this happens, disconnect the mouse cable from the keyboard and then reconnect it.

n You can perform this procedure with the Avid application open and the Macintosh system turned on.

Changing USB Devices

To change a USB device:

1. Quit the Avid application.

2. Change the USB device.

3. Restart the Macintosh system.

4. Start the Avid application.

Hardware and Software Requirements

The following sections provide information about qualified platforms, the Macintosh operating system, built-in RAM requirements, required libraries and extensions, Avid processor boards, and Avid System Test Pro.

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Qualified Platforms for Release 10.0

Mac OS 9.0.4 is required for all the platforms listed in Table 13. For more information, see “Verifying the Macintosh Operating System Version” on page 39.

c Other versions have not been tested and might cause problems.

c Make sure your drive has sufficient space. Otherwise, the Macintosh system might crash if you export files.

Table 13 Qualified Platforms for Release 10.0

Power Macintosh® with the Avid PCI Extender Processor Speed

G4 350 MHz, 400 MHz, 450 MHz, 500 MHz

G3 (blue and white)a 350 MHz, 400 MHz

G3 (beige)a 333 MHz

9600 a 350 MHz, 300 MHz, 233 MHz, or 200 MHz

a. These platforms only support Meridien™ I. Therefore, these platforms cannot support Film Composer (requires minimum of Meridien II) or Media Composer 9000 XL (requires minimum of Meridien III).

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Built-in RAM

Built-in RAM refers to the physical random-access memory installed in your Macintosh system. Media Composer and Film Composer Release 10.0 systems require 384 MB of built-in RAM.

Memory requirements vary, depending on your workflow and what applications you are running. Table 14 shows the minimum preferred memory for Media Composer and Film Composer along with other applications. Use this information as a guideline when determining your memory requirements.

Table 14 Minimum Preferred RAM Requirements

Installed Application Preferred Size

Mac OS 9.0.4a 57 MB

Media Composer or Film Composer 147 MB

Internet Explorer (Help System) 8 MB

Digidesign® Audio Engine (DAE ™)(for AudioSuite plug-ins)b

30 MB

AVX™ plug-ins 20 MB

EDL Manager 15 MB

FilmScribe 43 MB

Media Cleaner EZ 31 MB

Media Cleaner Pro 31 MB

a. Operating system memory allocation varies, depending on the applications you are running.

b. Your system is installed with DAE. If you do not plan to use AudioSuite plug-ins, you can disable DAE and use its memory allotment for another application.

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New memory kits are available from Avid for updating your existing RAM configurations. For details, contact your Avid sales representative.

Supported RAM Configurations

Avid recommends installing the same size and speed RAM from the same manufacturer in paired slots in all Power Macintosh 9600 CPUs.

Table 15 lists the supported RAM configurations.

Table 15 Supported RAM Configurations

Power Macintosh CPU G4 and CPU G3 (Blue and White)

Power Macintosh CPU G3 (Beige)

Power Macintosh CPU 9600

Type 168-pin, 8-ns PC-100 SDRAM

168-pin, 3.3-V, 10-ns SDRAM DIMMs

168-pin, 5-V, 70-ns or faster DRAM DIMMs

Banks 4 (G4)3 (G3 blue and white)

3 6

Modules/Bank 1 1 2

Built-in RAM 0 0 0

Standard Configuration 384 MB 384 MB 384 MB

Largest DIMM Size 256 MB 256 MB 32 MB

FPM NAa NAa Yes

EDO No No Yes

Mix FPM and EDO No No No

Parity NAa NAa NAa

Interleaving No No Yes — To take advantage of interleaving, you must have the same size and speed chip in paired banks.

a. NA = Not applicable

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Changing the Memory Allocated to the Application

When you install Media Composer or Film Composer, the “Minimum” default memory setting for the application is 66,743 KB. The “Preferred” default memory setting for the application is 147,935 KB.

You might need to increase the Preferred size if you are working on large projects.

If you increase the amount of memory allocated to the application, leave enough memory to run the Macintosh operating system and other applications, such as Help (through Internet Explorer) and EDL Manager. The operating system’s need for memory is dynamic; therefore, the operating system might require more memory when running certain processes.

To change the amount of memory allocated to the application:

1. Click the application icon to highlight it.

2. Choose Get Info from the File menu.

The Media Composer or Film Composer Info window opens.

Preferred size

Minimum size

Close box

Show pop-up menu

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3. Choose Memory from the Show pop-up menu.

The memory requirements appear.

4. Click the number in the Preferred Size text box.

5. Type the amount of memory you want to allocate to the Avid application.

n Do not set the preferred size to less than the minimum size.

6. Click the close box in the upper left corner to close the Media Composer or Film Composer Info window.

Troubleshooting Memory Allocation Problems

If you have problems starting or running the Avid application after adjusting the memory allocation, click the desktop and choose About This Computer from the Apple menu. About This Computer shows the total built-in memory installed in your system, how much memory the operating system currently is occupying, and the largest unused block.

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Depending upon the amount of free memory you have allocated to the Avid application, one of the following problems might occur when you start the application:

• A screen message warns you to close other applications to make more memory available. For more information on allocating memory to the application, see your Macintosh documentation.

• The application might not start and you might see an error message stating that the system was unable to load one of the required libraries. The error message indicates that not enough free memory is available to run the Avid application or that the required libraries are not installed in the system. For more information on allocating memory to the application, see your Macintosh documentation. For information on installing the required libraries, see “Required Libraries and Extensions” on page 34.

Required Libraries and Extensions

The libraries and extensions in this section must be installed on your Macintosh system for the Media Composer or Film Composer application to start.

The following libraries are installed automatically in the SupportingFiles/Libraries folder within your application folder during the Easy Install procedure:

• AVXLibrary

• DB Library

• GT Library

• HIIP® Library

• MT Library

• Universal

• coreLibrary

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• QAPSharedLibrary

• MSL_RuntimePPC++.DLL

The following files are installed automatically in the Extensions folder during the Easy Install procedure:

• Pinnacle libraries (You need the Pinnacle libraries even if you do not have the 3D Effects option.)

- PGENIE.NDR

- SVI.CF

• PIM3.slib

• TrilliumUtilities

• Avid Codec

• AvidDriverInit

• DigiSystem_INIT

• ExpressRAID

• E3ITF

• USB Sentinel®

If a library or extension is missing and you attempt to start the Avid application, an error message appears, stating that the required item is missing.

DigiSystem_INIT

The Avid system uses an extension called DigiSystem_INIT to process audio files. The installation software automatically installs the file in the Extensions folder inside the System folder. The installation software also installs a backup copy in the Backup System Files folder in the Utilities folder.

The Avid system requires a specific version of DigiSystem_INIT. The Avid system checks whether the correct version is present at startup. If

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the correct version is not present, the system displays a dialog box requesting that you locate and install the correct version.

The version for this release is 5.0.3.x13. To check the version, select the file and choose Get Info from the File menu.

To install the correct version of the DigiSystem_INIT file:

1. Locate the System folder on your Avid drive.

2. Open the System folder.

3. Open the Extensions folder.

4. Locate the DigiSystem_INIT file.

5. Check the version by selecting the file and by choosing Get Info from the File menu.

The correct version for this release is 5.0.3.x13:

t If you do not have the correct version, delete or move the file to another folder.

t If there are multiple versions of the file, delete or move the extra versions.

6. Locate the Utilities folder on your Avid drive.

7. Open the Utilities folder, and open the Backup System Files folder.

8. Copy the DigiSystem_INIT file from the Backup System Files folder to your Extensions folder.

9. Restart the computer.

The system will use the new version of the DigiSystem_INIT file.

PCI Board Revision History

Table 16 lists the minimum revision levels of PCI boards required to run your Media Composer or Film Composer system on the Macintosh system. To determine board revision levels, use

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Avid System Test Pro. For more information, see the Avid System Test Pro Setup and User’s Guide or the Avid System Test Pro Help.

Table 16 PCI Board Minimum Revision Levels

PCI Board on a Power Macintosh G3, G4, and 9600 System

Minimum Level for Release 10.0

Dual-channel SCSI LVD board (G4) D

UL3D card A

Keyspan SX Pro four-port serial board —

Meridien™ video I/O board E

Meridien serial digital video I/O board B

Meridien eight-channel audio interface board C

Meridien Genie 3D effects board A

Meridien 3D effects interface board C1

Meridien II 3D effects interface board (G4) A

Meridien III 3D effects interface board (G4) A

Meridien II 3D connector board (G4) A

Meridien 3D effects signal board A

Meridien 3D effects power board A

Meridien I digital media board C

Meridien II digital media board (G4) B

Fibre Channel FCE3210C controller board (standalone) A4

D

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Using Avid System Test Pro

Avid System Test Pro, located in the Utilities folder, allows you to view a profile of the Avid system configuration and to test system boards. Avid System Test Pro displays information about the operating system, mounted volumes, system extensions, control panels, and peripheral boards. For information on using this test, see the Avid System Test Pro Setup and User’s Guide or the Avid System Test Pro Help.

You can see a visual representation of drive space in the Hardware tool. Use Avid System Test Pro to view all other system information.

n The Avid System Utility is no longer part of the utilities applications. Board functions that it performed are now performed by Avid System Test Pro.

Fibre Channel FCE3210N controller board (standalone) A4

D

Fibre Channel controller board (standalone) A2 E

Meridien I display controller board (single) B

Meridien II display controller board (single) A

Meridien III display controller board (single) A

Table 16 PCI Board Minimum Revision Levels (Continued)

PCI Board on a Power Macintosh G3, G4, and 9600 System

Minimum Level for Release 10.0

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Using the Macintosh Operating System

This section explains how to verify, obtain, and install the Macintosh operating system. It also provides information on how the Media Composer or Film Composer application interacts with the Macintosh operating system.

Verifying the Macintosh Operating System Version

To find out if you have the correct version of the Macintosh operating system, go to the Finder™ and choose About This Computer from the Apple menu. Mac OS 9.0.4 should appear in the About This Computer window.

Obtaining the Macintosh Operating System

Release 10.0 of Media Composer and Release 10.0 of Film Composer are shipped with a separate Macintosh CD-ROM that contains the Macintosh operating system.

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Guidelines for Installing the Macintosh Operating System

Use the following guidelines for installing a new Macintosh operating system:

• Check the internal hard drive and repair any problems by using DiskWarrior® Version 2.0 or Apple Disk First Aid™. To use DiskWarrior Version 2.0 on your internal drive, you must first start your system from the Macintosh CD-ROM. DiskWarrior will not check the internal drive if you are booting from it.

c Failure to repair any problems found on the internal hard drive could result in a corrupt installation.

• Start the Macintosh system from the Macintosh CD-ROM and perform a clean system software installation by following the instructions provided in the user guide supplied with the Macintosh.

• Make sure the Destination Disk is the internal hard drive (usually named Avid).

n The Avid system does not support Norton Utilities®.

Guidelines for Using Mac OS 9.x

Several Mac OS 9.x features might interfere with your use of Media Composer or Film Composer. Avid recommends that you disable or customize the Mac OS 9.x features described in the following sections.

Index Volumes

The Index Volumes feature lets you search for files on your hard drive by content. To do this, Sherlock indexes the contents of your drive. The indexing feature can interfere with Media Composer or

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Film Composer operations such as digitizing. Avid recommends you either disable indexing or schedule it for times when the Avid system will not be in use.

To adjust the indexing schedule:

1. Choose Sherlock from the Apple menu.

2. Choose Index Volumes from the Find menu.

A dialog box appears.

3. Disable or schedule automatic indexing.

Software Update

Mac OS 9.x introduced a feature that enables you to update portions of your Macintosh operating system automatically over the Internet. Avid recommends disabling this feature because it might install software that has not yet been tested with your Avid software.

To disable this feature:

1. Open the Software Update control panel in your Control Panels folder.

2. Deselect the Update Software Automatically check box.

Customized Function Keys

Mac OS 9.x introduced a feature that lets you customize the keyboard function keys. However, if this feature is enabled, the function keys will not work properly in Media Composer or Film Composer if you have assigned Avid application commands to them. If you use the function keys to control Avid features, you should disable this feature.

To disable function keys:

1. Open the Keyboard control panel.

2. Click the Function Keys button.

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3. Deselect the “Use F1 through F15 as function keys” check box.

Multiple-Users Feature

If your Macintosh system is set up for multiple users, each user has an individual Startup Items folder. If you install the Avid application through the owner account, only the owner’s Startup folder will contain AVIDstartup. If a user logs in through a different account, the AVIDstartup application will not be started.

To solve this problem, copy the AVIDstartup application (or make an alias) to the user’s Startup Items folder. For example, if your user account is Smith:

1. Log in as owner.

2. Open the Users folder on your startup drive.

3. Open the Smith folder.

4. Copy the AVIDstartup application (or an alias) from the Startup Items folder in the System folder to the Startup Items folder in the Smith folder.

5. Log out and log in again as Smith.

6. The AVIDstartup application starts.

Keyspan SX Conflict

You might receive the following error message when starting the Avid application:

SX Pro printer port is in use by another application and cannot be used by deck control

The error is caused by a conflict between the Keyspan SX Pro four-port serial board and the default setting in the Keyspan SX control panel.

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To resolve the conflict:

1. Open the Keyspan SX Pro Manager in the Control Panels folder.

2. Click OK if you receive error messages.

3. Deselect the Emulate Printer Port check box for Port 1 (default setting).

4. Reboot your system.

Choosing the Avid Drive and Restarting

If you changed your startup disk to install the operating system, restart the Macintosh from the internal hard drive, using the following steps:

1. Choose Startup Disk from the Control Panels on the Apple menu.

2. Select the internal hard drive (usually the Avid drive).

n The internal hard drive might be named Macintosh HD.

3. Close the window and restart your Macintosh.

The system starts up from the Avid drive.

Installing Software Drivers

The software drivers for the serial board and USB devices ship separately from the Avid CD-ROM installer. If needed, you must install the serial board driver and USB device drivers before you install the Media Composer or Film Composer application.

Install the software drivers for the serial board and USB devices in the following order:

1. Serial board (Drivers are preinstalled by Avid or the Avid Reseller; reinstall only if you are rebuilding a system.)

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2. USB-to-MIDI connector (if needed)

The MIDISPORT connector is necessary if you will be using one of the following devices to control audio gain automation on your Avid system:

• JL Cooper FaderMaster Pro MIDI automation controller



If you plan to use any of these devices on a system that is running Mac OS 9.0.4, you must install and configure the Open Music System (OMS) Version 2.3.8 software. For installation instructions, see “USB-to-MIDI Software Installation” on page 44.

3. USB floppy drive

n The Avid Composer Products Setup Guide indicates that you should connect the USB devices before installing the device drivers. When you turn on the Avid system, you might receive an informational message stating that the software is not loaded for a specific USB device. To eliminate these messages, install the required USB software drivers and restart the Avid system.

n If you want to install the Macally mouse software drivers, you must install Version 3.0 or higher to shuttle or scrub with the mouse.

USB-to-MIDI Software Installation

The Avid Composer Products Setup Guide describes how to connect a fader controller to your Avid system. This section describes how to complete the connection by installing USB-to-MIDI software and configuring the software to recognize your fader controller.

n The term fader controller applies to the following controllers:

• JL Cooper FaderMaster Pro MIDI automation controller

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Avid supports the MIDIMAN MIDISPORT USB-to-MIDI converter. The Goodies:MidiFaderSupport folder on the Avid Media Composer and Film Composer application CD-ROM includes an installer for the following files:

• OMS (Open Music Software), which is installed in Avid:Opcode:OMS Applications

• MIDISPORT OMS Driver file, which is loaded into Avid:System Folder:OMS Folder

n For Media Composer Release 10.0 and Film Composer Release 10.0, the file name is “OMS MIDISPORT OMS Driver 106.” For subsequent releases, see the release notes for your Avid product for the correct MIDISPORT OMS Driver file.

• Several MIDISPORT extensions, which are loaded into Avid:System Folder:Extensions

To install the OMS software:

1. Open the following folder on the Avid Media Composer and Film Composer CD-ROM:

Goodies:MidiFaderSupport

2. Double-click Midi Fader Support Install to install OMS, the MIDISPORT OMS driver, and the MIDISPORT extensions.

n If the installer displays a dialog box that asks whether you have any Opcode Studio MIDI interfaces, click No.

3. Shut down the system.

4. Attach the MIDI device to your Avid system using the USB-to-MIDI converter as described in the Avid Composer Products Setup Guide.

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5. Restart the system.

To configure OMS to recognize the fader controller:

1. Double-click the OMS Setup application in the following folder:

Avid:Opcode:OMS Applications

The Create a New Studio Setup dialog box appears.

n If an existing studio setup opens, choose New Studio Setup from the File menu.

2. Click OK to create a new studio setup for the MIDI device.

The OMS Driver Search dialog box appears.

3. Click Search. (Don’t select printer or modem ports.)

The OMS Driver Setup dialog box appears.

4. Confirm that MIDISPORT appears in the list of devices.

If the MIDISPORT device does not appear in the list, check the cable connections for the USB-to-MIDI converter as described in the Avid Composer Products Setup Guide.

5. Click OK to close the dialog box.

The OMS MIDI Device Setup dialog box appears.

6. Click OK to accept the new studio setup.

7. Save the studio setup with an appropriate file name in the OMS Applications folder.

Your newly named studio setup dialog box appears after you save the setup.

8. Select the MIDISPORT device in your studio setup (click the circle that looks like a MIDI connector).

9. Choose New Device from the Studio menu.

10. Choose the appropriate manufacturer (either Cooper or Yamaha) from the Manuf pop-up menu.

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11. Choose either FaderMaster (for Cooper) or 01V (for Yamaha) from the Model pop-up menu.

n Use FaderMaster for either JL Cooper fader controller.

The system automatically selects the other settings in the dialog box.

12. Click OK to save your setup and close the dialog box.

13. To confirm that this studio setup is current, click the File menu. The menu item Save and Make Current should appear dimmed. If it does not appear dimmed, then select it.

14. Choose Preferences from the Edit menu and set the following options:

- Determine if you want OMS to turn AppleTalk® on, and then check the appropriate boxes. Your selections will be based on whether you use an AppleTalk network.

- Do not select “Use Apple Serial DMA drivers when available.”

15. Click OK to close the dialog box.

16. Move the sliders on the fader controller and confirm that the MIDI IN LED indicator on the USB-to-MIDI converter turns on and off appropriately.

The USB LED indicator pulses — this is normal behavior.

17. Choose Save from the File menu.

18. Choose Quit from the File menu.

Now you are ready to use the fader controller with the Avid application software.

c To reduce traffic on the USB bus, connect the USB-to-MIDI converter only if you need to use the JL Cooper FaderMaster Pro, JL Cooper MCS-3000X, or Yamaha 01V fader box.

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Installing or Upgrading Media Composer or Film Composer and EDL Manager

You can install Media Composer Release 10.0, Film Composer Release 10.0, and EDL Manager Release 10.0 software on a Power Macintosh G4 system that has Meridien hardware, or you can upgrade from a system running Media Composer Release 8.1.3 or later. For a list of supported systems, see “Qualified Platforms for Release 10.0” on page 29.

Checking Virtual Memory and Cache Size

Before you install the Avid application, check virtual memory and cache size. You must turn off virtual memory and set the cache size to run the Avid application.

To turn off virtual memory and to set the cache size:

1. Choose the Memory Control Panels from the Apple menu.

2. Set the Cache Size to 128K.

3. Turn off virtual memory and close the window.

4. Restart your Macintosh.

Disabling Hard Disk Sleep Mode

Before you install the Avid application, disable hard disk Sleep mode. The Macintosh operating system has an Energy Saver control panel that can put your system, display, or hard drives into Sleep mode when you don’t use them for a designated period of time. If the internal hard drive goes into Sleep mode while your Avid system is running, the system might hang or crash.

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To disable the hard disk Sleep mode on your Avid system:

t Choose Energy Saver from the Control Panels list, and set the option “Put the system to sleep when it’s inactive for” to Never.

Preliminary Information

Verify that the version of the Macintosh operating system is a supported version; see “Verifying the Macintosh Operating System Version” on page 39. New systems ship with the current version of the Macintosh operating system installed, but you should still verify that you have the current version.

c These installation instructions require you to remove any prior release of Media Composer or Film Composer software that is loaded. If you prefer, you can save the old release of the software by renaming the folder on the Avid drive that contains the application. This also saves the old Settings and SupportingFiles folders.

n If you have problems installing the software when using these instructions, try turning off any virus-checking extensions or other system-monitoring software running on your Avid system. Use the Extensions Manager to turn off these applications, and then repeat the installation process.

After installing the software, use the Extensions Manager to turn on any virus-checking extension or other system-monitoring software that you normally run on your Avid system, and restart the system.

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Installation Procedure

Before you install Media Composer or Film Composer and EDL Manager, make sure the software for the USB devices and serial board is installed. See “Installing Software Drivers” on page 43.

To install Media Composer, Film Composer, or EDL Manager:

1. Restart your Macintosh system.

2. Quit any applications that open automatically at startup.

3. Insert the Avid Media Composer and Film Composer Release 10.0 CD-ROM.

4. Double-click the Media Composer or Film Composer Installer icon.

A splash screen introduces the Installer.

5. Click Continue.

The License dialog box appears.

6. Click Accept after you read the Software License Agreement.

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The Media Composer or Film Composer Install window opens.

The Install pop-up menu contains the following choices:

• Easy Install

• Custom Install

• Uninstall

If you want to do a custom install, see “Custom Installations” on page 53.

7. If your system has a previous version of Media Composer or Film Composer, do the following:

a. Choose Uninstall from the Install pop-up menu.

The Install button becomes the Uninstall button.

b. Click the Uninstall button.

A message appears, warning you that other applications cannot be running during this operation.

Install pop-up menu

Install Location pop-up menu

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c. Click Continue to automatically quit open applications.

The removal process begins. At the end of the process a message box appears, telling you that the application was uninstalled, but that some files/folders could not be deleted.

d. Click OK.

e. Open the Avid drive, and navigate to the Media Composer or Film Composer folder (usually located at the top level of the Avid drive).

f. Open the Media Composer or Film Composer folder and delete any remaining application files, except any personally created data files, such as those in the Avid Projects folder or Avid Users folder.

g. Return to the Media Composer or Film Composer Install window.

8. Choose Easy Install from the Install pop-up menu.

The Install window shows the components that will be installed.

9. Accept the default installation location from the Install Location pop-up menu or choose another location.

If you want to change the installation location:

a. Click the Install Location pop-up menu.

b. Choose a different disk or “Select Folder.”

c. If you choose “Select Folder,” navigate to the folder and click Select.

The new installation location appears in the Install window.

10. Click Install.

A message appears, warning you that other applications cannot be running during the installation.

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11. Click Continue to automatically quit open applications.

When the installation is complete, a message appears, asking you if you want to restart the system or to perform additional installations.

12. Click Restart.

n If the Avid system contains a DAE folder before you begin the installation, the installer renames the folder to DAE Folder_saved. After the installation is complete, you can move the plug-ins from the DAE Folder_saved to the new DAE folder. Make sure the version of the plug-in meets the requirements for this release of Media Composer or Film Composer.

Custom Installations

You can perform a custom installation to install particular files from the installation CD-ROM. Use the Custom Install option primarily to replace lost or corrupted files. You can also use this option to install only EDL Manager files.

c If you install “Utilities Folder” or “System Folder Only,” some parts of the application might not work properly because they need libraries that are included as part of the complete installation.

To perform a custom installation:

1. Open the Media Composer or Film Composer Install window by following the steps in “Installation Procedure” on page 50.

2. Choose Custom Install from the Install pop-up menu.

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The window displays items that can be installed individually.

3. Select the items that you want to install. For information about each option, click the Information button.

4. Accept the default installation location from the Install Location pop-up menu or choose another location.

If you want to change the installation location:

a. Click the Install Location pop-up menu.

b. Choose a different disk or “Select Folder.”

c. If you choose “Select Folder,” navigate to the folder and click Select.

The new installation location appears in the Install window.

5. Click Install.

A message appears, warning you that other applications cannot be running during the installation.

Install pop-up menu

Information buttons

Install Location pop-up menu

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6. Click Continue to automatically quit open applications.

When the installation is complete, a message appears, asking you if you want to restart the system or to perform additional installations.

7. Click Restart.

Running the Updater for the SCSI Board

After you load the Avid application software, you must update the code in the SCSI board. The Avid installers load the new code on the system but cannot run the software to load the code into the board.

n The software to load the code is specific to the type of SCSI board, so the following procedure shows how to determine the type of SCSI board in the system.

To run the updater for the SCSI board:

1. Open the Utilities folder in the system drive (normally named Avid).

2. Open the StorEx folder.

3. Determine the type of SCSI board you have in the system by running the StorEx program to scan the SCSI bus:

a. Double-click the StorEx icon.

b. Click OK in the first two dialog boxes.

The Main window opens and the program scans the SCSI bus.

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4. Determine if you have a UL2D SCSI board or a UL3D SCSI board by looking at the data returned by the scan.

5. Close the Main window.

6. Navigate up one level to the Utilities folder, and double-click the updater that matches the SCSI board in your system:

• ExpressPCI_UL2D_Updater

• ExpressPCI_UL3D_Updater

The ExpressPCI_ULxD_Updater.out window opens for the selected updater.

7. Make sure the default option of (1) is selected, and press Return.

The code will be updated. The updating might take a minute.

8. When the update is complete, press k+Q.

9. Restart the system so that the code becomes functional.

c When you restart the system, AVIDstartup runs and might cause the system to automatically restart a second time. This is normal, and the system will be fine after the second restart.

Board typeUL2D or UL3D

Close box

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Updating the Video I/O Firmware

The installation software automatically loads the latest firmware for the Meridien I/O box onto your hard drive. If you are upgrading an existing system to the new release, you must run the Video I/O Utility to load the firmware onto the Meridien I/O box.

n If you purchased your Avid system as a new system, the firmware is already loaded. Run the utility only if you are upgrading.

To update the video I/O firmware:

1. On the Avid drive, open the Utilities folder, open the AvidSystemTest folder, and double-click VideoIOUtil.

The Avid Video I/O Utility window opens.

2. Click the Video I/O Hardware Updater button.

The Video I/O Hardware Update window opens.

3. Select the Update Indicator check boxes under the columns labeled uCode, FPGA, and (if available) SDI-ISP.

4. Click Update.

The system updates the code. If you update the SDI-ISP code, the updating takes approximately 20 minutes.

5. In the Avid Video I/O Utility window, click Quit.

6. Turn the Meridien I/O box off, then on, to enable the new code.

For more information, see the Video I/O Utility Help.

c Do not interrupt the update process. If the process is interrupted, your system might not operate properly.

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Updating Your Application Key (Dongle)

c Protect your application key from loss or theft; your Avid software does not function without it, and acquiring a new key from Avid involves a fee.

There are two different programs to update dongles:

• Dongle versioner: A software program created to update many Avid systems; normally included in a software Maintenance Kit

• Dongle updater: A software program created to update a specific Avid system

The following describes what you should do to update your dongle for this release:

• If you received a dongle versioner floppy disk with a Version Protection Kit or Maintenance Kit, then you will need to use this floppy disk to update the dongle before installing the new software.

• If you purchased this version as an upgrade, you have received a unique dongle updater floppy disk that reflects a specific System ID. You will need to use this floppy disk to update the dongle before installing the new software.

The floppy disk includes instructions for running the dongle versioner or updater.

For more information about the application key, see “Connecting the Avid Application Key (Dongle)” on page 27 and “Warning Regarding Your Application Key” on page 63.

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Test Patterns

Test patterns are no longer located in the Goodies folder. They are now located in the SupportingFiles folder and should be imported with 601 video levels.

Software Utilities

Table 17 lists software utilities, current revision levels, and the folders where the utilities are located.

Table 17 Software Utilities Revisions

Software VersionInstalled Folder Location

ADU2 2.5 Utilities

AvidLogExchange 2.8 Utilities/ALE

AVIDstartup 3.1 Utilities/Backup System Files and System Folder/Startup Items

Avid System Test Pro 3.0 Utilities/AvidSystemTest

Avid Codec (extension) 9.3 Utilities/Backup System Files and System Folder/Extensions

AvidDriverInit 1.0.2 Utilities/Backup System Files and System Folder/Extensions

CommCloser — Utilities

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DAE 5.0.3x13 Utilities/Backup System Files/DAE Folder and System/DAE

DigiSystem_INIT 5.0.3x13 Utilities/Backup System Files and System Folder/Extensions

Display Name Registry 1.0b1 Utilities

DiskWarrior 2.0 Utilitiesa

Dongle Dumper 6.0 Utilities

ExpressPCI_UL2D 1.6f2 (G4)

1.6u82 (G3 or 9600)

Utilities

ExpressPCI_UL3D 1.6f2 Utilities

ExpressRAID 2.3f0 Utilities/ATTO and System Folder/Extensions

MacsBug 6.6.1 System Folder

StorEx 1.5 Utilities/StorEx

SVI.CF 3.2.1.1 Utilities/Backup System Files and System Folder/Extensions

VideoIOUtil 3.0 Utilities/AvidSystemTest

a. This is a third-party product. The folder location depends on the user’s installation process.

Table 17 Software Utilities Revisions (Continued)

Software VersionInstalled Folder Location

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Downloading Avid Codecs for QuickTime

This release supports new versions of the Avid Codecs for QuickTime for Windows and Macintosh systems. The codecs for your system are included on the installation CD-ROM as part of the standard installation. If you need the codecs for a different platform (Windows or Macintosh), you can download them from the Avid Customer Service Knowledge Center.

To download the Avid Codecs for QuickTime:

1. Log in to the Knowledge Center:

a. Go to www.avid.com.

b. Click Customer Service.

c. Click Knowledge Center.

d. Log in.

2. Choose your product from the pop-up menu at the top of the Web page.

3. Click the Download tab, and select one of the following items:

• Avid QT Codecs 10.0 (Windows)

• Avid QT Codecs 10.0 (Macintosh)

n There is one set of codecs for Windows and one set for Macintosh. The names are different, depending on the product.

Each download file contains three codecs for the selected platform:

• Avid Meriden Uncompressed

• Avid Meridien Compressed

• Avid ABVB Nuvista

See the input and output guide for your Avid system or the Help for more information.

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Installing FilmScribe and MediaLog

You can install FilmScribe Release 10.0 from the Media Composer and Film Composer installation CD-ROM. You install MediaLog Release 10.0 from the MediaLog installation CD-ROM, which is shipped with your Avid system.

To install FilmScribe:



3. Insert the Avid Media Composer and Film Composer Release 10.0 CD-ROM.

4. Double-click the FilmScribe Installer icon.


5. Continue the installation procedure as described in “Installation Procedure” on page 50.

To install MediaLog:



3. Insert the MediaLog CD-ROM.

4. Double-click the MediaLog Installer icon.


5. Continue the installation procedure as described in “Installation Procedure” on page 50.

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Special Notes

This section contains important information about system-level changes that affect the way your Avid software and hardware operate.

Warning Regarding Your Application Key

The application key, commonly referred to as a dongle, allows your Avid application to operate. Protect your application key from loss or theft; your Avid system cannot function without it, and acquiring a new key from Avid involves a fee.

For information about installing the application key, see “Connecting the Avid Application Key (Dongle)” on page 27 and the Avid Composer Products Setup Guide.

Support for AvidNet and Avid TransferManager in an Avid Unity Environment

Avid TransferManager in an Avid Unity™ environment is the next-generation import and export tool that replaces the AvidNet™ Transfer Tool. Support for Avid TransferManager Release 1.0 will be available for the Windows NT® platform in Q4 2000, as part of the follow-on point release of Media Composer and Film Composer Release 10.0, Symphony Release 3.0, and Avid Xpress Release 4.0. TransferManager support on Macintosh systems is dependent on Mac OS X. Macintosh models will have TransferManager support concurrent with Mac OS X support, currently planned for 2001.

Macintosh customers who depend on the peer-to-peer capabilities of AvidNet today might want to wait to upgrade until TransferManager Release 2.0 and Mac OS X are released. If an upgrade is very important, customers can still use FTP utilities, such as Fetch, to transfer files until TransferManager becomes available to them.

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Current and future releases of Media Composer, Symphony™, and Avid Xpress® systems for both Macintosh and Windows connected via Avid Unity™ MediaNet can continue to move media and metadata through Avid Unity. In the interim, customers with Macintosh systems who currently rely on AvidNet should use FTP utilities to move compositions. Another workaround is to use MediaManager Release 2.0, Avid’s forthcoming media asset management tool, to move compositions between older systems equipped with AvidNet and new systems equipped with TransferManager.

Audio Hardware Calibration

With Avid Media Composer and Film Composer Release 10.0, Avid has adopted a new default setting for audio calibration that more closely matches the current industry standard. If you are upgrading from a prior version of software, it is highly likely that your audio calibration levels do not match the default value in this release. Your existing hardware is probably calibrated to –14dB, and the default setting of Release 10.0 is –20dB. To change the software setting to match your hardware, perform the procedure described in this section.

If you received Release 10.0 as part of a new system purchase, your audio hardware is calibrated to -20dB and matches the default setting for Release 10.0. You do not have to change the default settings.

c Avid does not recommend changing the default audio hardware calibration for analog 0 Volume Unit (VU) for older versions of the Digidesign 888 I/O™ device.

To change the audio hardware calibration setting:

1. Double-click Audio Project in the Settings scroll list of the Project window.

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The Audio Project Settings dialog box appears.

2. Select a new default hardware calibration setting from the Hardware Calibration pop-up menu — in most cases, –14 dBFS.

A message box appears.

3. Click OK.

4. Save the new Hardware Calibration as a Site setting. To establish a global setting, see “Using Site Settings” in the editing guide for your Avid system.

For additional information on audio hardware calibration, see the input and output guide for your Avid system.

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MPEG-2 and DVD Export

This release does not support the ability to export clips and sequences in the MPEG-2 format or to export files for creating DVDs, which is described in the documentation. These features will be provided in a future release.

MediaDock LVD

The MediaDock™ LVD with MediaDock 160/LVD shuttle packs must run alone on the Ultra 160 LVD SCSI controller board SCSI bus. If you connect your MediaDock LVD to an Ultra 160 LVD SCSI controller board and populate the chassis with any MediaDock 160/LVD shuttle packs, do not daisy chain the MediaDock LVD with any other SCSI devices. This limitation does not exist if you are using the UL2D LVD SCSI controller board.

Optimize for Batch Speed Option

When you select this option in the Batch tab of the Digitize Settings dialog box, the system speeds up batch digitizing by allowing the deck to continue to roll forward between adjoining clips. For more information, see the input and output guide for your Avid system.

For this release, this option digitizes without preroll only if the tracks to be digitized for each clip are the same. For example, if one clip has a video track only, and the other has a video track and two audio tracks, and the system is set up to digitize both audio and video tracks, the system must preroll between them. However, if the system is set up to digitize only video (that is, only the track selector for video is on, the selectors for audio are off, and the “digitize tracks selected” setting is on), the system can digitize without prerolling for the second clip.

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Keyboard Shortcut for Saving Titles

You can now use k+Shift+S to open the Save Title dialog box. This shortcut is the same as choosing Save As from the File menu of the Title tool.

Using Help

The Help system for this release requires Internet Explorer Version 4.5 or later. Internet Explorer Version 5.0 is preferred.

The Help system automatically starts through Internet Explorer. If Internet Explorer is not on your system, a message warns you that using a different browser might cause system problems.

n If there is not enough free memory on your Macintosh system, the search function of Help might not work. See “Built-in RAM” on page 29 and “Changing the Memory Allocated to the Application” on page 32.

For information on using Help, click the Using Help button in the Help browser window.

Supported Decks

For an updated list of supported decks, search for “Supported Decks” in the Avid Customer Service Knowledge Center.

To access the Knowledge Center:

1. Go to www.avid.com.

2. Click Customer Service.

3. Click Knowledge Center.

4. Log in.

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n If you are not already a registered user of the Knowledge Center, register now. Registered users can access more information.

5. Click the Documentation tab.

6. Search for “Supported Decks.”

7. From the resulting list, choose the Supported Decks section of the Qualification Guide for your system.

AVX Plug-ins and Memory

Multiple AVX plug-ins that you have applied to a sequence are now kept resident in memory at the same time. When you close a bin containing the sequence, the plug-ins are also closed, freeing the memory. If you find your Avid system running out of memory and are using many plug-ins:

1. Choose Console from the Tools menu.

2. Type the command closeallavxplugins, and press Return.

This command closes all currently opened plug-ins. They will automatically open again when needed.

MultiCamera Edit Mode Playback

If you notice frames are dropping during playback in MultiCamera edit mode, decrease the size of the Composer window until playback becomes smooth.

Importing QuickTime Files Created with an Avid Codec

If you are importing a QuickTime file created with an Avid codec, and the file’s resolution does not match the current import setting, a dialog box appears by default. This dialog box asks which resolution you

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want to choose, and to which files you want to apply your choice. Make your choices, and click OK to continue with the import.

You can choose how to import these files in the OMFI tab of the Import Settings dialog box. The default choice is “Ask me to set the resolution for each file that is different from the current import resolution setting.”

Striping Fibre Channel Drives

The Fibre Channel (F/C) disk subsystem, which previously shipped with 9-GB F/C drives, now ships with 18-GB F/C drives. The drive size and speed determine the way that you stripe the drives to provide proper system performance.

• 9-GB Drives — Avid recommends 10-way striping for the disk drives in the F/C disk set and using them for storing digitized video. Use standalone disks connected to a SCSI chain for storing digitized audio.

• 18-GB Drives — Avid recommends either 6-way striping or 10-way striping for the disk drives in the F/C disk set and using them for storing digitized video. Use standalone disks connected to a SCSI chain for storing digitized audio.

n You cannot combine 9-GB drives and 18-GB drives in the same F/C drive enclosure.

If you have more than one F/C disk subsystem, striping needs to be performed within each disk subsystem. Do not stripe across disk subsystems.

For specific information on how to stripe drives, see the AVIDdrive Utility 2 User’s Guide.

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Fibre Channel Configurations

If your Avid system is configured with a Fibre Channel board and the Avid Fibre Channel driver is enabled, make sure:

• There are drives connected to the Fibre Channel board and they are turned on.

• The connection is on for Avid Unity MediaNet configurations.

The Fibre Channel driver searches for drives. If none are connected to the Fibre Channel board or if the Avid Unity MediaNet connection is off, the performance of Media Composer or Film Composer is affected.

Disable the Fibre Channel driver if no drives are connected to the Fibre Channel board or if the Avid Unity MediaNet connection is off:

1. Quit Media Composer or Film Composer.

2. Choose Control Panels from the Apple menu.

3. Choose Extensions Manager.

The Extensions Manager window opens.

4. Duplicate the current set of extensions and rename the file.

5. Disable the Avid Fibre Channel Driver on the duplicated set of extensions.

6. Restart the Macintosh.

Using FilmScribe or EDL Manager

If your Avid system includes FilmScribe or EDL Manager, and your projects contain complex sequences or large bins, you might need to increase the minimum memory size for FilmScribe or EDL Manager. For information about changing the memory size, see “Changing the Memory Allocated to the Application” on page 32.

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Changes to the Timing of Video Signals

Genlocking is now different from that of Avid video-based editing products for Macintosh systems before the use of Meridien boards. The system’s timing is now modeled on that of a VTR; it uses only a single time-base that is switched between input and output.

Note the following operation modes:

• Timing during video capture: When capturing (that is, recording) an input video signal, sync timing will be derived from that input signal. The timing of the captured video and audio will be correct. The green Video Sync light on the Meridien I/O box will be lit when synchronization to that signal is attained.

Passthrough video outputs: During capture, timing of the recorded media files will be correct. The timing of the passthrough output signals, however, will be correct relative to themselves but will have slight delays relative to the input time-base. In particular, the composite output will have one line of additional delay, due to comb filter operation compared to Serial Digital and other analog modes. This is normal operation.

Passthrough audio versus video: During capture, the recorded video and audio will be correctly timed. However, since passthrough audio does not undergo delay, the previously described video delays will exist relative to the undelayed audio. In media files, the video and audio will be synchronized.

• Timing during capture for audio with no video present: Timing will be derived from any signal present on the REF input. If no reference signal is detected there, the timing will automatically switch to an internal, free-running, highly accurate time-base and the green Video Sync light will not be lit.

c If you are digitizing audio only from a source that uses REF IN (with black burst, for example) on the Meridien I/O box for sync, the system will change the timing reference to the video input signal when the option “Always display incoming video in the

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Client monitor” is selected in the Digitize Settings dialog box. To avoid losing the REF IN sync source, deselect this option before capturing audio only.

• Timing during playback: In all playback modes, the video timing is derived either from the external genlock source (the REF input) or from the accurate internal time-base. If a composite reference signal is present on the REF input, that signal will be used for deriving genlock and system timing. The green Video Sync light will be lit. If no lock is detected to a signal on the REF input (or if no signal is present), the system will automatically switch to its internal timing source and the Video Sync light will not be lit.

n For additional information on digitizing with consumer or prosumer video decks (such as VHS, Hi-8, and some ¾-inch decks), see “Limitation When Using Consumer Decks or Decks Without Time-Base Correctors” on page 112.

Simultaneous Output Modes

The video outputs are all simultaneously active with one exception: only one of the S-Video or Analog Component outputs can be active at the same time. You select the one you want with the Video Output tool.

Genlock Timing Adjustments

Adjusting the genlock timing to the house reference at switchers or routers can be done only in Playback mode. With previous Avid implementations for Macintosh systems, this could have been done in Passthrough mode. You could either record your own test signal and then play it back; alternatively, you could put out a test pattern from the application’s Video Output tool and use that for doing the usual H PHASE and SC PHASE adjustments.

Only one format of the active outputs can be accurately genlocked at a time. Since there is only a single adjustable output time-base, you simply set the genlock parameters for the critical output that is the one

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you choose to genlock. For most applications, this will be either the composite or the SDI outputs.

All the video output signals — Composite 1, 2, and 3, Serial Digital (if that option is on your system), and component or S-Video — are synced to the same time base, and hence are synced to each other. However, they all have slightly different internal delays. This means that you can set the H PHASE so that only one — the one you choose — will be exactly synced to an external genlock reference. The other output signals will be properly timed relative to themselves but will not be precisely genlocked.

Operation of the Green Video Sync Light on the Meridien I/O Box

The green Video Sync light is lit whenever the timing is successfully locked to either REF or to the video input signal. If the green light is off, the timing is being obtained from the internal, free-running time base.

Black Levels When Outputting SDI from NTSC Input

When video input is NTSC with setup and video output is SDI (which does not use setup), the half lines at the top and bottom of the analog frame will contain blanking and black setup at two different levels (zero and 7.5 IRE).

When the input video's black at setup is properly adjusted to correspond to digital 16, the blanking level will correspond to approximately digital 1. This can result in video levels in the SDI output that are below black in several places:

• The first half of the top half line (line 283) will be below black, at approximately digital 1.

• The last half of the bottom half line (line 263) will be below black at approximately digital 1.

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• The horizontal blanking edges can have pulses that go down to near digital 1 at the left and right edges of the image. This is due to the fact that the 720-pixel ITU-R 601 frame extends beyond the edges of the NTSC setup pedestal by a few pixels. These few pixels will be at approximately the blanking level (digital 1), while the rest of the horizontal line will be at black at digital 16.

When the video is played back as SDI, there will be negative pulses that appear for this reason. If the output is NTSC with setup, these pulses will be canceled out. If, however, the SDI output ultimately goes to an NTSC-EIAJ encoder, these pulses will be below blanking. This latter problem is common to other equipment as well and is a property of the difference between the black levels of these three formats.

Changes in Output Blanking in SDI Format

Several changes have been made for SDI operation to force blanking to occur to some of the vertical blanking interval (VBI) lines that were previously passed through. In all cases, the Avid system now outputs only the line ranges of the SMPTE RP 187 Production Aperture (consisting of the 486-line frame for NTSC or the 576-line frame for PAL). This change was made because color correction could modify the pixels in certain VBI lines so that they would no longer be proper blanking values. It was decided that it was preferable to blank these lines rather than permit them to pass through with color values that would be improper for blanking. No changes were made for input and output of analog formats, which always have used the RP 187 Production Aperture.

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The before and after line number ranges are shown in the following tables.

525-Line I/O Ranges, SDI Field 1 Field 2 Comments

Digitize 20–263 283–525 ITU-R BT.656 active video.

Play, previous 16–263 278–525 Permitted improper blanking for some operations.

Play, new 21–263 283–525 Changed to RP 187 Production Aperture (P.A.).

Passthrough 16–263 278–525 No change. Wide range for testing purposes.

625-Line I/O Ranges, SDI Field 1 Field 2 Comments

Digitize 23–310 336–623 No change. RP 187 P.A., and BT.656 active line range.

Play, previous 15–310 328–623 Permitted improper blanking for some operations.

Play, new 23–310 336–623 RP 187 and BT.656 active line range.

Passthrough 15–310 328–623 No change. Wider range for testing purposes.

Line Ranges for Analog Formats (Not Changed) Field 1 Field 2 Comments

525-Line Digitize, Play, and Passthrough 21–263 283–525 RP 187 P.A.

625-Line Digitize, Play, and Passthrough 23–310 336–623 RP 187 P.A. and BT.656 active video.

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References:

Recommendation ITU-R BT.656-4, “Interfaces for Digital Component Video Signals in 525-Line and 625-Line Television Systems Operating at the 4:2:2 Level of Recommendation ITU-R BT.601, Part (A),” 1998.

SMPTE RP 187, “Center, Aspect Ratio, and Blanking of Video Images,” SMPTE Recommended Practice, The Society of Motion Picture and Television Engineers, White Plains, NY, 1995.

New File Extension for PICT Files

The default file name extension for PICT files has changed from .pic to .pct for exporting PICT files to third-party applications that require the .pct file name extension.

Setting Up the Edit Monitor

Make sure the color depth for the Edit monitor is set to Millions. For a procedure on setting up the Edit monitor, see the Avid Composer Products Setup Guide.

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Review and Approval Process

Your Avid system and the Avid Production Network (www.AvidProNet.com) Web site 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 add their comments to the material. You can view the reviewer comments by using the Locators window in your Avid system.

AvidProNet Review and Approval is a fee-based service.

c Before using the review comments and approval process, you and your reviewers must have e-mail accounts, register as AvidProNet Review and Approval users, and install the AvidProNet Review and Approval software.

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 exporting a QuickTime Progressive Download movie, see the input and output guide for your Avid system.

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. If a password has been assigned to access the file, send the password to the reviewers.

4. Reviewers do the following:

a. Follow the instructions on the AvidProNet Web site to access the page containing the review file.

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b. Add comments to the review material by using the review applet available on the AvidProNet Web site.

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, indicating reviewer comments are available.

For more information about using the review applet, see the AvidProNet Web site.

5. Save the review comments on the AvidProNet Web site to a review and approval file on a local drive.

n A review and approval file usually has an .rna file name extension.

6. Open the Locators window and display the reviewer comments. For procedures on displaying the reviewer comments, see “Opening Review and Approval Files” on page 78.

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 the editing guide for your Avid system.

Opening Review and Approval Files

You can view and edit reviewer comments in the Locators window. There are two methods for opening review and approval files in the Locators window:

• Choose the Read Review and Approval File command from the Locators Fast menu.

• Drag the review and approval file into the Locators window.

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To open a review and approval file from the Locators window:

1. Choose Locators from the Tools menu.

The Locators window opens.

2. Choose Read Review and Approval File from the Locators Fast menu.

A dialog box appears.

3. Navigate to the review and approval file, and select it.

4. Click Open.

The comments in the review and approval file appear in the Locators window.

To open review and approval files 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 and approval files that you want to view, positioning the folder so the Locator window is visible.

3. Select the review and approval files you want to view.

n To drag multiple files, use Ctrl+click to select the files.

4. Drag the review and approval files into the Locators window, and release the mouse button.

The comments in the review and approval files appear in the Locators window.

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Displaying Locator Creation 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 and Approval process.

You can display the following information for each locator displayed in the Locators window:

• Name of the user that created the locator

• Date the locator was created

• Time the locator was created

To display information about a locator:

t Choose Details from the Locators Fast menu.

The Locators window displays the User, Date, and Time columns.

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Drive Striping Configurations

This section provides the drive striping information available for the current release. This information refers to the number of drives that need to be striped to achieve a specific resolution.

These striping tables include the new Avid MediaDrive rS 160/LVD and MediaDock 160/LVD drives. For the latest drive striping configurations, see “Obtaining the Latest Drive Striping Configurations” on page 86.

Avid supports several families of MediaDrive enclosures and MediaDock Shuttle™ packs. Table 18 lists the families, their specifications, and their available capacities. For additional information on a specific MediaDrive or MediaDock shuttle, see the setup and user’s guide that shipped with the MediaDrive or the MediaDock shuttle.

If you need additional information or if you have any questions, please contact Avid Customer Support at 800-800-AVID (2843).

n The family name of your drive can be found on the front of the MediaDrive or MediaDock shuttle.

n The iS drive family is supported only on Media Composer Release 8.0 and earlier for Macintosh systems. This restriction does not apply to the iS Pro, iS Plus, iS Plus LVD, iS LVD, and iS 160/LVD drive families.

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Table 18 lists information about the families of MediaDrive enclosures and MediaDock Shuttle packs.

Table 18 Macintosh Striping – Single-Drive Unstriped

Drive Family

Single-Field ResolutionNTSC/PAL

Two-Field ResolutionNTSC/PAL

Uncompressed Two-Field ResolutionNTSC/PAL

15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1

iS Pro RTa RT RT RT RT 1 stream NSb NS

iS Plus RT RT RT RT RT RT 1 stream NS

rS Plus RT RT RT RT RT RT 1 stream NS

iS Plus LVD RT RT RT RT RT RT 1 stream NS

iS LVD RT RT RT RT RT RT 1 stream NS

iS 160/LVD RT RT RT RT RT RT RT NS

rS LVD RT RT RT RT RT RT 1 stream NS

rS 160/LVD RT RT RT RT RT RT RT NS

a. RT – Real time; 2 streams supported.b. NS – Not supported.

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The information in Table 19 requires striping across two SCSI channels for fast, wide MediaDrive enclosures and MediaDock Shuttle packs, or one SCSI channel for LVD MediaDrive enclosures or LVD MediaDock Shuttle packs.

Table 19 Macintosh Striping – 2-Way Striped Drives

Drive Family




15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1a

iS Pro RTb RT RT RT RT RT 1 stream NSc

iS Plus RT RT RT RT RT RT RT NS

rS Plus RT RT RT RT RT RT RT NS

iS Plus LVD RT RT RT RT RT RT RT NS

iS LVD RT RT RT RT RT RT RT 1 stream

iS 160/LVD RT RT RT RT RT RT RT 1 stream

rS LVD RT RT RT RT RT RT RT 1 stream

rS 160/LVD RT RT RT RT RT RT RT 1 stream

a. Single-stream 1:1 is supported only on the blue and white G3 and the G4 Macintosh systems.b. RT – Real time; 2 streams supported.c. NS – Not supported.

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The information in Table 20 requires striping across two SCSI channels for fast, wide MediaDrive enclosures and MediaDock Shuttle packs, or one SCSI channel for LVD MediaDrive enclosures or LVD MediaDock Shuttle packs.

Table 20 Macintosh Striping — 4-Way Striped Drives

Drive Family




15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1

iS Pro RTa RT RT RT RT RT RT NSb

iS Plus RT RT RT RT RT RT RT NS

rS Plus RT RT RT RT RT RT RT NS

iS Plus LVD RT RT RT RT RT RT RT 1 streamc

iS LVD RT RT RT RT RT RT RT RTd

iS 160/LVD RT RT RT RT RT RT RT RTe

rS LVD RT RT RT RT RT RT RT RTd

rS 160/LVD RT RT RT RT RT RT RT RTe

a. RT – Real time; 2 streams supported.b. NS – Not supported.c. Four-way striping is supported for 1:1 resolution using iS Plus LVD (MediaDock Shuttle).

Avid recommends switching to 8-way striping for projects that use extensive cuts of fewer than 10-frame edits.

d. Uncompressed – 2 streams of 1:1 resolution is supported only when you are using a G4 plat-form and you 4-way stripe across two SCSI channels. For projects involving high-cut densi-ties (extensive cuts at fewer than 10-frame edits), you must render before you play back — switching to 8-way striping will not help.

e. Requires a UL2D or Ultra 160 LVD (UL3D) SCSI controller with firmware Version 1.6 or later. Does not require two SCSI channels. Uncompressed – 2 streams of 1:1 resolution is sup-ported only when you are using a G4 platform.

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The information in Table 21 requires 10-way striping for MediaShare F/C drives, 7200-rpm MEDIArray drives, and 10,000-rpm MEDIArray drives. The 50-GB MEDIArray drive is not supported on Macintosh systems.

Table 21 Macintosh Fibre Channel Striping — 10-Way Striped Drives

Drive FamilySingle-Field ResolutionNTSC/PAL



15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1a

MediaShare F/C or MEDIArray Drives

RTb RT RT RT RT RT RT 1 stream

a. Single-stream 1:1 is supported only on the blue and white G3 and the G4 Macintosh systems.b. RT – Real time; 2 streams supported.

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Obtaining the Latest Drive Striping Configurations

When drive configurations are tested and when drives and software are released, the most up-to-date drive striping configurations are available in the Documentation section of the Avid Customer Service Knowledge Center.

To access drive striping information from the Avid Web site:




4. Log in.



6. Click Drive Striping Tables.

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List of Effects for Media Composer and Film Composer Models

Table 22 lists all the effects available in the Avid Media Composer and Film Composer systems. The Avid Media Composer or Film Composer model and the exact options you have determine which effects are available.

Key to Table 22:

• S = standard non-real-time effect

• RT = standard real-time effect

• FR = standard fast-rendered effect

• FS = FilmScribe and matchback bundle

• NA = Not applicable

n The information in this section is accurate for Media Composer Release 10.0 and Film Composer Release 10.0. The available effects can change with a new release of the system and might not be reflected in this document.

For a description of each effect, see the Avid Media Composer and Film Composer Effects Guide.

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Table 22 Effects Available for Avid Models

EffectCategory Effect Name

Media Composer 9000 XL


Film Composer XL

Media Composer Offline XL RT

Media Composer Offline XL NRT

Blend 3D Warp RT RT RT RT NA

Blend Dip to Color RT RT RT RT RT

Blend Dissolve RT RT RT RT RT

Blend Fade from Color RT RT RT RT RT

Blend Fade to Color RT RT RT RT RT

Blend Picture-in-Picture RT RT RT RT S

Blend Superimpose RT RT RT RT RT

Box Wipe Bottom Box RT RT RT RT RT

Box Wipe Bottom Left to Top Right

RT RT RT RT RT

Box Wipe Bottom Right to Top Left

RT RT RT RT RT

Box Wipe Left Box RT RT RT RT RT

Box Wipe Right Box RT RT RT RT RT

Box Wipe Top Box RT RT RT RT RT

Box Wipe Top Left to Bottom Right

RT RT RT RT RT

Box Wipe Top Right to Bottom Left

RT RT RT RT RT

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Conceal Bottom Left to Top Right

RT RT RT RT S

Conceal Bottom Right to Top Left

RT RT RT RT S

Conceal Bottom to Top RT RT RT RT S

Conceal Left to Right RT RT RT RT S

Conceal Right to Left RT RT RT RT S

Conceal Top Left to Bottom Right

RT RT RT RT S

Conceal Top Right to Bottom Left

RT RT RT RT S

Conceal Top to Bottom RT RT RT RT S

Edge Wipe Horizontal RT RT RT RT RT

Edge Wipe Horizontal Open RT RT RT RT RT

Edge Wipe Lower Left Diagonal S S S S S

Edge Wipe Lower Right Diagonal S S S S S

Edge Wipe Upper Left Diagonal S S S S S

Edge Wipe Upper Right Diagonal S S S S S

Edge Wipe Vertical Open RT RT RT RT RT

Edge Wipe Vertical RT RT RT RT RT

Table 22 Effects Available for Avid Models (Continued)




Film Composer XL



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Film 1.66 Mask RT FS/RT RT FS/RT FS/RT

Film 1.85 Mask RT FS/RT RT FS/RT FS/RT

Film 16:9 Mask RT FS/RT RT FS/RT FS/RT

Film Anamorphic Mask RT FS/RT RT FS/RT FS/RT

Film Blowup RT FS/RT RT FS/RT FS/RT

Film Film Dissolve RT FS/RT RT FS/RT FS/RT

Film Film Fade RT FS/RT RT FS/RT FS/RT

Film Mask RT FS/RT RT FS/RT FS/RT

Image Color Effect RT RT RT RT NA

Image Flip RT RT RT RT S

Image Flip-Flop RT RT RT RT S

Image Flop RT RT RT RT S

Image Mask RT RT RT RT RT

Image Paint Effect S S S S NA

Image Resize RT RT RT RT S

Image Scratch Removal S S S S S

Image Submaster FR FR FR FR FR

Image Deep Defocus RT NA NA NA NA





Film Composer XL



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Key AniMatte™ S S S S NA

Key Chroma Key RT RT RT RT S

Key Luma Key RT RT RT RT S

Key Matte Key S S S S S

L-Conceal Bottom Left RT RT RT RT S

L-Conceal Bottom Right RT RT RT RT S

L-Conceal Top Left RT RT RT RT S

L-Conceal Top Right RT RT RT RT S

Matrix Wipe Grid S S S S S

Matrix Wipe One-Way Row S S S S S

Matrix Wipe Speckle S S S S S

Matrix Wipe Spiral S S S S S

Matrix Wipe Zig Zag S S S S S

Motion Freeze Frame RT RT RT RT RT

Motion Variable Speed(Slo-Mo Forward)

RT RT RT RT RT

Motion Variable Speed (other) S S S S S

Motion Strobe S S S S S





Film Composer XL



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Motion Interpolated S S S S S

Peel (2D) Bottom Left Corner RT RT RT RT S

Peel (2D) Bottom Right Corner RT RT RT RT S

Peel (2D) Bottom to Top RT RT RT RT S

Peel (2D) Left to Right RT RT RT RT S

Peel (2D) Right to Left RT RT RT RT S

Peel (2D) Top Left Corner RT RT RT RT S

Peel (2D) Top Right Corner RT RT RT RT S

Peel (2D) Top to Bottom RT RT RT RT S

Push Bottom Left to Top Right

S S S S S

Push Bottom Right to Top Left

S S S S S

Push Bottom to Top S S S S S

Push Left to Right S S S S S

Push Right to Left S S S S S

Push Top Left to Bottom Right

S S S S S

Push Top Right to Bottom Left

S S S S S





Film Composer XL



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Push Top to Bottom S S S S S

Reformat 14:9 Letterbox RT RT RT RT RT

Reformat 16:9 Letterbox RT RT RT RT RT

Reformat 4:3 Sidebar RT RT RT RT RT

Reformat Pan and Scan S S S S S

Sawtooth Wipe

Horizontal Sawtooth S S S S S

Sawtooth Wipe

Horizontal Open Sawtooth

S S S S S

Sawtooth Wipe

Vertical Open Sawtooth

S S S S S

Sawtooth Wipe

Vertical Sawtooth S S S S S

Shape Wipe 4 Corners S S S S S

Shape Wipe Center Box RT RT RT RT RT

Shape Wipe Circle S S S S S

Shape Wipe Clock S S S S S

Shape Wipe Diamond S S S S S

Shape Wipe Ellipse S S S S S

Shape Wipe Horizontal Bands S S S S S





Film Composer XL



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Shape Wipe Horizontal Blinds S S S S S

Shape Wipe Vertical Blinds S S S S S

Spin (2D) X Spin S S S S S

Spin (2D) Y Spin S S S S S

Spin (2D) Z Spin RT RT RT RT NA

Squeeze Bottom Centered RT RT RT RT RT

Squeeze Bottom Left RT RT RT RT RT

Squeeze Bottom Right RT RT RT RT RT

Squeeze Bottom to Top RT RT RT RT RT

Squeeze Centered Zoom RT RT RT RT RT

Squeeze Horizontal Centered RT RT RT RT RT

Squeeze Left Centered RT RT RT RT RT

Squeeze Left to Right RT RT RT RT RT

Squeeze Right Centered RT RT RT RT RT

Squeeze Right to Left RT RT RT RT RT

Squeeze Top Centered RT RT RT RT RT

Squeeze Top Left RT RT RT RT RT

Squeeze Top Right RT RT RT RT RT





Film Composer XL



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Squeeze Top to Bottom RT RT RT RT RT

Squeeze Vertical Centered RT RT RT RT RT

Xpress 3D 3D Arrow RT RT RT RT RT

Xpress 3D 3D Ball RT RT RT RT RT

Xpress 3D 3D Bumps RT RT RT RT RT

Xpress 3D 3D Center Burst RT RT RT RT RT

Xpress 3D 3D Multi Wave RT RT RT RT RT

Xpress 3D 3D PIP RT RT RT RT RT

Xpress 3D 3D Page Curl RT RT RT RT RT

Xpress 3D 3D Page Fold RT RT RT RT RT

Xpress 3D 3D Sine Wave RT RT RT RT RT

Xpress 3D 3D Slats RT RT RT RT RT





Film Composer XL



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Compatibility with Avid Video-Based Editing Products

For a complete description of moving projects, media files, and graphics to and from Avid products, see the Avid Products Collaboration Guide, which is available on the Avid Media Composer and Film Composer Online Publications CD-ROM. The most recent update of the Avid Products Collaboration Guide is available in the Documentation section of the Avid Customer Service Knowledge Center.

To access the Knowledge Center:




4. Log in.



6. Click Collaboration Guide.

Documentation Changes

The information in this section is not included in the Media Composer and Film Composer documentation.

Changing the Representative Frame for a Take

The section “Changing the Representative Frame for a Take” in the Media Composer and Film Composer Editing Guide incorrectly

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mentions that you press the J-K-L keys on the keyboard to advance the footage displayed in the slate. The correct keys used to advance the footage are the arrow keys on the keyboard.

Change Sample Rate

You can use the Change Sample Rate dialog box to change the sample rate of a clip or sequence. 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.

Returning to 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 now return to where you were in the list of tape names the last time. This should help you find the tape you need.

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 Digitize mode:

1. Choose Digitize from the Tools menu.

The Digitize 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 (Windows) or k+N (Macintosh).

A new Tape Name text box appears.

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4. Type the new tape name.

5. Press Enter (Windows) or Return (Macintosh) to register the tape name.

6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape dialog box.

Controlling a Freeze Frame with a Single Button or Key

You can map the Freeze Frame command to a button or key. The system remembers the duration of the freeze frame and the option for two-field media if appropriate. After you have mapped the command, you can create a freeze frame of the same type and duration simply by clicking the button or pressing the key.

To map the Freeze Frame command to a button or key:

1. (Option) If you plan to use the mapped Freeze Frame command with two-field media (created with 20:1, 10:1, 3:1, 2:1, or uncompressed choices in the Digitize tool), choose Freeze Frame from the Clip menu, choose Two Field Freeze Frames, and then choose one of the following:

• Using Duplicated Field — The system creates the effect using a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion.

• Using Both Fields — The system uses both fields to create the effect. This option is especially useful when there is little or no motion in the footage since it preserves all vertical resolution.

• Using Interpolated Field — The system creates a second field for the effect by combining scan line pairs from the first field in the original media. This might result in a slightly softer look to the freeze frame.

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2. Do one of the following:

t To map to a button, open the Tool palette.

t To map to a key, open the Keyboard palette by double-clicking Keyboard in the Settings scroll list of the Project window.

3. Choose Command Palette from the Tools menu.

The Command palette opens.

4. Select Menu to Button Reassignment.


t To map to a button, click a blank button in the Tool palette.

t To map to a key, click a blank key in the Keyboard palette.

6. Choose Freeze Frame from the Clip menu.


t Choose a preconfigured duration.

t If you want to type a custom duration when you create a freeze frame using the button or key, choose Other.

The system maps the Freeze Frame menu command to the button or key.

8. Close the Command palette.

Monitoring Previously Recorded Tracks While Recording a Voice-Over Narration

You can now monitor previously recorded audio tracks while you record a voice-over narration with the Audio Punch-In tool.

To monitor other audio tracks:

1. Choose Audio Tool from the Tools menu.

The Audio tool opens.

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2. Choose Direct Out from the Output Options pop-up menu.

3. Choose Audio Punch-In from the Tools menu.

The Audio Punch-In tool opens.

4. Follow the procedure in “Recording a Voice-Over Narration” in the “Working with Audio” chapter of your editing guide.

5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers.

Change for Goodies.html File

The document Goodies.html in the Avid Goodies folder mentions MacOpener as being available on many Avid systems. MacOpener allows Macintosh formatted disks, CD-ROMs, and drives to be mounted and read on a Windows system. For this release, Avid recommends using “MacDrive 2000 Edition for Avid Systems” from Mediafour Corporation for similar operations. For more information on MacDrive, see http://www.Mediafour.com.

MediaLog

The following information provides more complete instructions for the MediaLog User’s Guide:

• In the “Retrieving Bins from the Attic Folder” section, in step 12, the last paragraph should read:

Repeat steps 8 through 12 for any other backup bin files you copied to the desktop.

• In the “Modifying Data Directly” section, in step 2, in the last arrow entry, the Macintosh key combination should be k+V.

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Installing the 24p and 25p Tutorial Files

The 24p and 25p Tutorial CD-ROMs contain all the files you need for the tutorial sections of the Avid Film Composer and Universal Offline Editing Getting Started Guide.

To install the Media Composer and Film Composer tutorial files:

1. Insert either the Avid Film Composer and Universal Offline Editing Tutorial (24p) or Avid Film Composer and Universal Offline Editing Tutorial (25p) CD-ROM into the CD-ROM drive.

2. The CD-ROM icon appears on your desktop.

3. Double-click the CD-ROM icon.

A window opens, showing the contents of the CD-ROM.

4. Double-click the Install icon.

The Install window opens.

5. Click the Avid Projects icon, and drag it to the Avid drive in the Drive scroll list.

The tutorial project installs on your Avid drive, and a message appears asking if you want to continue the installation.

6. Click Continue.

Media drives

Avid drive

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7. Click the Media Files icon, and drag it to any external media drive in the Drive scroll list.

- If an OMFI MediaFiles folder already exists on the drive, the media files are copied into the folder.

- If there is no OMFI MediaFiles folder on the drive, a message appears asking if you want to create an OMFI MediaFiles folder on the drive. Click Yes. The folder is created, and the media files are copied to the external drive.

n It takes approximately 5 minutes to copy the media files to the external drive.

When all the media files on the CD-ROM are copied to the drive, the system notifies you that installation is complete.

8. Click Quit.

Screen Resolution for Imported Graphics and Sequences

Table 23 through Table 25 show the frame size to use when importing graphics and sequences for different resolutions for NTSC and for PAL.

For example, when you are using an application such as After Effects® to process a sequence that you want to bring into Media Composer or Film Composer, use these values when you render the sequence.

For more information on importing graphics, see the input and output guide or the Help for your Avid system.

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Table 23 provides information about the resolutions for interlaced media (30i NTSC and 25i PAL projects).

Table 24 provides information for progressive media (24p NTSC, 24p PAL, and 25p projects).

Table 23 Graphic Import Frame Sizes: Interlaced

ResolutionFrame Size (Pixels) Resolution

Frame Size (Pixels)

15:1s 352 x 243 (NTSC)352 x 288 (PAL)

10:1 720 x 486 (NTSC)720 x 576 (PAL)

4:1s 352 x 243 (NTSC)352 x 288 (PAL)

3:1 720 x 486 (NTSC)720 x 576 (PAL)

2:1s 352 x 243 (NTSC)352 x 288 (PAL)

2:1 720 x 486 (NTSC)720 x 576 (PAL)

20:1 720 x 486 (NTSC)720 x 576 (PAL)

1:1 720 x 486 (NTSC)720 x 576 (PAL)

Table 24 Graphic Import Frame Sizes: Progressive

ResolutionFrame Size (Pixels) Resolution

Frame Size (Pixels)

35:1 720 x 486 (NTSC)720 x 576 (PAL)

3:1 720 x 486 (NTSC)720 x 576 (PAL)

28:1 720 x 486 (NTSC)720 x 576 (PAL)

2:1 720 x 486 (NTSC)720 x 576 (PAL)

14:1 720 x 486 (NTSC)720 x 576 (PAL)

1:1 720 x 486 (NTSC)720 x 576 (PAL)

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Table 25 provides information for interlaced and progressive MultiCamera media.

Sharing Bins and Projects on Avid Unity MediaNet

Avid Unity MediaNet allows you to share bins and projects across the network. When you place your bins and projects on Avid Unity MediaNet workspaces (drive volumes), several users can work on the same project at the same time.

For example, an editor can create sequences in one bin while an assistant redigitizes media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.

Each user can perform tasks from his or her own Avid system. The Media Composer or Film Composer application provides a simple locking mechanism to help you keep track of who is currently working in a bin. The method allows one writer access and multiple readers access to a bin.

c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

Table 25 Graphic Import Frame Sizes: MultiCamera

InterlacedResolution

Frame Size (Pixels)

ProgressiveResolution

Frame Size (Pixels)

4:1m 288 x 243 (NTSC)288 x 288 (PAL)

3:1m 288 x 243 (NTSC)288 x 288 (PAL)

10:1 288 x 243 (NTSC)288 x 288 (PAL)

8:1m 288 x 243 (NTSC)288 x 288 (PAL)

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Mapping Workspaces on the Avid Unity Network

For information on mounting workspaces, see the Avid Unity MediaNet for Macintosh Clients Quick Start Card. These instructions assume that Avid Unity MediaNet is up and running. For details on Avid Unity MediaNet, see the Avid Unity MediaNet Administration Guide.

Sharing Methods

Before you begin copying or creating bins and projects on an Avid Unity MediaNet workspace, you need to determine the sharing method you will use for the project.

Shared Bins

When you use this method, you store the project on your Avid system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users.

The Media Composer or Film Composer application uses the following methods to identify the shared bins:

• Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.

• Displays an extra column of information for the bin that identifies the Avid system that currently has the bin locked.

• Uses bold text to identify bins that are locked by other users.

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Shared Bins and Projects

If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The Media Composer or Film Composer application uses the following methods to identify information from each Avid system using the shared workspace:

• Creates a project folder for each Avid system that accesses the project. Media Composer or Film Composer adds the Avid system’s computer name to the folder name to create a unique name and stores any project-specific information in the folder. This mechanism prevents users from overwriting the project-specific data of other users.

The folder is similar to the folder created when you choose New Folder from the Project Window Fast menu. For more information, see “Managing Folders and Bins” in the “Working with the Project Window” chapter of the Avid Media Composer and Film Composer Editing Guide.

• Displays an extra column in the Project window that identifies the Avid system that has the bin locked.

• Uses bold text to identify bins that are locked by other users.

• Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume.

n Depending on the number of users sharing a workspace, you might want to increase the number of files that Media Composer or Film Composer stores in the Attic folder (use the Bin Settings dialog box).

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The following illustration shows the Project window for a shared project.

The following illustration shows the contents of a shared workspace at the desktop level.

Avid system that currently has the bin locked

Project folders for each user

Bold bins are locked for editing but can be viewed.

Unity Attic folder

Shared media filesShared projects

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Opening a Shared Project

To open an existing project on the shared volume:

1. Start Media Composer or Film Composer.

2. In the Open Project dialog box, navigate to the project on Avid Unity MediaNet.

The following illustration shows an example.

3. The Project window opens. For a description of the MediaNet-specific elements of the Project window, see “Sharing Methods” on page 105.

4. Open one of the bins by double-clicking the Bin icon.

The bin appears with a Bin Lock Status button. You can click the Bin Lock Status button (red — locked or green — unlocked) to view a history file that shows which Avid systems and users have modified the bin and the date and time of the modifications. The following illustration shows an unlocked bin.

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When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 110.

n The Bin Lock Status button does not appear if the bin is not on the Avid Unity MediaNet environment.

Working with Locks

Media Composer or Film Composer uses a simple locking mechanism to help you keep track of who is currently working in a shared bin. This allows one writer access and multiple readers access to the bin.

Default Locking Mechanism

The user who opens the bin first gets the lock and obtains write access to the bin. Media Composer or Film Composer uses bold text in the Project window to identify bins that are locked by another user. When the person who owns the lock closes the bin, it becomes available for another user to open and take the lock.

If one user has the lock and second user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock.

Bin Lock Status button:Green — Unlocked binRed — Locked bin

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You can click the Bin Lock Status button in the bin to view a history file that shows which Avid systems and users have modified the bin.

To open a bin without taking the lock:

t Option+double-click the bin in the Project window.

Overriding the Default Locking Mechanism

You can instruct Media Composer or Film Composer to keep a bin locked even after you close it.

To permanently lock a bin:

1. Select one or more bins in the Project window.

2. Choose Lock Project Bin from the Clip menu.

An asterisk (*) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.

To unlock the bin:

t Click the bin in the Project window and choose Unlock Project Bin from the Clip menu.

Restrictions and Limitations for Locked Bins

The following restrictions apply to bins locked by another user:

• You cannot select a locked bin for operations such as digitizing, title creation, and importing. This helps to minimize the problems of modifying a locked bin.

• You cannot drag to a locked bin.

• If you drag from a locked bin to an unlocked bin, the Media Composer or Film Composer application will create a duplicate (not a copy) of the selection in the unlocked bin. The original item is not removed from the locked bin. This operation is

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the equivalent of duplicating a selection and then dragging the duplicate to another bin.

• You cannot move a bin that is locked by another user.

• If you modify a locked bin, the Media Composer or Film Composer application will not let you save the bin to the same name, but it will allow you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. The Media Composer or Film Composer application will see the duplicates of the contents of these bins and will resolve the conflicts by newest modifications (this might not be desirable behavior).

You should avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin.

c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.

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Hardware and Software Limitations

Limitation When Using Consumer Decks or Decks Without Time-Base Correctors

This section describes some difficulties you might encounter when working with consumer video decks and tapes (such as VHS) or decks that do not provide time-base correction or stabilized timing on their outputs. Workarounds are described when available.

Digitizing from Unstable Time-Base Sources

The Meridien subsystem used in Media Composer or Film Composer is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs). When presented with a stable input, the Meridien subsystem will digitize that video by using a high-quality, very-low-jitter clock reference. However, some sources do not include an internal TBC (including various S-Video decks or composite VHS, ¾-inch, or Hi-8 decks). In some cases, due either to the deck performance or the deck performance in conjunction with a particular videotape, the Meridien subsystem will not lock to non-TBC sources. As a result, the image might be unstable or might have reduced or missing color, or syncing might not be possible at all.

If you select the Consumer Source option in the Video Input tool, a wider bandwidth, more closely tracking time-base will improve the range of syncing capability. In this mode, the video input levels will be set by automatic gain control. Not all of the Video Input tool’s adjustment sliders will operate, and the video might be slightly softened, but the syncing in most cases will be more reliable and more stable. The overall image quality will not be as high as with normal operation.

n The availability of the Consumer Source option depends on the model of your Avid system.

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If you continue to experience difficulty with a source that does not include an internal TBC, Avid recommends the video signal be processed through an external TBC for maximum image quality. For more information on time-base correctors, contact your Avid Reseller.

Green Line in VHS Video

Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you digitize from a device such as a VCR, a green line might appear at the bottom of the monitors in the Avid application.

This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases. If you use the video in a circumstance in which the line is visible, you can remove it by cropping the bottom edge of the picture.

n For more information on cropping, see the effects guide for your Avid system.

Avid/Mezzo Archiver

Avid/Mezzo Archiver Release 3.1.9 or earlier is not supported with Media Composer Release 10.0 or Film Composer Release 10.0. Contact your Avid Reseller for availability of updated versions of Avid/Mezzo Archiver.

Unrendered 3D Effects with Drop Shadow

At the start of an unrendered 3D effect with a drop shadow, there is a one-field delay before the shadow appears. This is a hardware design limitation and cannot be fixed for real-time play of an unrendered effect.

Workaround: Render the effect.

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Multiformat Titles Must Be Real-Time DSK

Multiformat titles must be real-time DSK. If your Avid system includes support for 24p projects, you can save titles in multiple formats (NTSC 4:3, PAL 4:3, NTSC 16:9, or PAL 16:9, depending on your source media). When you create a digital cut, you can choose the appropriate format. This feature works only for real-time DSK titles. It does not work for rendered titles. Rendered titles will play in the original rendered format.

If you need to render effects that play at the same time as the title, render all effects except the title. Alternatively, create a video mixdown of all tracks except the title.

For more information, see “Working with Titles on Systems with 24p Support” in the effects guide for your Avid system.

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Fixed Bugs

✔ Rendering a large sequence with many effects no longer causes the system to run out of memory. If you begin to render all effects in a sequence that includes a large number of complex effects, the Avid system might not have enough memory to render all effects. In this case, a message box appears, warning you that there is insufficient memory to complete the render and the canceling the render. The dialog box includes the following workaround.

Workaround: Simplify the render by first rendering nested effects. Alternatively, break up long effects with Add Edits. However, using Add Edits might affect the appearance of effects that include Spline or Acceleration, so use this workaround with caution.

✔ Starting and canceling audio punch-in several times no longer causes the application to terminate or hang.

✔ Playing back a 1:1 sequence with MediaDock 73gig LVD drives no longer causes DMFA or video underrun errors.

✔ A fatal error no longer occurs if you play Audio Loop over filler.

✔ Junk pixels no longer appear on the top edge of a 3D title.

✔ An exception error no longer occurs when you play a group clip with an audio pan over the edit.

✔ Media files are not temporarily hidden when moving projects and media files from Macintosh to Windows NT systems.

✔ Scenes and takes no longer get lost in scene pull lists whenever overlapping names or numbers occur.

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✔ Dual-sided trim now functions with extend edit and sync locks enabled.

✔ Borders on 3D PIP effects are now always equal.

✔ AudioSuite effect templates now work with the original master clips.

✔ When you Option+drag to copy a title, 3D title, or a Matte Key effect from a bin, the clip name is no longer missing.

✔ When generating a cut list for a sequence that contains three or more video tracks, you do not receive a “Serious Programming Error” message.

✔ When you perform an audio-only digital cut, the audio does not come in approximately one field earlier.

✔ When saving a very complex rolling title, you no longer receive a “MEM_OUT_OF_MEMORY” message.

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Known Bugs and Limitations

24p and 25p Projects

✘ For 24p audio-only sequences, switching the output format doesn’t switch the hardware. For example, you are working in a 24p NTSC project, with black burst set to NTSC. With an audio-only sequence in the Timeline, open the Digital Cut tool and select Local. Choose a PAL output option. You get a warning message about switching black burst to PAL. Manually change the black burst to PAL, and start the digital cut. The reference and 3D hardware does not switch to PAL. You can perform the cut, but the hardware is still synched to the wrong video format.

✘ A digital cut cannot end in the middle of a frame. If you are creating a digital cut in a 24p NTSC project, and your sequence ends on a B or C frame, you receive a warning message. You can still create the digital cut, but the OUT point will be off by one field.

Workaround: Choose a different OUT point.

✘ When you change the pullin of a sequence in a PAL 24p or 25p project, the pullin letter does not appear in the Pullin Bin column. The sequence is correctly updated with the new pullin.

Audio

✘ In a mixed Macintosh and Windows environment, you might encounter the following error message during OMFI Version 2.0 export of a clip containing SDII audio: “Exception: CANT_EXPORT_MEDIA_AS_SD2 An error occurred during export.”

Workaround: In mixed Macintosh and Windows environments, use AIFF-C audio format.

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✘ If you plan to use Pro Tools® on the same system as Media Composer, Film Composer, or Avid Xpress, note that Pro Tools uses different versions of the following files:

• DigiSystem_INIT — Stored in the Extensions folder

• Default AudioSuite Plug-Ins — Stored in the DAE folder in the System folder

If you plan to use Pro Tools on your Media Composer, Film Composer, or Avid Xpress system, you will need to keep separate copies of these files and copy them to the correct location before you start the application. For the default AudioSuite plug-ins, you should keep separate copies of the entire DAE folder (located in the System folder).

After you replace the files, you must restart the system for DigiSystem_INIT to take effect.

✘ Clip gain information is not carried forward from previous releases on segments that include automation gain. If you transfer a sequence from Media Composer Release 10.0 or Film Composer Release 10.0 or later to an earlier release, save the sequence, and transfer it back again, the original additive clip gain on segments with automation gain will be lost.

✘ Audio fades do not get extracted from the OMFI file when pan/vol is on the clip. When you import this OMFI file into another system, the dissolve will be unrendered. You might want to perform an audio mixdown of the clip before exporting.

Compatibility with Other Products and Releases

✘ You might have problems running Apple System Profiler before running Media Composer or Film Composer.

Workaround: If you encounter this problem, start Apple System Profiler after loading Media Composer or Film Composer.

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✘ If you eject a local drive from a system that has Avid Unity MediaNet volumes mounted, when you select Mount All from the File menu, the following error message appears: Mac Error -65 (r/w requested for an off-line drive)

Consolidating

✘ Consolidating a sequence with a group could result in the sequence referencing two different groups.

When you consolidate a sequence that contains a group clip that has the default clip selected for all tracks and you deselect the option “consolidate all clips in a group edit,” the Avid system creates a master clip (.new) and a group clip (.new). The sequence references the .new group clip for the default clip and the original group clip for any other clips in the group.

✘ You might receive an inaccurate warning message after consolidating and performing a sample rate conversion.

If you consolidate a mixed sample rate sequence while performing a sample rate conversion, and then export the sequence, you might see a message warning that the sequence still contains mixed audio sample rates. If you click Continue and complete the export, all the clips are correctly exported at the sample rate you selected for the conversion, and the sequence works correctly in other applications. However, the sequence retains inaccurate mixed sample rate labels on the clips.

✘ Consolidate ignores the “Lock Bin Selection” setting for a consolidated clip.

If you use the “Delete original media files when done” option in the Consolidate dialog box, the system ignores the “Lock Bin Selection” setting for a consolidated clip and deletes the media.

✘ Consolidated master clips have inaccurate locators.

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Digitizing

✘ The Eject Tape button does not work if it is mapped to certain buttons.

The Eject Tape button does not work if you map it to the Tab key or to any of the buttons under the Source or Record monitor.

Workaround: You can map the Eject Tape button to other keys on the Keyboard palette or to any button in the Tool palette.

✘ Autoconfigure chooses the JVC BR-D85U deck instead of the JVC BR-D750U deck.

If you autoconfigure decks when the JVC BR-D750U Digital S deck is connected, the system incorrectly chooses the JVC BR-D85U deck. If you double-click the deck in the Deck Configuration dialog box, the system displays a message warning that the deck configuration does not match the deck attached to the system. You can close the message box and then select the JVC BR-D750U deck in the Deck Settings dialog box. The system then functions correctly with the deck. However, the message warning that the deck configuration does not match the attached deck will reappear whenever you create a new project.

✘ The Avid application does not report a missing video signal when you digitize from a DAT deck and select the Video Track button in the Digitize tool.

If you are digitizing audio from a DAT deck by dropping a logged clip in the Digitize tool, and you then select the Video Track button in the Digitize tool, the application does not produce an error message stating that there is no video signal.

Workaround: Do not select the Video Track button when you are digitizing audio from a DAT deck.

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✘ You might experience sync problems while digitizing or making a digital cut.

Workaround: Increase the preroll time in the Deck Settings dialog box.

✘ Not all frames in the Timeline are updated after redigitizing a sequence and the clips.

✘ Switching input sources prevents the Waveform and Vectorscope monitors from adjusting properly. If you have a bad signal coming in through a Serial Digital Input (SDI) format and you switch the input settings to a different format (Composite or Component), the Waveform and Vectorscope monitors do not adjust properly to the new signal.

✘ Digitizing with Macrovision® copy-protected tapes causes sync problems.

✘ If the video input signal is interrupted, it is possible for the internal Vectorscope monitor to display incorrect data once the signal is restored. This does not affect the signal being digitized. The signal could be interrupted when cables are disconnected, or when signal generators or decks are turned off.

Workaround: Click the V button in the Digitize tool off and then back on again, and the Vectorscope monitor should correct itself.

Editing

✘ If you select the Scroll While Playing option in the Timeline Settings dialog box when working in 24p and 25p PAL projects, your system might display distorted video in the Record monitor.

Workaround: Deselect the Scroll While Playing option in the Timeline Settings dialog box. The Timeline Settings dialog box is located in the Settings scroll list of the Project window.

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✘ Corrupt MC State setting prevents application from launching with “VRef not found” error.

If you see the error message “VRef not found” when you first start the Avid application, try deleting the MC State file in the Settings folder.

✘ Cannot move a bin out of the Trash when no other bins exist in the project.

Workaround: Create another bin in the project, and then move the bin out of the Trash.

✘ When copying information from the Info window, you must close the Info window after each copy. If you leave the Info window open, each time you use the Paste command it will paste the first information you copied.

✘ You need to close the MCS3 Controller Settings window before changes take effect.

You can select other windows when the MCS3 Controller Settings window is open. This can make it a little confusing to realize that the MCS3 Controller Settings window needs to be closed before any changes take effect.

Workaround: Make sure you close the MCS3 Controller Settings window before you try to use updated settings.

✘ If you set the desktop to display custom patterns, the bins may become transparent and reveal the patterns on the desktop.

Workaround: Turn off custom desktop patterns or force a redraw of bins as needed.

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✘ Comments created during logging disappear when the bin view changes.

In each new view in which you would like to see the Comments column, you can type “Comments” in the column heading area of the bin and the comments will appear. The Comments column also shows up in the Headings dialog box at the bottom with the custom columns. To type in the column heading area, you must find or make some room between columns or after the last column; you'll see the text insert a cursor at locations where you can type.

✘ Partially covering the Source monitor with a group clip causes the Source monitor and the Client monitor to display a single frame instead of the grouped frames.

Remove the window that is covering the Source monitor and click the Source monitor. Both the Source monitor and the Client monitor display the grouped frames.

✘ Batch digitizing doesn’t update the bin display.

If you select a clip and batch digitize it, the bin selector in the Digitize window doesn't switch to the bin the clip is in.

This has no effect on the batch digitizing or on the location of the clip.

✘ The display of accent characters (set from the Apple Key Caps window) in the bin is different from the display in the Timeline.

✘ The Reverse Match Frame function is not working correctly with motion effects.

✘ There might be a hue shift noticed in certain colors when Avid graphics are being drawn on video. Since the graphics are not displayed during play, it will not affect the output of your digital cut and will be noticeable only when parked on a frame. Examples of Avid graphics include mark IN, mark OUT, and sawtooth marks denoting the beginning or end of a clip.

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Effects

✘ The highest useful value for Border softness on 2D peels is 12. Promoting to 3D does not increase the effective range.

Workaround: Limit peel softness to 12.

✘ Motion effects keep their old clip names in the Timeline after relinking.

If you relink a sequence that contains motion effect clips to new master clips, the motion effect clips appear in the Timeline with their old clip names even though they have relinked successfully to the new media.

✘ ExpertRender at Position does not always recognize a partially completed render. If you attempt to use the ExpertRender at Position command on a partially rendered effect, you might get the message, No Effects to Render.

Workaround: Use the following procedure:

1. Choose Render Ranges from the Timeline Fast menu and choose “Partial Only” or “All.”

2. Move the position indicator on top of the red line that indicates the unrendered part of the effect.

Now, when you choose ExpertRender at Position, the Expert Render dialog box displays one effect to render.

✘ In 3D Warp, setting the horizontal parameter to 15 when using external defocus shifts the entire image down.

Workaround: Do not use the highest horizontal value (15) for an internal defocus effect, or use an “FG only” defocus effect.

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✘ 3D effects are cropped several lines on the bottom edge, causing the background video to show through.

Workaround: Scale up the source video slightly to avoid the cropping.

✘ When the Marquee® plug-in window goes behind the Media Composer or Film Composer window, the Timeline continually refreshes.

Workaround: Bring the Marquee plug-in window to the foreground, or close Marquee.

✘ Rendering a large sequence with many effects might result in the system cancelling the render.

If you begin to render all effects in a sequence that includes a large number of complex effects, the Avid system might not have enough memory to render all the effects. A message box appears, warning you that there is insufficient memory to complete the render; the render is then cancelled.

Workaround: Simplify the render by first rendering nested effects.

You can also break up long effects by using the Add Edit function. However, using Add Edit might affect the appearance of effects that use Spline or Acceleration, so you should use this workaround with caution.

✘ 3D borders appear uneven at small sizes. In 3D effects, setting the border width to a small value might produce borders with uneven edges.

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✘ A long video mixdown with unrendered effects causes an Insufficient Memory error. A video mixdown with many unrendered effects (such as a 15-minute sequence with 176 effects) will abort with a message that states “Insufficient Memory error. Keep or discard?” Choose Keep, and the mixdown up until that point is good. This problem does not occur with Render In/Out or when rendering a long effect.

Workaround: Render the effects before creating the mixdown, break up the video mixdown into smaller segments, or upgrade the system memory.

✘ You might experience problems when rendering effects-intensive sequences with collapsed tracks. Your system might continuously render the sequence.

Workaround: Increase the memory allocated to the Media Composer or Film Composer application.

✘ At the start of an unrendered 3D effect with a drop shadow, there is a one-field delay before the shadow appears.

Workaround: Render the effect.

✘ The Matte Key effect might cause a slight luminance level drop to the background media under the matte key.

✘ The luminance level will drop slightly in non-real-time keys when Crop or Position parameters are adjusted.

✘ The 3D drop shadows that travel independently of their object do not play smoothly.

✘ The Stamp effect will not work on the first keyframe of an effect.

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✘ Certain 3D effects display highlights and shadows as black-and-white lines.

Hardware

✘ The 888 I/O audio meters do not always display accurately. The meters could show a signal that is not present.

Import and Export

✘ Clip names longer than 32 characters are truncated when imported in a log file.

If you export a log file with clip names longer than 32 characters, and then reimport the log file, the system changes the clip names. Each reimported clip name consists of the first 32 characters of the original clip name followed by the tape name.

✘ The default path is incorrect when batch importing an audio clip from an audio CD.

When the system imports audio media from an audio CD-ROM, it does not store the correct drive and directory (path) information for the file. If you batch import, the default path for the audio clip will be incorrect. You must change the path information in the Batch Import dialog box to correctly reference the audio media on the CD.

✘ Insufficient memory errors might occur if you attempt to play media after importing a QuickTime movie with a resolution different from the native file.

Workaround: Exit and restart the application.

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✘ The system runs out of memory after importing moving mattes from After Effects.

If you attempt to import these files into Media Composer or Film Composer without first quitting After Effects, you might run out of memory during the import.

Workaround: Quit After Effects before importing.

✘ Audio export to Media Cleaner EZ in direct out mode gives two error messages.

The first error message, “Audio export cannot be performed in Direct Out mode,” gives you correct information.

✘ Avid Codec for QuickTime configuration doesn’t hold settings.

Do not use this codec unless you are going to AVR resolutions. If you need it, click anywhere in the Quality slider and then set things up as you want them in the resulting dialog box. When you save and export, the selections you made are remembered.

✘ MediaLog-generated ALEs can’t be brought back into PAL Method 1 projects.

When you export an ALE file from a bin in a PAL 24 fps Method 1 project [audio transfer rate = video rate (100%+)], the “AUDIO” entry in the header of the ALE file might be incorrect and can not be imported into another application.

If you create such a shot log file, open it in a text editor and change the value in the AUDIO heading. Change 42.336 kHz to 44.1 kHz, or change 46.080 kHz to 48.0 kHz.

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✘ Some unsupported file types might stall the system during import. If you try to import an unsupported file type, such as an .aud file (MPEG-2 audio file), QuickTime might take several minutes to analyze the file type. During this period, the system appears to be frozen. After several minutes a message appears, saying the file is not a supported format.

✘ An exported graphic at 1:1 resolution is creating corrupt media. In an NTSC project, load a 2:1 clip. Mark a one-frame duration, and export the frame at 1:1 resolution. Reimport the same graphic at any resolution, and you see either green and magenta artifacts or a black screen with an SFCONS_VIDEO_TIMEOUT error.

✘ The padding for sequential PICT files is wrong.

✘ When you export an OMFI graphic to a drive with insufficient disk space, the system freezes.

Workaround: Export to a drive with adequate storage space.

✘ Batch importing a duplicate of a master clip causes the original master clip to be offline.

Workaround: Unlink the duplicate before batch importing it.

✘ When you export a file larger than 2 GB, a system error occurs.

Workaround: Ensure that the file you are exporting does not exceed the 2-GB limit. If the error occurs during a video mixdown, try to mix down in smaller segments.

✘ Audio fades are not extracted from OMFI when pan/vol is on the clip. When you import this OMFI file into another system, the dissolve will be unrendered.

Workaround: You might want to perform an audio mixdown of the clip before exporting.

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✘ The position indicator will not be used if you export by pressing the Option key and using the drag-and-drop method. Option+drag does not use the position indicator and will always use mark IN and mark OUT, even if Use Marks is disabled.

✘ Media Composer and Film Composer do not support QDesign Music audio. If you try to import audio formatted with the QDesign Music codec, QuickTime crashes.

Workaround: Choose Import Video Only, or cancel the import.

✘ If you import an OMF composition with video media and change the resolution on import, you might encounter problems if you delete the media clip and then attempt to reimport the file to the same bin. If you attempt to reimport the same file to the same bin (or to a different bin while the first bin is open), the system imports the composition but not the media.

Workaround: Close the bin, open another bin, and import the file to the new bin. You can also try quitting and restarting the Avid application and then reimporting the file.

✘ If you set Autodetect Sequential Files to ON in the Import Settings dialog box, folders ending in digits larger than 1 will not appear in the Import Files dialog box.

Workaround: Set Autodetect Sequential Files to OFF in the Import Settings dialog box, or rename folders so they do not end in digits larger than 1.

Installation

✘ Some installer log files (such as MC.app.log) are too large to be opened by the SimpleText editing application. SimpleText cannot open a file larger than 32K

Workaround: Open the file in another text editor, such as the BBEdit Lite or TexEdit.

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Monitors

✘ You cannot change the monitor resolution while Media Composer or Film Composer is running.

Workaround: Quit the Media Composer or Film Composer application before changing the monitor resolutions.

MultiCamera Editing

✘ Entering MultiCamera edit mode can take a long time when the sequence contains many edits.

The amount of time it takes to enter MultiCamera edit mode is directly proportional to the number of edits you have in the sequence being edited. For example, a sequence with 3000 edits takes approximately 15 seconds.

✘ When a MultiCamera group clip is loaded in the Source monitor, and the Source monitor is partially obscured (by a bin or other window), the Source monitor and Client monitor display a single frame instead of the grouped frames.

Workaround: Remove the window that is covering the Source monitor, and click the Source monitor. Both the Source monitor and Client monitor display the grouped frames.

✘ Playing a sequence that includes real-time motion effects in MultiCamera mode results in an error.

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Output

✘ Timecode drifts slightly when outputting simultaneous timecode.

A limitation in the way the system calculates timecode rates results in a slight drifting of timecode values when you output drop-frame and non-drop-frame timecode simultaneously. For a sequence one hour in length, the two sets of timecode drift apart by approximately one-quarter of one frame. The problem is relatively more noticeable in 24 fps output than in 29.97 fps or 23.976 fps.

✘ The Digital Cut tool does not remember window position.

When you perform an archive to tape, the Digital Cut tool automatically moves to the upper left corner so that it can not overlap the Record monitor in the Composer window.

Workaround: When the archive to tape is complete, move the Digital Cut tool back to the position where you want it.

Play

✘ Playing media with an Avid Unity Fibre Channel controller installed but not connected causes errors.

Workaround: Choose one of the following:

t Connect the controller to an Avid Unity system.

t Install a fiber-optic cable connecting one port of the controller card to the other (a loopback cable) until the controller can be connected.

t Remove the controller until it can be connected.

✘ When you play a clip in a bin, the clip blinks to black before starting to play. If you set a bin to Frame view or Script view, select a clip, and click Play, the clip displays black briefly before it starts to play.

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✘ Playback from a bin is not smooth when the bin is displayed in the Bin monitor. If a bin is displayed in the Bin monitor, and you set a bin to Frame view or Script view and play a clip, the clip does not play smoothly.

✘ Video and audio underrun errors might occur when playing a sequence with the Scroll While Playing option set. The more information that the system has to scroll (larger Timelines) increases the chances that the system will not respond to a video or audio request.

Workaround: Deselect the Scroll While Playing option in the Timeline Settings dialog box. This option is deselected by default.

✘ The monitor displaying the Source and Record monitors and Timeline might not refresh quickly.

StorEx

✘ StorEx might hang if you open it after starting and quitting Media Composer or Film Composer.

Workaround: Reboot your system and open StorEx before starting Media Composer or Film Composer.

Timeline

✘ When you start to play on a stamped keyframe, a purple flash appears on the odd field. If the position indicator is on a stamped keyframe, when you click the Play button, the odd field plays as purple. If you move the position indicator off the stamped keyframe and play, no purple appears.

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Titles

✘ Adding a Defocus effect to a title results in blocky artifacts. Open a title in the Effect Editor and promote it to 3D. In the Defocus parameter, choose Key Only or FG & Key, and adjust the sliders to blur the key. The title blurs, but the graphic channel beneath comes through as a blocky outline.

Workaround: Replace the graphic channel with a solid-color graphics image.

✘ If you start to play from a point within a rolling title that contains keyframes, you might receive a Rolling Title Underrun error message.

Workaround: Start play before the rolling title or remove the keyframes in the title.

✘ When you import a Photoshop® .psd title file, you receive an Exception: No Error message. The file does not import.

Workaround: Save the Photoshop file as a PICT file when saving and exporting from the Photoshop application.

✘ Editing or saving a large, multipage file can take a few minutes.

✘ Playing a long, complicated, rolling title can cause an exception error.

Workaround: Try reducing the complexity of the rolling title.

✘ You cannot revise a title after exporting it as OMFI Version 1 or 2.

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✘ In the Effect Editor, if the Acceleration parameter is set to 100 (fast), dragging the scroll bar through the Timeline over a keyframe might cause an error message.

Workaround: Acceleration is not recommended for rolling titles or other DSK titles with vertical motion, due to anti-aliasing effects that cause flicker.

✘ When you import an OMFI 2.0 file with rolling titles, the icons for the rolling titles are blank.

✘ Some italic text in titles can become truncated.

Workaround: Click the Right, Left, or Center Justification buttons to eliminate truncation of text. You might have to create several text blocks to resolve this problem with multiple lines of text in your titles.

✘ Some 3D titles might not crop properly. The first letter of the title might be clipped.

Workaround: Open the left crop bar and adjust until the first letter is no longer clipped.

✘ Mixing different fonts, different sizes, and different styles might realign the vertical placement of a title.

Title Tool

✘ When you play a sequence with several rolling titles close together, you might see an error message.

Workaround: Render the rolling titles, or try moving the titles further away from each other.

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Utilities

✘ Media Composer and Film Composer do not support MSM media when you use OMF utilities from Media Composer Release 7.1.

Workgroups

✘ Invisible Macintosh directories appear as folders in the Project window.

When you share a folder using Macintosh file sharing, the Macintosh creates invisible directories called “Network Trash Folder” and “NetworkInfoSettings.” If you use file sharing to share one of your Avid project folders, and then open that project in your Avid application, the invisible directories appear as folders in the Open Project dialog box and in the Project window. You should not use these folders to store any Avid files since you will be unable to access them from the Macintosh Finder. Do not rename the folders or place Avid bins inside them.

✘ Projects might not close correctly if a bin has been opened over the network and a network error occurs.

If you open a bin on another system and modify its contents, and then a network error occurs where you can no longer access that bin file on the networked system, the application might not exit because it cannot save the bin. You might have to force quit to exit the program.

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Technical Support Information

Avid Customer Service has a variety of technical support options available. Avid Assurance includes annual telephone support, maintenance releases, and advanced hardware exchange (7x24 option available). Assurance customers in North America may contact our Customer Support Center at 800-800-AVID (2843). To purchase Avid Assurance, to renew your contract, or for more information on Assurance offerings, in North America, contact your reseller or Avid Inside Sales at 800-949-AVID (2843). For international inquiries and support services, contact your local Avid reseller. Support offerings may vary per location. For the latest information, consult your reseller or www.avid.com.

In North America, Avid FlexSupport options are also available. Avid On-Call per-incident support is available by calling 800-800-AVID (2843) or 900-555-AVID (2843) (United States only). Avid CallPaks (available in the United States and Canada) allow customers to bundle Avid On-Call per-incident support in 5-call or 10-call packages for added value. To purchase Avid CallPaks in North America, please contact Avid Inside Sales at 800-949-AVID (2843). For international inquiries, please contact your local reseller.

As an Avid customer, you are entitled to access technical support information and product information, as well as the latest news from our Web-based Knowledge Center. Simply navigate to www.avid.com/services, click the Knowledge Center link, and log in. If you need help locating the reseller or Avid office nearest you, please visit our Web site at www.avid.com/misc/dealer.html or call 800-949-AVID (2843).

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Copyright and DisclaimerProduct specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States patents: 4,746,994; 4,970,663; 5,045,940; 5,063,448; 5,077,604; 5,245,432; 5,267,351; 5,309,528; 5,325,200; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,701,404; 5,715,018; 5,719,570; 5,724,605; 5,726,717; 5,729,673; 5,731,819; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,781,188; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,883,670; 5,889,532; 5,892,507; 5,905,841; 5,912,675; 5,929,836; 5,929,942; 5,930,445; 5,930,797; 5,946,445; 5,966,134; 5,977,982; 5,986,584; 5,987,501; 5,995,079; 5,995,115; 5,999,190; 5,999,406; 6,009,507; 6,011,562; 6,014,150; 6,016,152; 6,016,380; 6,018,337; 6,023,531; 6,023,703; 6,031,529; 6,035,367; 6,038,573; 6,052,508; 6,058,236; 6,061,758; 6,072,796; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Additional U.S. and foreign patents pending. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

© 2000 Avid Technology, Inc. All rights reserved. Printed in USA.

Attn. Government User(s). Restricted Rights LegendU.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

TrademarksAirPlay, AudioVision, Avid, Avid Xpress, CamCutter, Digidesign, FieldPak, Film Composer, HIIP, Image Independence, Marquee, Media Composer, Media Recorder, NewsCutter, OMF, OMF Interchange, Open Media Framework, Pro Tools, Softimage, and tools for storytellers are registered trademarks and 888 I/O, AniMatte, AudioSuite, AutoSync, AVIDdrive, AVIDdrive Towers, AvidNet, Avid Production Network, AvidProNet, AVIDstripe, Avid Unity, AVX, DAE, D-Fi, D-FX, D-Verb, ExpertRender, FilmScribe, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, Matador, Maxim, MCXpress, MEDIArray, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaShare, Meridien, NaturalMatch, OMM, Open Media Management, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Sound Designer II, Symphony, Vari-Fi, and Video Slave Driver are trademarks of Avid Technology, Inc.

After Effects and Photoshop are trademarks of Adobe Systems Inc. Apple, Mac, Macintosh, and Power Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Disk First Aid, Finder, and QuickTime are trademarks of Apple Computer, Inc. DiskWarrior is a registered trademark of Alsoft, Inc. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. Macrovision is a registered trademark of Macrovision Corporation. Media Cleaner is a registered trademark of Media 100 Inc. Norton Utilities is a registered trademark of Symantec Corporation. Sentinel is a registered trademark of Rainbow Technologies. Windows NT is a registered trademark of Microsoft Corporation. Yamaha is a registered trademark of Yamaha Corporation of America. All other trademarks contained herein are the property of their respective owners.

Avid Media Composer and Film Composer Release 10.0 Release Notes • Part 0130-04534-01 Rev. A • 9/1/00

atools for storytellers®

Documents

Media Composer® and Film Composer - Avidresources.avid.com/SupportFiles/attach/MC_RN_10_0_Mac.pdfNew File Extension for PICT Files. . . . . . . . . . . . . . . . . . . . . . .