Specifications

ptg
347
Tape-Based Delivery
4. Select the number of channels and the sample bit depth. For SD SDI,
the choices are 4 or 8 channels, 20 or 24 bits. (Generally choose the
highlighted choices.) For HD SDI, the choices are 4 or 8 channels,
24 bits. Consult your deck manual for the appropriate settings.
5. Click OK.
If you are outputting to analog tape, be sure to select the correct output
setting before recording a digital cut. This is particularly important for ana-
log SD projects. For analog HD projects, you need only to select the cor-
rect output for a monitor.
To set the appropriate video output:
1. Select Tools > Video Output.
2. Make sure that the correct output is selected: Component, Composite,
or S-Video.
Types of Digital Cuts
Yo u c an ch oo se f ro m f our ba si c t y pes of di gi t a l c ut :
Insert edit: This is the preferred method for recording a digital cut to get
reliable frame-accurate results. An insert edit requires a preblacked tape,
which is a tape that has been recorded with control track and timecode.
Control track and timecode can be printed to your tape by recording a
black video signal to it or even by leaving the lens cap on your camera
during recording.
Then, because the entire tape already contains timecode, Media
Composer records only video and/or audio to the tape and (most often)
matches your sequence timecode to the tape timecode.
Assemble edit: An assemble edit gives you the same precise control over
your start time as an insert edit but does not require that you black the
tape in advance. Rather, you need only black a short portion of the master
tape, at least up to the point at which you begin recording the digital cut.
An assemble edit begins your digital cut at a specific timecode and com-
mands the record deck to generate control track and timecode on-the-fly
as the digital cut progresses. When the digital cut is completed, the time-
code and control track end. The result is that the end of your digital cut
will not be a clean edit. Instead, it transitions to “snow,” or whatever else
is present on the tape. An Add Black at Tail option in the Digital Cut tool
addresses this issue.
NOTE If you have legacy
DNA hardware such as
Avid Adrenaline and are
outputting to DV tape,
you may also need to
select the correct device
setting (DNA or 1394)
for output. To do so, in
the Timeline toolbar, click
the DNA/1394 button to
toggle between output-
ting via the Adrenaline or
outputting via your com-
puter’s onboard FireWire.
NOTE Some deck-
specific issues may arise
with an assemble edit. If
you are not familiar with
resolving deck issues,
avoid using assemble
edits.
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