Video Satellite Guide Version 10.
Legal Notices This guide is copyrighted ©2011 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.
Contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Video Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Supported Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Support for Avid Interplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Capturing Audio and Video with a Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Re-Digitizing an Existing Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Digitizing from an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Laying Back Audio and Video to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 1: Introduction Video Satellite is a powerful post-production option for Pro Tools ®, employing a separate computer running Avid Media Composer ® or Symphony Nitris ® DX software for synced video playback, capture, and conversion. Use of Avid Symphony Nitris DX in a Video Satellite system requires Symphony ™ software version 5.0 or higher.
Playback to an External NTSC or PAL Video Monitor (Avid Nitris DX, Mojo DX, or Mojo SDI Only) Media Composer requires an Avid video peripheral for high-quality, frame edge-aligned playback of SD video (or 1080 HD video converted to SD video) to an external NTSC or PAL monitor. Symphony requires an Avid Nitris DX peripheral for video output.
Supported Video Resolutions Support for Avid Interplay Media Composer and Symphony Video Satellite supports the import, capture, and playback of a wide range of video resolutions and frame rates (including HD video): Media Composer, Symphony, and Pro Tools systems support integration with Avid’s Interplay asset management system. For detailed information on supported resolutions and frame rates, see Avid Media Composer online help or visit the Avid website (www.avid.com).
Support for Avid ISIS 7000, ISIS 5000, and MediaNetwork Storage Systems Avid ISIS ® and Unity MediaNetwork are highspeed network storage systems that let multiple users store and share media through a gigabit Ethernet connection (for ISIS) or fibre channel connection (for MediaNetwork).
In one project, you could create a new bin to hold all of your video clips and a bin to hold your sound effects, and a bin for sequences. You could close that project, open a new project and open the sound effects bin from the first project to use the same audio in a different sequence. Projects are stored at a user definable location. Media data and metadata enable an application that receives AAF and OMF sequence files to automatically and quickly reassemble the composition.
MXF AAF MXF is a media file format. There are MXF video files and MXF audio files, but there are no “MXF sequences.” An AAF sequence may refer to or include MXF media files, but OMF sequences cannot refer to or include MXF files. AAF sequences are the best way to exchange projects and maintain valuable metadata. An AAF sequence can refer to OMF and/or MXF media files, or have OMF and MXF media files embedded within them. There is no such thing as an AAF audio or video media file.
OMF Embedded Media OMF is both a media file and sequence format. OMF media files can be audio or video. Exporting to OMF or AAF with embedded media results in one large OMF or AAF file containing both the metadata and all associated media files. However, it is important to note that file size is limited to 3.4 GB.
MXF Media Data Locations On the volumes you have designated for media storage, Media Composer stores all MXF media: • When stored locally, MXF media is placed in the Avid MediaFiles/MXF/1 folder. Media Composer can also read MXF media located at Avid MediaFiles/MXF/2, Avid MediaFiles/MXF/3, and so on. • When stored in a shared environment, MXF media is placed in a folder called Avid MediaFiles/MXF/client.1 (where client represents the name of the client computer).
Frame-Accurate Video Editing and Sample-Accurate Audio Editing Media Composer and Symphony edit with frame accuracy. This means that in a 30 fps project, you can edit at 30 different locations for every one second of video. Pro Tools edits with sample rate accuracy. In a 48 kHz session, there are potentially 48000 locations to edit for every second of audio. When Pro Tools exports an AAF or OMF composition destined for an Avid application, it must ensure that the audio files line up on frame boundaries.
System Requirements and Compatibility Video Satellite requires the following system components: • Avid-qualified Mac or Windows computer • Pro Tools with Avid HD Native or Pro Tools|HD hardware with a SYNC HD or SYNC I/O peripheral • A second Avid-qualified Mac or Windows computer for Media Composer or Symphony • Media Composer or Symphony System Identification Number and serial number, or Avid Application Key (included with Media Composer or Symphony) • iLok USB Smart Key (included with Video Satellite opt
Conventions Used in This Guide Pro Tools guides use the following conventions to indicate menu choices and key commands: : Convention Action File > Save Choose Save from the File menu Control+N Hold down the Control key and press the N key Control-click Hold down the Control key and click the mouse button Right-click Click with the right mouse button The names of Commands, Options, and Settings that appear on-screen are in a different font.
12 Video Satellite Guide
Chapter 2: Installing Video Satellite Pro Tools and a Media Composer or Symphony video satellite are known collectively as a video satellite system, and comprise the following components: • A dedicated Pro Tools computer with: • Pro Tools HD software • Pro Tools|HD card(s) or Avid HD Native card • Pro Tools HD audio interface • SYNC HD or SYNC I/O • Video reference (connected to the SYNC HD or SYNC I/O) • Local and/or shared audio storage • A second, dedicated Media Composer or Symphony computer with: • Lo
Shared Storage Ethernet connection (directly between two CPUs through a hub or through SYNC HD (or SYNC I/O) Pro Tools CPU Video Reference (Black Burst) or tri-level sync Avid Video Peripheral Audio I/O Media Composer or Symphony CPU (Video Satellite) VTR External monitor Audio Storage Speakers Deck Control or 1394 Video Storage Figure 3.
Connecting Video I/O to the VTR Configuring Machine Control with a VTR Connecting a VTR to an Avid Video Peripheral If an Avid video peripheral is connected to the system, connect the VTR’s video I/O to the Avid video peripheral. To connect a VTR’s video I/O to an Avid video peripheral: 1 Connect the Avid video peripheral Composite IN, Component IN, S-Video IN, SDI IN, or HDSDI IN connectors to the corresponding output or outputs on your VTR.
Connecting Video Reference If an Avid video peripheral is connected to the Media Composer or Symphony computer, it must have an appropriate video reference signal (black burst or tri-level sync). Installing Media Composer or Symphony Software To install Media Composer or Symphony software on Mac: 1 Always make sure to connect the proper sync signal to your Avid DNA peripheral before opening a project.
Upgrading from an Earlier Version of Media Composer or Symphony If you’re upgrading from an older version of Media Composer or Symphony, you should remove the previous version of the software, and certain support files. To uninstall Media Composer or Symphony before installing a newer version on Mac: 1 Quit all applications. 2 Go to Applications/Avid_Uninstallers Open the uninstaller folder for your Avid editing application.
To authorize Media Composer or Symphony automatically using the internet: To activate Media Composer or Symphony manually: 1 Launch Media Composer or Symphony. The Activation tool opens. 1 Select “ I want to activate my software using this computer’s Internet connection.” 2 Select “ I want to activate my software by phone or by using another computer’s Internet connection.” 2 Click Continue. The Avid Activation dialog box opens. 3 Enter your system identification number in the System ID text box.
Enter your system identification number in the System ID text box. 9 Enter your serial number in the Serial Number text box. 10 Click Submit. The Avid Activation page generates your activation code. 11 Transfer the activation code to the system you want to activate. You can copy the code to a text file and use a removable storage device such as a USB drive, or you can transfer the data over your network. 12 In the Avid Activation dialog box, enter the activation code in the Activation Code text box.
To upgrade Media Composer or Symphony manually from a dongle to a software license: 1 Make sure your Avid Application Key dongle is attached to your system. Launch Media Composer or Symphony. The Activation tool opens. 2 3 Select “ I want to activate my software by phone or by using another computer’s Internet connection.” Click Continue. The Avid Activation dialog box opens, and lists the System ID from the dongle in the System ID text box. 4 Enter your serial number in the Serial Number text box.
4 Click Continue. The Activation tool confirms your system information. When the activation is complete, a message informs you that your software has been successfully activated. 5 Click OK. Authorizing the Video Satellite Option To authorize the Video Satellite option: Insert the iLok key that is authorized for the Video Satellite option into an available USB port on your Media Composer computer.
Using a LAN connection Use a LAN for any of the following conditions: • When the video satellite is located in a separate room from the Pro Tools system • When you want Pro Tools and Media Composer computers on a LAN to access the Internet or connect to other locations on your network To connect a video satellite system to a LAN: Connect both systems to a standard 100 BaseT or 1000-Base-T Ethernet network as you would any other computer. 1 Make sure that both systems are operating on the same subnet.
Chapter 3: Video Satellite Workflows This chapter describes the following workflows for using Pro Tools with Media Composer or Symphony configured as a video satellite: • Changing Video Output Settings • Cross-mounting media storage on remote systems Changing Video Quality The Media Composer or Symphony Timeline includes a Video Quality icon that lets you change the video quality. This setting is saved for each project.
Playback Settings dialog (see “Changing Video Output Settings for Full-Screen Playback” on page 24), this setting provides full-resolution output to the DVI port. Performing a Digital Cut always changes the output to the tape deck to Full Quality automatically.
6 Click OK to save your changes. Video Frame Rate vs. Monitor Refresh Rate When you play back video on a monitor with a refresh rate that differs from the video frame rate (as is often the case during playback of video through a DVI output), the output yields visual artifacts and offsets in synchronization between audio and video. For example, this occurs during playback of a 24 fps video clip on a DVI monitor with a refresh rate of 75 Hz.
Choosing a Storage Configuration Sharing Media Storage for Mounting on a Remote System While it is possible to cross-mount both the audio and video storage on both systems at the same time, the workflows in this chapter only require that you cross-mount one or the other. This section describes how to share media storage for mounting on remote computers. Mounting the video storage on the Pro Tools system is the preferred configuration for most common satellite workflows.
Sharing Windows Media Storage for Mounting on a Remote Computer You can share a Windows volume for mounting on Mac OS X or another Windows system. The process is slightly different depending on whether the computer you are sharing is part of a domain or part of a workgroup. To share a Windows 7 volume: On the Windows 7 computer containing the volume you want to share, click the Start button. 1 2 In the Start menu, click Computer. 3 Right click the volume you want to share, and select Properties.
Cross-Mounting Shared Media Storage on a Remote System This section describes how to cross-mount a shared volume on a remote system. In the System Authorization dialog, enter the username and password information for the user who has share privileges on the Windows computer. 5 Cross-Mounting Windows Media Storage on Mac OS X You can mount a shared Windows volume on Mac OS X. To mount a shared Windows volume on Mac OS X: 1 In Mac OS X, go to the desktop.
Cross-Mounting Mac OS X or Windows Media Storage in Windows You can mount another computer’s shared volume on a Windows computer. To mount the shared volume in Windows 7 On the Windows 7 computer you want to use to access a shared volume, click the Start button. 1 1 In the Start menu, click Computer. 2 Click the Tools menu and select Map Network Drive... In the Map Network Drive window, select the drive letter you wish to map the network drive to from the Drive: menu.
Opening an Avid Sequence from a Volume Supporting Direct Playback This section describes how to open a sequence that is currently stored on a volume suitable for playback in Media Composer (such as local video storage, Unity MediaNetwork, or ISIS).
5 In the Export As dialog, click Options. 9 Click Save. You can also click Save As to save the Export settings you just created. See “Saving, Recalling, and Using Export Settings to Export AAF Sequences” on page 38 for details. In the Export As dialog, locate the desired folder on the dedicated Avid shared storage audio workspace. 10 Export As dialog 6 In the Export Settings dialog, do the following: • Make sure the Export As pop-up menu is set to AAF.
Opening an Avid Sequence with Pro Tools Connected to Avid Shared Storage but Not Streaming 5 In the Export As dialog, click Options. This section describes how to open a sequence with the following configuration: • Media Composer or Symphony will open the sequence from a Avid shared storage system. • Pro Tools is connected to the Avid shared storage system but cannot play the media directly from it.
9 Click Save. You can also click Save As to save the Export settings you just created. See “Saving, Recalling, and Using Export Settings to Export AAF Sequences” on page 38 for details. In the Export As dialog, locate any folder on the Avid shared storage workspace that is accessible to the Pro Tools system. 10 11 Click Save. In Pro Tools, choose File > Open Session, and select the AAF sequence on the Avid shared storage workspace.
Copying the Avid Sequence to the Satellite Video Storage To copy an Avid sequence and its referenced video to the video storage drive on Media Composer: Locate the bin containing the sequence on the hard drive, DVD, or generic network volume. 1 Copy the bin and the media to the satellite video storage, as follows: 2 • Copy all OMF video files and OMF-wrapped AIFF or WAV files to the OMFI MediaFiles folder. – and – • Copy all MXF files to the Avid MediaFiles folder.
Exporting an Avid Sequence as an AAF Sequence with Audio Storage Mounted on the Satellite This section describes how to export an AAF sequence for Pro Tools when the audio storage is mounted on the satellite. 7 In the Export Settings dialog, do the following: • Make sure the Export As pop-up menu is set to AAF. – and – • Enable the Include All Video Tracks in Sequence and Include All Audio Tracks in Sequence options.
In the Media Destination section, do the following: 10 16 In the Import Session Data dialog, do the following: • Select Folder from the Audio pop-up menu. • Under Audio Media Options, select Link to Source Media (Where Possible). – and – – and – • Select the Use Same Folder As AAF File option. • Under Video Media Options, select Link to Source Media.
Exporting an Avid Sequence as an AAF Sequence with Video Storage Mounted on the Pro Tools System 7 Click the Video/Data Details tab, and select Link to (Don’t Export) Media from the Export Method pop-up menu. This section describes how to export an AAF sequence for Pro Tools when the video storage is mounted on the Pro Tools system.
13 Do one of the following: • If you have not opened a session in Pro Tools, navigate to the AAF sequence in the Workspace browser, and double-click it to open it. – or – • If you are creating a new session into which to import the AAF, select the file format, sample rate and bit depth matching those properties in the original files referenced by the AAF sequence. Name the Session and save it to your dedicated audio storage. Select any other options, and click OK. The AAF opens in Pro Tools.
Opening an AAF Sequence for Playback on a Video Satellite System You can open an AAF sequence for playback on a video satellite system from volumes that do or do not support direct playback. • If you imported an AAF sequence that refers to external (linked) media, the sequence appears in the bin. • If you imported an AAF sequence with embedded media, Media Composer automatically copies the embedded media to the designated media file folders.
Refresh the media database by doing one of the following: 2 • Launch Media Composer. – or – • Choose File > Refresh Media Directories Choose File > Import, and locate the AAF sequence on the video storage. 3 Importing an AAF Sequence with Embedded Media into Media Composer To import an AAF sequence with embedded media from a volume that does not support direct playback: In Media Composer, open the bin where you want to import the AAF sequence.
Importing an AAF Sequence from a Volume that Cannot Be Mounted on Pro Tools This section describes how to import an AAF sequence into Pro Tools from a volume that cannot be mounted on the Pro Tools computer. To import an AAF sequence into Pro Tools from a volume that cannot be mounted on Pro Tools: To connect the Pro Tools and video satellite systems, they must first be connected using Ethernet (as described in “Making Ethernet Connections with Video Satellite Systems” on page 21).
2 In Media Composer, go to the Project window and choose Settings > Video Satellite. Ensure that Video Satellite Mode is enabled. 3 In the Satellite page of the Pro Tools Peripherals dialog, select a different Ethernet port from the Interface menu. Many computers have more than one Ethernet port or “interface”. The interface selected here must be the one connected to the same network as the satellite.
Matching the Media Composer or Symphony Project Type to Pro Tools Timecode Rate, Clock Reference, and Video Ref Format This section explains how to match the Media Composer Project Type to the Pro Tools Timecode Rate, Clock Reference, and Video Format (described in Table 1 on page 44). To ensure that your video satellite system will play back or capture using the proper settings: 1 In Media Composer, click the Format tab in the Project window. Select the desired setting from the Project Type pop-up menu.
Compatibility Table The following table describes compatibility between Avid Project Format and Edit Play Rate, and Pro Tools Timecode Rates, Audio Pull Up/Down Rate, Clock Reference, and Video Format. Table 1. Rate and Sync Ref Compatibility between Avid and Pro Tools Media Composer or Symphony Avid Project Format Mojo DX or Nitris DX Video Ref Mojo or Mojo SDI Video Ref 23.976 None NTSC SYNC HD Video Ref Format 23.976 NTSC 24 NTSC NTSC 24 0.
Media Composer or Symphony(continued) Avid Project Format Edit Play Rate Mojo DX or Nitris DX Video Ref Mojo SDI Video Ref Pro Tools (continued) SYNC PT PT Audio Rate I/O Video Timecod Pull Up/Down Ref e Rate SYNC HD Video Ref Format 1080p/29.97 29.97 1080i/59.94 n/a 29.97 None NTSC 1080i/59.94, 1080psf-29.97 (or NTSC) 1080i/50 50 1080i/50* n/a 25 None PAL 1080i/50, 1080psf-25 (or PAL) 1080i/59.94 59.94 1080i/59.94* n/a 29.97 None NTSC 1080i/59.94, 1080psf-29.
Matching Timecode Format (Drop Frame or Non-Drop Frame) Pro Tools and Media Composer must be set to the same timecode format (either Drop Frame or Non-Drop Frame). To ensure timecode format settings are compatible: If the numbers in the TC fields are separated by semi-colons instead of colons, the project is set to Drop Frame. Starting TC field 1 In Pro Tools, choose Setup > Session. If the Timecode rate pop-up menu displays “DF” after the frame rate, Pro Tools is set to Drop Frame.
Matching Media Composer Starting TC Timecode Setting and Pro Tools Session Start In almost all cases, the first frame of video is located at the start of the Media Composer sequence. However, Pro Tools sessions often have silence at the head to create countoffs or silence. For example, a Media Composer sequence may start at 1:00:00 while the matching Pro Tools session starts at 00:55:00—allowing five seconds of silence before the audio starts.
Compensating for Different Sequence Start Times in Pro Tools and a Video Satellite You can compensate for any offsets that might occur if the start times of an Avid sequence differ between Media Composer and Pro Tools. To compensate for different sequence start times: In Pro Tools, go to Setup > Session. The Session Setup window will appear.
To link or unlink the local Pro Tools system: Trim, Color Correction and Effects modes in Media Composer and Symphony are not supported with Video Satellite. Click the Link button in the Transport window. To link or unlink other satellite systems: Link Controls When a Pro Tools system is configured as an administrator, the following controls can be shown in the Transport window: Link Button Controls the link status of the local system.
Controlling Linking with a Control Surface Before Capturing Audio and Video To toggle the link button on the Pro Tools system (ICON and C|24): Before capturing audio and video from tape, ensure that you have made the following connections. Press Control + the Online button (Mac) or Alt + Online (Windows) on the control surface.
Capturing Audio and Video Caveats • Clock Reference pop-up menu is set to Video Reference (SD) or Video Reference (HD). The following caveats apply to capturing audio and video with a video satellite system: – or – • If Clock Reference pop-up menu is set to another source, like Word Clock, make sure that the Ref Present LED is lit, and that the clock reference that the SYNC is locked to matches that of the VTR.
Use the Mark In control to set an In point on the Timeline at which you want to begin capturing. 4 Media Composer places captured video at the In point in the timeline. However, that may not equal the video's timecode position on the tape, which is determined by the In point set in the Capture Tool.
4 In the Default Starting TC field, do one of the following to set the default start time for a new sequence: • If you want the sequence to begin capturing at the same timecode location as the beginning of the Pro Tools session, set the start time of the capture to be equal to the Session Start in Pro Tools ( Setup > Session in Pro Tools).
Below the Record button, click the record enable buttons for the video and timecode inputs. (V is for video and TC is the timecode channel). 5 From the Bin pop-up menu, select the bin where you wish the captured clips to appear. 8 This setting does not affect where the captured files are stored. All captured media files are stored in the OMFI Media Files folder (for OMF media) or Avid MediaFiles folder (for MXF media) on the volumes selected in the storage pop-up menus.
14 Do one of the following: • Select one of the displayed tape names and click OK. – or – Use the Mark In and Mark Out controls to select a specific portion of video you want to capture from tape, and click Record. (See “Selecting a Portion of Video to Capture” on page 56.) 3 • Click New to add a new tape to the list. This will be helpful if you ever need to recapture the same video.
The flashing red light indicates recording is in progress. Mark Out During recording, video may appear out of synchronization with audio. However, audio and video will be synchronized during playback. Mark In Go to Out Go to In Clear Display Click the Record button again (or press the ESC key) to stop. 4 Selecting a Portion of Video to Capture The Mark In and Mark Out controls in the Capture Tool let you select a portion of video to capture from the tape.
You are now ready to begin capturing, as described in “Capturing Audio and Video” on page 55. When you begin capturing, the VTR queues to the In point and begins capturing video, then stops automatically when it reaches the Out point. 4 Playing Back Captured Audio and Video with a Video Satellite System Once you have finished capturing with a video satellite system, the captured clip appears in the Record Monitor and in the Timeline. Audio appears in the Pro Tools Timeline.
To record audio and video to tape from Media Composer and Pro Tools simultaneously: 1 Select Output > Digital Cut. The Digital Cut Tool appears. 7 Make sure that your system is set up as follows: • Pro Tools and the Media Composer video satellite computers are linked. • Audio outputs on the Pro Tools HD audio interface are connected to the appropriate audio inputs on the VTR. • Video outputs from Media Composer system are connected to the VTR.
11 Select the Stop on Dropped Frames option if you want Media Composer to automatically stop the tape if the audio and video does not record correctly. 16 If you selected Remote mode, use the Record Track buttons on the right to select which audio and video tracks to enable for recording on the tape. 12 Select the Add Black At Tail option, and type the amount of black you want added to the end of the sequence.
Exporting Audio and Video as a Digital Movie from a Video Satellite If you have audio and video media with a video satellite system and you want to create a QuickTime or Windows Media digital movie, you must first get the audio from Pro Tools into Media Composer. Import the Pro Tools audio into the Media Composer sequence, and integrate it into the track. 3 4 See the Media Composer guides for details on importing and synchronizing audio in Media Composer.
Index Numerics 1080 video requirements for playback 2 A AAF sequences definition of 6 export settings for 38 exporting from Media Composer or Symphony (satellite only) w/audio drive mounted on satellite 35 w/video drive mounted on Pro Tools 37 importing into Media Composer or Symphony (satellite only) from a non-playback volume 39 from a playback volume 39 importing into Pro Tools (satellite only) from a non-mountable volume 41 from a playback volume 40 Media Composer or Symphony support for 6 opening for
w/audio drive mounted on satellite 35 w/video drive mounted on Pro Tools 37 opening on a satellite system 30 from a non-play volume 33 from Avid shared storage w/Pro Tools not streaming 32 on local/Avid shared storage with Pro Tools not streaming 30 overview 29 with Pro Tools playing from Avid shared storage 30 selecting a portion of 56 setting the default start time for 47 Avid video peripherals connecting to a VTR 15 connecting video reference to 16 system requirements 10 B Best Performance video quality
D E default start time setting for new Avid sequences 47 definition AAF sequences 6 Avid sequence 4 bins 4 client monitor 5 clips 4 connecting (Pro Tools and a satellite) 41 cross-mounting 25 frame-tearing 25 Interplay 3 ISIS 4 linking (Pro Tools and a satellite) 41 media data 7 MediaNetwork 4 metadata 8 OMF media and sequences 7 projects 4 Record Monitor 5 remote system 25 Source Monitor 5 subclip 4 Timeline 5 video stutter 25 delay 48 diagrams video satellite system 14 Digital Cut Tool 58 digital movie
G M General Settings dialog 47 Mac OS X sharing storage for mounting on Windows 26 MachineControl configuring with a VTR 15 effects of satellite on 48 matching Pro Tools and Media Composer or Symphony settings 42 media Avid default locations for 8 Media Composer installing as an upgrade from older version 17 setting Sync Lock 16 Media Composer or Symphony capturing satellite (see video satellite system) caveats for satellite systems 41 changing video output settings 23 compensating for monitor delay 48 c
Timeline 5 troubleshooting satellite connections 41 video quality settings 23 video satellite (see video satellite system) media data definition of 7 media files 7 and metadata 8 media storage cross-mounting (reasons for) 25 mounting on Windows 28, 29 mounting Windows storage on Mac 28 sharing on Mac (for mounting on Windows) 26 on Windows (for remote mounting) 27 MediaNetwork system definition of 4 metadata definition of 8 Mojo connecting to a VTR 15 connecting video reference to 16 support for 10 Mojo DX
to a satellite (via satellite link) 41 cross-mounting (reasons for) 25 Drop Frame setting 42 importing an AAF sequence (satellite) from a non-mountable volume 41 from a playback volume 40 Interplay support 3 link controls 49 accessing mini-link buttons from a control surface 50 displaying 49 linking and unlinking systems 49 linking and unlinking systems from a control surface 50 Media Composer or Symphony error behavior 49 linking to a video satellite 48 matching to satellite settings 42 MXF support for 6 N
definition of 4 support AAF sequences 6 Avid Interplay 3 Avid Mojo 10 Avid Mojo DX 10 Avid Mojo SDI 10 Avid Nitris DX 10 Avid video peripherals 10 MXF media 6 OMF 7 Symphony (see Media Composer or Symphony) sync issues avoiding with satellite system 42 Sync Lock setting for Avid Mojo SDI 16 sync offsets 2, 25 synchronizing Pro Tools and Media Composer or Symphony settings 42 timecode on captured video/source tape 52 System authorization dialog 28 T table Media Composer or Symphony and Pro Tools settings 44
linking Pro Tools and a video satellite 48 making Ethernet connections for 21 matching Pro Tools to satellite settings 42 monitoring audio from 14 opening an Avid sequence Avid shared storage but Pro Tools not streaming 32 from a non-playback volume 33 from a playback volume 30 from local/Avid shared storage w/Pro Tools not streaming 30 with Pro Tools playing from Avid shared storage 30 opening sequences for playback (overview) 29 overview of system 13 playback of captured audio and video 57 reasons for mou
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