Expert Connections (HD)

Now is the best time to immerse yourself into the world of Avid Media Composer. Experience a full-week course and receive your own copy of Media Composer in one special package! Two new classes added one on each coast for the end of the year. MC 108 Media Composer Immersion This course gives you a "total immersion" experience in Avid Media Composer, the nonlinear editing system used to create the large majority of today's professional films and videos. And at the end of the week, you'll take home your own copy of Avid Media Composer version 3.0 software. You'll learn how to edit, create effects, manage media, import and export media, and more! Session time is divided between demonstration and hands-on practice, with ample time for experimentation with sample documentary, dramatic, and graphic material. Enrollment is this course also includes ALEX online courses on Avid Marquee Title Tool and Input and Output Essentials. To request more information or register, please contact Avid Training Services at trainingservices@avid.com or 1-800-867-AVID. Topics Include: Preparing for editing Working with bins Basic editing techniques with sync and non-sync material Fine tuning (Trimming) Customizing your workspace Trimming with sync material Creating titles with Avid Marquee Working in the Timeline Working with audio Performing Media Management tasks Creating vertical and horizontal effects Creating motion effects Nesting effects Importing and exporting Working with SD, HD, HDV, P2, and HDCAM material ___________________________________________________________________ Contact: Avid Training Services 1-800-867-AVID trainingservices@avid.com Instructor: Ashley Kennedy Course Details: Avid Technology in Burbank, CA: October 13 - October 17, 2008 Avid Technology in Tewksbury, MA: December 1 - December 5, 2008 Registration fee: $2495 includes Media Composer software or $2295 for Media Composer upgrade from Avid Xpress Pro v5.5 ___________________________________________________________________

Now is the best time to immerse yourself into the world of Avid Media Composer. Experience a full-week course and receive your own copy of Media Composer in one special package! Two new classes added one on each coast for the end of the year. MC 108 Media Composer Immersion This course gives you a "total immersion" experience in Avid Media Composer, the nonlinear editing system used to create the large majority of today's professional films and videos. And at the end of the week, you'll take home your own copy of Avid Media Composer version 3.0 software. You'll learn how to edit, create effects, manage media, import and export media, and more! Session time is divided between demonstration and hands-on practice, with ample time for experimentation with sample documentary, dramatic, and graphic material. Enrollment is this course also includes ALEX online courses on Avid Marquee Title Tool and Input and Output Essentials. To request more information or register, please contact Avid Training Services at trainingservices@avid.com or 1-800-867-AVID. Topics Include: Preparing for editing Working with bins Basic editing techniques with sync and non-sync material Fine tuning (Trimming) Customizing your workspace Trimming with sync material Creating titles with Avid Marquee Working in the Timeline Working with audio Performing Media Management tasks Creating vertical and horizontal effects Creating motion effects Nesting effects Importing and exporting Working with SD, HD, HDV, P2, and HDCAM material ___________________________________________________________________ Contact: Avid Training Services 1-800-867-AVID trainingservices@avid.com Instructor: Ashley Kennedy Course Details: Avid Technology in Burbank, CA: October 13 - October 17, 2008 Avid Technology in Tewksbury, MA: December 1 - December 5, 2008 Registration fee: $2495 includes Media Composer software or $2295 for Media Composer upgrade from Avid Xpress Pro v5.5 ___________________________________________________________________

Avid Technology played a major role at the 2008 UFVA Conference, held August 12-16, 2008 at Colorado College, Colorado Springs, CO. About the University Film/Video Association Founded in 1947 as the University Film Producers Association, the UFVA has developed into an organization of approximately 800 professionals and institutions involved in the production and study of film, video, and other media arts. UFVA is an international organization where media production and writing meets the history, theory and criticism of the media. UFVA members are image-makers and artists, teachers and students, archivists and distributors, college departments, libraries, and manufacturers. Comments from UFVA Officers and Avid Education A message from UFVA president (until the conference close) Melinda Levin: Avid Technology, a long-time, premiere level sustaining member of UFVA, officially opened this academic gathering with the annual Avid Reception. Avid's key partnership with UFVA individual and institutional members has evolved over the past decade to include not only this elegant event, but also an opening session with editors. Avid serves as an anchor in the sustainer's floor area, and takes part in multiple sessions throughout the 5-day event, including multiple hands-on sessions for attendees. When I introduced Jeremy Silver [General Manager of Avid Education worldwide] at the opening night reception, I emphasized the key role that Avid's dedicated team plays in supporting the goals and future of the organization. Each year, we can see Avid s commitment to education grow, from owning the opening night reception and presentation to offering workshops and panels, and simply by sending knowledgeable and enthusiastic people who can answer questions and talk about using Avids in the classroom. I hope that Avid will maintain its partnership with UFVA in the years to come. A message from current UFVA president Diane Carson: "Avid Technology s long-time support extends from our classrooms to our conference, from superb software to its revitalizing reception that kicks off the UFVA conference with stimulating interaction and superb food. "For the panels, the workshops, the one-on-one, the enthusiasm and the patience with a multitude of our questions, we UFVA members are immensely grateful. What is exceptional is that Avid addresses all stages of editing: how to teach editing, how to think creatively about it, how to illustrate its range and how to clarify its possibilities culminating in the application of creative ideas smoothly and efficiently. "For never treating any question as a foolish one, for illuminating ways to integrate the most unusual combination of source material and lab configuration, for explaining how to apply the most complicated effects Avid representatives make us the beneficiaries of extraordinary expertise and dynamic assistance. "Avid provides the software and the breadth and depth of the support crucial to digital production endeavors of all types." From Jeremy Silver, GM Avid Education: Our commitment to Education is about helping educators to graduate successful media creatives who will become the next generation of Avid users. It s not just about teaching people how to use our applications, it s about enabling our colleagues in Education and students themselves to be successful in their creative projects using our industry leading solutions that s a really critical distinction. From George Klippel, Educational Sales Manager, North US Region, Avid Technology: The show was great! Being involved with the UFVA is important for Avid and our educational initiative. It is one event that really allows us to engage with our customers and talk through the issues they are experiencing today, and how they plan to move forward in the future. This show also gives us the opportunity to understand and discuss the pedagogical issues that faculty experience which can, at times, be overshadowed by technology discussions. Opening Night Avid Reception and Presentation Avid has been hosting an opening night reception for the past several years. It s grown quite popular and is an expected part of the conference. We invited Allan Holzman, A.C.E., to give a presentation following the reception. Allan chose the theme: "Creating Media to Teach Media." He discussed, using his own films as illustration, ways that educators can create films to teach students about all stages of the filmmaking process, from scripting through post. Allan has enjoyed success in both the feature and documentary arenas as both director and editor. He has won numerous awards, including two Emmys, an ACE Eddie, and a Peabody. Allan teaches editing at the University of Southern California, and served for seven years on the American Cinema Editors (ACE) Board of Directors. During his presentation, Allan showed clips from several of his films: the annual IA/VA series (videos of panel discussions of Academy-Award nominated/winning editors), Walt's Table: A Tribute to Disney's Nine Old Men ( Nine Old Men refers to the first generation Disney animators) and his award-winning film, Survivors of the Holocaust, produced by Steven Spielberg. Panels AVID DOCUMENTARY EDITING WORKSHOP by Ashley Kennedy, Principal Instructor and Avid Certified Instructor Program Manager, Avid Technology This two-hour workshop covered tips and techniques on editing documentaries, including Advanced Bin Organization, Documentary Effects, and ScriptSync. The workshop used Footage from the popular series, Deadliest Catch. PANEL: Beyond Odessa Steps: Editing instructors discuss great editing scenes and how to teach them Panelists: B.J. Sears, A.C.E., Professor, Savannah College of Art and Design Norman Hollyn, Associate Professor, Editing Track Head, University of Southern California Eric Scholl, Faculty, Columbia College, Chicago Moderator: Ellen Feldman, Principal Course Developer, Avid Technology, and film scholar Every year at the conference we host an art of editing panel. Last year we invited several editors to cut and then discuss the same scene from Lost. This year we focused on film scenes instructors use to teach editing. The scenes ranged from Don t Look Now, The Limey, and of course, the Odessa Steps sequence from Potemkin. Three editors/editing instructors talked about how they approach the teaching of the art and practice of editing using various scenes from different films. After their presentations there was some time for audience members to discuss how they teach these and other scenes in their classes. From Norman Hollyn, panelist: The thing I really appreciate about the UFVA Conference, and this came out strongly during our panel, was how much there is to learn from other film teachers from all sizes of schools. The panelists were able to discuss real practical techniques to teach editing, but this was then strengthened by the audience s description of their own. Teaching film at a large university can sometimes be a lonely experience it isn t always easy to convince traditional academics that how we teach in and out of the classroom, and what we do outside of the university, is as valid as the traditional modes. The UFVA Conference is a great resource for me to discover the ways that other teachers have dealt with those same issues. It s a family. From Eric Scholl, panelist: "I greatly enjoyed being on this panel. It allowed me to look back over my career as an editing teacher and find sequences that influenced me as an editor, which I now share with my students. Plus, I learned as much from the other panelists as I did from researching my own presentation. The audience was informed and engaged, and many put forward their own favorite scenes. This is the third time I have been on a UFVA panel organized by Ellen Feldman and Avid, and each time we were given total freedom to address the art of editing PANEL: Cutting High Definition and High Resolution File-Based Workflows Down to Size Panelists: Robert Racine, Assistant Professor, University of New Orleans Henry Griffin, Artist in Residence (Screenwriting and Directing), University of New Orleans Hamp Overton, Assistant Professor, University of New Orleans This presentation covered problems and solutions presented by two common production scenarios using the Panasonic HVX200 P2 camcorder, Avid Media Composer 2.8 and 3.0, Lanshare, and Avid Unity ISIS . Scenario 1 Feature length film shot by students over spring break in 9 days utilizing 5 camera crews and posted using Media Composer and Lanshare EX shared storage. Scenario 2 Workflow issues and solutions surrounding the transition of UNO s production and postproduction classes from 16mm and DV to DVCPRO HD. Join us next year at University of New Orleans for the 2009 University Film and Video Association Conference!

Avid Technology played a major role at the 2008 UFVA Conference, held August 12-16, 2008 at Colorado College, Colorado Springs, CO. About the University Film/Video Association Founded in 1947 as the University Film Producers Association, the UFVA has developed into an organization of approximately 800 professionals and institutions involved in the production and study of film, video, and other media arts. UFVA is an international organization where media production and writing meets the history, theory and criticism of the media. UFVA members are image-makers and artists, teachers and students, archivists and distributors, college departments, libraries, and manufacturers. Comments from UFVA Officers and Avid Education A message from UFVA president (until the conference close) Melinda Levin: Avid Technology, a long-time, premiere level sustaining member of UFVA, officially opened this academic gathering with the annual Avid Reception. Avid's key partnership with UFVA individual and institutional members has evolved over the past decade to include not only this elegant event, but also an opening session with editors. Avid serves as an anchor in the sustainer's floor area, and takes part in multiple sessions throughout the 5-day event, including multiple hands-on sessions for attendees. When I introduced Jeremy Silver [General Manager of Avid Education worldwide] at the opening night reception, I emphasized the key role that Avid's dedicated team plays in supporting the goals and future of the organization. Each year, we can see Avid s commitment to education grow, from owning the opening night reception and presentation to offering workshops and panels, and simply by sending knowledgeable and enthusiastic people who can answer questions and talk about using Avids in the classroom. I hope that Avid will maintain its partnership with UFVA in the years to come. A message from current UFVA president Diane Carson: "Avid Technology s long-time support extends from our classrooms to our conference, from superb software to its revitalizing reception that kicks off the UFVA conference with stimulating interaction and superb food. "For the panels, the workshops, the one-on-one, the enthusiasm and the patience with a multitude of our questions, we UFVA members are immensely grateful. What is exceptional is that Avid addresses all stages of editing: how to teach editing, how to think creatively about it, how to illustrate its range and how to clarify its possibilities culminating in the application of creative ideas smoothly and efficiently. "For never treating any question as a foolish one, for illuminating ways to integrate the most unusual combination of source material and lab configuration, for explaining how to apply the most complicated effects Avid representatives make us the beneficiaries of extraordinary expertise and dynamic assistance. "Avid provides the software and the breadth and depth of the support crucial to digital production endeavors of all types." From Jeremy Silver, GM Avid Education: Our commitment to Education is about helping educators to graduate successful media creatives who will become the next generation of Avid users. It s not just about teaching people how to use our applications, it s about enabling our colleagues in Education and students themselves to be successful in their creative projects using our industry leading solutions that s a really critical distinction. From George Klippel, Educational Sales Manager, North US Region, Avid Technology: The show was great! Being involved with the UFVA is important for Avid and our educational initiative. It is one event that really allows us to engage with our customers and talk through the issues they are experiencing today, and how they plan to move forward in the future. This show also gives us the opportunity to understand and discuss the pedagogical issues that faculty experience which can, at times, be overshadowed by technology discussions. Opening Night Avid Reception and Presentation Avid has been hosting an opening night reception for the past several years. It s grown quite popular and is an expected part of the conference. We invited Allan Holzman, A.C.E., to give a presentation following the reception. Allan chose the theme: "Creating Media to Teach Media." He discussed, using his own films as illustration, ways that educators can create films to teach students about all stages of the filmmaking process, from scripting through post. Allan has enjoyed success in both the feature and documentary arenas as both director and editor. He has won numerous awards, including two Emmys, an ACE Eddie, and a Peabody. Allan teaches editing at the University of Southern California, and served for seven years on the American Cinema Editors (ACE) Board of Directors. During his presentation, Allan showed clips from several of his films: the annual IA/VA series (videos of panel discussions of Academy-Award nominated/winning editors), Walt's Table: A Tribute to Disney's Nine Old Men ( Nine Old Men refers to the first generation Disney animators) and his award-winning film, Survivors of the Holocaust, produced by Steven Spielberg. Panels AVID DOCUMENTARY EDITING WORKSHOP by Ashley Kennedy, Principal Instructor and Avid Certified Instructor Program Manager, Avid Technology This two-hour workshop covered tips and techniques on editing documentaries, including Advanced Bin Organization, Documentary Effects, and ScriptSync. The workshop used Footage from the popular series, Deadliest Catch. PANEL: Beyond Odessa Steps: Editing instructors discuss great editing scenes and how to teach them Panelists: B.J. Sears, A.C.E., Professor, Savannah College of Art and Design Norman Hollyn, Associate Professor, Editing Track Head, University of Southern California Eric Scholl, Faculty, Columbia College, Chicago Moderator: Ellen Feldman, Principal Course Developer, Avid Technology, and film scholar Every year at the conference we host an art of editing panel. Last year we invited several editors to cut and then discuss the same scene from Lost. This year we focused on film scenes instructors use to teach editing. The scenes ranged from Don t Look Now, The Limey, and of course, the Odessa Steps sequence from Potemkin. Three editors/editing instructors talked about how they approach the teaching of the art and practice of editing using various scenes from different films. After their presentations there was some time for audience members to discuss how they teach these and other scenes in their classes. From Norman Hollyn, panelist: The thing I really appreciate about the UFVA Conference, and this came out strongly during our panel, was how much there is to learn from other film teachers from all sizes of schools. The panelists were able to discuss real practical techniques to teach editing, but this was then strengthened by the audience s description of their own. Teaching film at a large university can sometimes be a lonely experience it isn t always easy to convince traditional academics that how we teach in and out of the classroom, and what we do outside of the university, is as valid as the traditional modes. The UFVA Conference is a great resource for me to discover the ways that other teachers have dealt with those same issues. It s a family. From Eric Scholl, panelist: "I greatly enjoyed being on this panel. It allowed me to look back over my career as an editing teacher and find sequences that influenced me as an editor, which I now share with my students. Plus, I learned as much from the other panelists as I did from researching my own presentation. The audience was informed and engaged, and many put forward their own favorite scenes. This is the third time I have been on a UFVA panel organized by Ellen Feldman and Avid, and each time we were given total freedom to address the art of editing PANEL: Cutting High Definition and High Resolution File-Based Workflows Down to Size Panelists: Robert Racine, Assistant Professor, University of New Orleans Henry Griffin, Artist in Residence (Screenwriting and Directing), University of New Orleans Hamp Overton, Assistant Professor, University of New Orleans This presentation covered problems and solutions presented by two common production scenarios using the Panasonic HVX200 P2 camcorder, Avid Media Composer 2.8 and 3.0, Lanshare, and Avid Unity ISIS . Scenario 1 Feature length film shot by students over spring break in 9 days utilizing 5 camera crews and posted using Media Composer and Lanshare EX shared storage. Scenario 2 Workflow issues and solutions surrounding the transition of UNO s production and postproduction classes from 16mm and DV to DVCPRO HD. Join us next year at University of New Orleans for the 2009 University Film and Video Association Conference!

Avid Training Services' Jim Maxwell has been a DS user for more than 10 years since v. 1.0. Here, he talks about the exciting new release of DS v. 10. In case you missed it, last month, Avid hosted an event in Burbank, CA that reintroduced Avid DS to the Post-production community. Although DS never went away, those in the DS community know that not much changed in the product over the past 3 or 4 years. In fact there had been speculation last year that DS would be EOL d. Nothing could be further from the truth. With version 10.0, Avid has reinforced its commitment to DS, and all those using it. This is evidenced by better conform capability, better connectivity and many performance improvements by taking advantage of the GPU as well as the CPU, the inclusion of Secondary Color Correction like Symphony, SAS storage support, and 3D Luts. While DSv10 will continue to run on 64bit Nitris systems, the new hardware under the hood is using AJA for IO. Let s take a closer look at some of the new features, hardware and software. Hardware with additional Dual-link Feature Support: Avid has substantially changed the hardware for DSv10.0 while retaining its ability to run on existing Nitris systems. So if you have DS on Nitris, it is not necessary to completely retool your system. There are certain benefits to either configuration. For instance, Secondary Color Correction needs to be rendered on Nitris in 10bit, not on the new platform. In the new GPU-enabled platform real-time processing supports the following effects: Primary and Secondary color correction DVE (no rotation supported, so any X,Y or Z will switch back to software) Dissolve Dip to color Fade in and Fade Out Over 1D This eliminates the guesswork on how your sequence will look whatever its color space origin, as well as the color space it is going through, or the color space in which it will be delivered. So let s say you shot on film, but you want deliver back to film as well as HD, you can see how your project will look for both Masters. The 3D LUT support is currently available as an effect. 1D LUT support extends to tape-based capture, so now when capturing RGB media from tape; you can specify the 1D LUT that was applied by the camera, or in the transfer from the telecine. When linking or capturing DPX files, you can select the appropriate LUT. Not only can it be set in Capture settings, but each file can have a LUT setting that can be modified on linkage or import. Additionally a new concept of a sequence LUT where each RGB sequence can have its own specific LUT depending on the final delivery format. (i.e. if the delivery will be in film, the sequence LUT can be set to Printing Density, whereas for HD delivery, the sequence LUT will be ITU-709). And you can apply the LUT effect on a clip or sequence basis. Finally, there is also the ability to apply a LUT in the viewer for monitoring purpose only. Check what your output will be before you commit to tape or film file. DSv10.0 color management allows monitoring by the artists and their clients at all phases of posting in DS from input to color correction and FX to output, regardless of their acquisition format and color space, maintaining color integrity throughout the process. All the careful color decisions made during the creative work with DS are preserved in the final master. Up-conversion and Cross-conversion Capabilities There is the option of hardware up-convert of an SD sequence to HD (Pillar box 4:3, Zoom 14:9, Zoom Letterbox, Zoom Wide from a SD 4:3 sequence; anamorphic to 16:9 square pixels in a 16:9 sequence). This Hardware up-convert allows for the mixing of different formats in one project, saving time and money for users and their customers by not having to render software conversions. With Hardware conversion you can cross- or down-convert a 4:2:2 HD sequence to another 4:2:2 HD or SD format 1080 to 720, for example, allowing users to output multiple format masters without the need to render. HW support 720p23.98 sequence type with an option to output to SDI in native 720p23.98 or cross-convert to 1080p23.98 providing real-time capability to handle the two most common HD formats. Conform to DPX Media from an AFE DSv10.0 bundles a new product Avid MetaFuze, which allows you to transcode DPX files into MXF. With this feature, the same level of conform that is available from a tape-based Avid Media Composer offline to Avid DS will be available for a file-based DPX conform. The user can specify a root folder and DS will recursively scan, looking for DPX files in that hierarchy. Additionally during DPX conform, the folder name can be used as the source name, eliminating the requirement to have the source name in the DPX header as part of the timecode based conform. Improvements in Keycode handling including support for 35 3 perf conforms and handling of the additional info in ArriScan DPX generated files to support perf offset. Other features that are a marked improvement: New Timeline Functionality With Source-side color correction, Avid implemented a new set of commands that can be used in the timeline to select effect filters that have the same parameters (and are coming from the same source) to help with the conform from Avid Media Composer. Once there is a selection, a new command will let user load the same preset to all these filters. Symphony-style Secondary Color Correction: Now we can conform from an Avid Symphony Nitris If your CPU s are fast enough, and/or if the GPU processing is supported real-time support is available. On Nitris, where no 10-bit software processing is allowed, the processing will need to be manually done. Here we have a beautiful orange rose, but the client wants a blue rose. Voila violets and roses are blue! Node Builder This allows you to build your own "custom" property page and exposes only some of the parameters of an effect tree comprising multiple effects. This is yet another way to build and save effects. The initial implementation is limited to sliders only, and only to parameters that can be used in expressions. I used this in a current project and must say it will make changing complex effects trees much easier. With the Effects tree property page opened to the Property Builder tab, you can name the property you want to add like Stroke Length. With the Effects tree property page opened to the Generic tab, you can drag the keyframes button (to the left of the Accented Edges effect) to the green Expressions box to apply the parameter. See how Edge Brightness reflects the value of the original effect. Now you can adjust multiple effects within the tree through one Property Page. Additional formats supported The following YUV 4:2:2 video formats have been added: 1080p 50 1080p 59.94 1080p 60 All AJA supported hardware platforms offer 8- Additionally, the XW 8600 DNX 90, 290 and 440Mb (at 60p) are supported. DNX 90 enables a very good offline workflow for the high bit rate formats; this includes shared storage. Stereoscopic container A stereoscopic container has been added to DS allowing the user to create a 48i sequence and setup the left and right eyes which will be output via the 2Ke AJA card. Container also supports over/under, side by side and anaglyph modes. Added support for RIFF64 support in Wave Parsers This allows reading 64-bit wave files and also enables very long multi-channel audio caches in Avid DS. Interplay Support This opens DS up for use in facilities utilizing the metadata and media asset tracking and management provided by Interplay. DS can now connect to an Interplay media indexer allowing DS to access the media via the same indexer as MC. This streamlines the workflow between MC and DS on Interplay. Drag but how long did we wait on Media Composer for a soft edge shadow in the Title Tool? How much does it cost? This pricing is straight from the Sales brochure DS Turnkey with 8TB SAS Storage $ 59 995 US DS Turnkey with 16TB SAS Storage $ 67 995 US DS Assist No longer available as standalone product one copy of DS software only included with system purchase existing Assist seats to be upgraded on per customer basis DS RP one copy included with system purchase DS Trial download Educational 16TB config for $45,330 All and all, DSv10.0 is a remarkable finishing system with more to come. Post by Jim Maxwell, Avid Training Services

Avid Training Services' Jim Maxwell has been a DS user for more than 10 years since v. 1.0. Here, he talks about the exciting new release of DS v. 10. In case you missed it, last month, Avid hosted an event in Burbank, CA that reintroduced Avid DS to the Post-production community. Although DS never went away, those in the DS community know that not much changed in the product over the past 3 or 4 years. In fact there had been speculation last year that DS would be EOL d. Nothing could be further from the truth. With version 10.0, Avid has reinforced its commitment to DS, and all those using it. This is evidenced by better conform capability, better connectivity and many performance improvements by taking advantage of the GPU as well as the CPU, the inclusion of Secondary Color Correction like Symphony, SAS storage support, and 3D Luts. While DSv10 will continue to run on 64bit Nitris systems, the new hardware under the hood is using AJA for IO. Let s take a closer look at some of the new features, hardware and software. Hardware with additional Dual-link Feature Support: Avid has substantially changed the hardware for DSv10.0 while retaining its ability to run on existing Nitris systems. So if you have DS on Nitris, it is not necessary to completely retool your system. There are certain benefits to either configuration. For instance, Secondary Color Correction needs to be rendered on Nitris in 10bit, not on the new platform. In the new GPU-enabled platform real-time processing supports the following effects: Primary and Secondary color correction DVE (no rotation supported, so any X,Y or Z will switch back to software) Dissolve Dip to color Fade in and Fade Out Over 1D This eliminates the guesswork on how your sequence will look whatever its color space origin, as well as the color space it is going through, or the color space in which it will be delivered. So let s say you shot on film, but you want deliver back to film as well as HD, you can see how your project will look for both Masters. The 3D LUT support is currently available as an effect. 1D LUT support extends to tape-based capture, so now when capturing RGB media from tape; you can specify the 1D LUT that was applied by the camera, or in the transfer from the telecine. When linking or capturing DPX files, you can select the appropriate LUT. Not only can it be set in Capture settings, but each file can have a LUT setting that can be modified on linkage or import. Additionally a new concept of a sequence LUT where each RGB sequence can have its own specific LUT depending on the final delivery format. (i.e. if the delivery will be in film, the sequence LUT can be set to Printing Density, whereas for HD delivery, the sequence LUT will be ITU-709). And you can apply the LUT effect on a clip or sequence basis. Finally, there is also the ability to apply a LUT in the viewer for monitoring purpose only. Check what your output will be before you commit to tape or film file. DSv10.0 color management allows monitoring by the artists and their clients at all phases of posting in DS from input to color correction and FX to output, regardless of their acquisition format and color space, maintaining color integrity throughout the process. All the careful color decisions made during the creative work with DS are preserved in the final master. Up-conversion and Cross-conversion Capabilities There is the option of hardware up-convert of an SD sequence to HD (Pillar box 4:3, Zoom 14:9, Zoom Letterbox, Zoom Wide from a SD 4:3 sequence; anamorphic to 16:9 square pixels in a 16:9 sequence). This Hardware up-convert allows for the mixing of different formats in one project, saving time and money for users and their customers by not having to render software conversions. With Hardware conversion you can cross- or down-convert a 4:2:2 HD sequence to another 4:2:2 HD or SD format 1080 to 720, for example, allowing users to output multiple format masters without the need to render. HW support 720p23.98 sequence type with an option to output to SDI in native 720p23.98 or cross-convert to 1080p23.98 providing real-time capability to handle the two most common HD formats. Conform to DPX Media from an AFE DSv10.0 bundles a new product Avid MetaFuze, which allows you to transcode DPX files into MXF. With this feature, the same level of conform that is available from a tape-based Avid Media Composer offline to Avid DS will be available for a file-based DPX conform. The user can specify a root folder and DS will recursively scan, looking for DPX files in that hierarchy. Additionally during DPX conform, the folder name can be used as the source name, eliminating the requirement to have the source name in the DPX header as part of the timecode based conform. Improvements in Keycode handling including support for 35 3 perf conforms and handling of the additional info in ArriScan DPX generated files to support perf offset. Other features that are a marked improvement: New Timeline Functionality With Source-side color correction, Avid implemented a new set of commands that can be used in the timeline to select effect filters that have the same parameters (and are coming from the same source) to help with the conform from Avid Media Composer. Once there is a selection, a new command will let user load the same preset to all these filters. Symphony-style Secondary Color Correction: Now we can conform from an Avid Symphony Nitris If your CPU s are fast enough, and/or if the GPU processing is supported real-time support is available. On Nitris, where no 10-bit software processing is allowed, the processing will need to be manually done. Here we have a beautiful orange rose, but the client wants a blue rose. Voila violets and roses are blue! Node Builder This allows you to build your own "custom" property page and exposes only some of the parameters of an effect tree comprising multiple effects. This is yet another way to build and save effects. The initial implementation is limited to sliders only, and only to parameters that can be used in expressions. I used this in a current project and must say it will make changing complex effects trees much easier. With the Effects tree property page opened to the Property Builder tab, you can name the property you want to add like Stroke Length. With the Effects tree property page opened to the Generic tab, you can drag the keyframes button (to the left of the Accented Edges effect) to the green Expressions box to apply the parameter. See how Edge Brightness reflects the value of the original effect. Now you can adjust multiple effects within the tree through one Property Page. Additional formats supported The following YUV 4:2:2 video formats have been added: 1080p 50 1080p 59.94 1080p 60 All AJA supported hardware platforms offer 8- Additionally, the XW 8600 DNX 90, 290 and 440Mb (at 60p) are supported. DNX 90 enables a very good offline workflow for the high bit rate formats; this includes shared storage. Stereoscopic container A stereoscopic container has been added to DS allowing the user to create a 48i sequence and setup the left and right eyes which will be output via the 2Ke AJA card. Container also supports over/under, side by side and anaglyph modes. Added support for RIFF64 support in Wave Parsers This allows reading 64-bit wave files and also enables very long multi-channel audio caches in Avid DS. Interplay Support This opens DS up for use in facilities utilizing the metadata and media asset tracking and management provided by Interplay. DS can now connect to an Interplay media indexer allowing DS to access the media via the same indexer as MC. This streamlines the workflow between MC and DS on Interplay. Drag but how long did we wait on Media Composer for a soft edge shadow in the Title Tool? How much does it cost? This pricing is straight from the Sales brochure DS Turnkey with 8TB SAS Storage $ 59 995 US DS Turnkey with 16TB SAS Storage $ 67 995 US DS Assist No longer available as standalone product one copy of DS software only included with system purchase existing Assist seats to be upgraded on per customer basis DS RP one copy included with system purchase DS Trial download Educational 16TB config for $45,330 All and all, DSv10.0 is a remarkable finishing system with more to come. Post by Jim Maxwell, Avid Training Services

Avid Training Services' Jim Maxwell has been a DS user for more than 10 years since v. 1.0. Here, he talks about the exciting new release of DS v. 10. In case you missed it, last month, Avid hosted an event in Burbank, CA that reintroduced Avid DS to the Post-production community. Although DS never went away, those in the DS community know that not much changed in the product over the past 3 or 4 years. In fact there had been speculation last year that DS would be EOL d. Nothing could be further from the truth. With version 10.0, Avid has reinforced its commitment to DS, and all those using it. This is evidenced by better conform capability, better connectivity and many performance improvements by taking advantage of the GPU as well as the CPU, the inclusion of Secondary Color Correction like Symphony, SAS storage support, and 3D Luts. While DSv10 will continue to run on 64bit Nitris systems, the new hardware under the hood is using AJA for IO. Let s take a closer look at some of the new features, hardware and software. Hardware with additional Dual-link Feature Support: Avid has substantially changed the hardware for DSv10.0 while retaining its ability to run on existing Nitris systems. So if you have DS on Nitris, it is not necessary to completely retool your system. There are certain benefits to either configuration. For instance, Secondary Color Correction needs to be rendered on Nitris in 10bit, not on the new platform. In the new GPU-enabled platform real-time processing supports the following effects: Primary and Secondary color correction DVE (no rotation supported, so any X,Y or Z will switch back to software) Dissolve Dip to color Fade in and Fade Out Over 1D This eliminates the guesswork on how your sequence will look whatever its color space origin, as well as the color space it is going through, or the color space in which it will be delivered. So let s say you shot on film, but you want deliver back to film as well as HD, you can see how your project will look for both Masters. The 3D LUT support is currently available as an effect. 1D LUT support extends to tape-based capture, so now when capturing RGB media from tape; you can specify the 1D LUT that was applied by the camera, or in the transfer from the telecine. When linking or capturing DPX files, you can select the appropriate LUT. Not only can it be set in Capture settings, but each file can have a LUT setting that can be modified on linkage or import. Additionally a new concept of a sequence LUT where each RGB sequence can have its own specific LUT depending on the final delivery format. (i.e. if the delivery will be in film, the sequence LUT can be set to Printing Density, whereas for HD delivery, the sequence LUT will be ITU-709). And you can apply the LUT effect on a clip or sequence basis. Finally, there is also the ability to apply a LUT in the viewer for monitoring purpose only. Check what your output will be before you commit to tape or film file. DSv10.0 color management allows monitoring by the artists and their clients at all phases of posting in DS from input to color correction and FX to output, regardless of their acquisition format and color space, maintaining color integrity throughout the process. All the careful color decisions made during the creative work with DS are preserved in the final master. Up-conversion and Cross-conversion Capabilities There is the option of hardware up-convert of an SD sequence to HD (Pillar box 4:3, Zoom 14:9, Zoom Letterbox, Zoom Wide from a SD 4:3 sequence; anamorphic to 16:9 square pixels in a 16:9 sequence). This Hardware up-convert allows for the mixing of different formats in one project, saving time and money for users and their customers by not having to render software conversions. With Hardware conversion you can cross- or down-convert a 4:2:2 HD sequence to another 4:2:2 HD or SD format 1080 to 720, for example, allowing users to output multiple format masters without the need to render. HW support 720p23.98 sequence type with an option to output to SDI in native 720p23.98 or cross-convert to 1080p23.98 providing real-time capability to handle the two most common HD formats. Conform to DPX Media from an AFE DSv10.0 bundles a new product Avid MetaFuze, which allows you to transcode DPX files into MXF. With this feature, the same level of conform that is available from a tape-based Avid Media Composer offline to Avid DS will be available for a file-based DPX conform. The user can specify a root folder and DS will recursively scan, looking for DPX files in that hierarchy. Additionally during DPX conform, the folder name can be used as the source name, eliminating the requirement to have the source name in the DPX header as part of the timecode based conform. Improvements in Keycode handling including support for 35 3 perf conforms and handling of the additional info in ArriScan DPX generated files to support perf offset. Other features that are a marked improvement: New Timeline Functionality With Source-side color correction, Avid implemented a new set of commands that can be used in the timeline to select effect filters that have the same parameters (and are coming from the same source) to help with the conform from Avid Media Composer. Once there is a selection, a new command will let user load the same preset to all these filters. Symphony-style Secondary Color Correction: Now we can conform from an Avid Symphony Nitris If your CPU s are fast enough, and/or if the GPU processing is supported real-time support is available. On Nitris, where no 10-bit software processing is allowed, the processing will need to be manually done. Here we have a beautiful orange rose, but the client wants a blue rose Voila violets and roses are blue! Node Builder This allows you to build your own "custom" property page and exposes only some of the parameters of an effect tree comprising multiple effects. This is yet another way to build and save effects. The initial implementation is limited to sliders only, and only to parameters that can be used in expressions. I used this in a current project and must say it will make changing complex effects trees much easier. With the Effects tree property page opened to the Property Builder tab, you can name the property you want to add like Stroke Length. With the Effects tree property page opened to the Generic tab, you can drag the keyframes button (to the left of the Accented Edges effect) to the green Expressions box to apply the parameter. See how Edge Brightness reflects the value of the original effect. Now you can adjust multiple effects within the tree through one Property Page. Additional formats supported The following YUV 4:2:2 video formats have been added: 1080p 50 1080p 59.94 1080p 60 All AJA supported hardware platforms offer 8- Additionally, the XW 8600 DNX 90, 290 and 440Mb (at 60p) are supported. DNX 90 enables a very good offline workflow for the high bit rate formats; this includes shared storage. Stereoscopic container A stereoscopic container has been added to DS allowing the user to create a 48i sequence and setup the left and right eyes which will be output via the 2Ke AJA card. Container also supports over/under, side by side and anaglyph modes. Added support for RIFF64 support in Wave Parsers This allows reading 64-bit wave files and also enables very long multi-channel audio caches in Avid DS. Interplay Support This opens DS up for use in facilities utilizing the metadata and media asset tracking and management provided by Interplay. DS can now connect to an Interplay media indexer allowing DS to access the media via the same indexer as MC. This streamlines the workflow between MC and DS on Interplay. Drag but how long did we wait on Media Composer for a soft edge shadow in the Title Tool? How much does it cost? This pricing is straight from the Sales brochure DS Turnkey with 8TB SAS Storage $ 59 995 US DS Turnkey with 16TB SAS Storage $ 67 995 US DS Assist No longer available as standalone product one copy of DS software only included with system purchase existing Assist seats to be upgraded on per customer basis DS RP one copy included with system purchase DS Trial download Educational 16TB config for $45,330 All and all, DSv10.0 is a remarkable finishing system with more to come. Post by Jim Maxwell, Avid Training Services

In The Big Sleep (1946, Howard Hawks, director, Christian Nyby, editor) the viewer physically "travels with Marlowe throughout the film he is in every scene and we have little access to information not available to him or to events that he does not participate in. Most scenes in the film are structured the same way: the camera follows Marlowe as he enters a location, he has an encounter with one or more characters, and then the camera follows Marlowe as he exits. (Figures 1-4 below) (Figs 1-4) The opening and closing shots reinforce the principle that the viewer is traveling with Marlowe. This predisposes us to adopt Marlowe's emotional and conceptual attitudes. Our knowledge of the other characters is restricted to how they reveal themselves in their interactions with Marlowe. Moreover, the portraits of other characters are limited by their importance for Marlowe and his moral vision. The Big Sleep generally uses the shot counter-shot structure (SCS) to depict Marlowe s interactions with other characters. (See Figs. 2-3 above.) A standard structure used in films from the classic age of Hollywood filmmaking through contemporary filmmaking, the shot counter-shot sequence is typically used to portray dialog scenes. Also typically, the SCS exchange is established, broken, and re-established through the course of the exchange. The break in the pattern generally indicates a shift in the tone of the conversation or in the significance of the discussion for one or both characters. As the exchange reestablishes itself on a new plane and the relationship changes in some way, another pattern is established; it is clear that the shift by one person in the encounter is significant for both characters. The shot counter-shot structure is used in this film to show each scene as both an "objectively" depicted social encounter and a way for us to have access to Marlowe's perspective and judgment. To create a sense of objectivity and neutrality, Hawks favors eye-level camera placement, a slight oblique angle for each party, either singles or over-the-shoulder shots, a similar distance to the camera, and a clear repetition of pairs of shot compositions. Generally, if the shot is repositioned, the counter-shot will be adjusted to compensate for the change. The film thus tactfully avoids tipping the balance too far in Marlowe's favor and also refrains from emphasizing Marlowe's partiality. On the other hand, the reaction shot holds a privileged position in The Big Sleep s SCS scenes because it gives us access to Marlowe s thoughts and emotional life. Let s take a look at an early scene to see how the shot counter-shot form is used to create access to Marlowe's perspective while maintaining the sense that we re looking at the scene from outside any one character s perspective. This will be a close analysis; we provide some frames from the DVD, but encourage you to have the DVD handy so you can have a look for yourself. In this scene, Marlowe has his only encounter with General Sternwood, the elderly gentleman who hired Marlowe to investigate an act of blackmail against Carmen, one of his daughters. The entire scene between Marlowe and General Sternwood proceeds by establishing and then changing patterns of the shot counter-shot form during their long conversation. In his initial monologue, General Sternwood talks about himself, his milieu, and his problems, but interestingly, through the strategic placement of reaction shots, we also learn something about Marlowe. There are three reaction shots of Marlowe in this opening sequence: when the General tells Marlowe he may smoke, when he describes the effects of his illness (Marlowe pulls his ear lobe, a gesture indicating his mental involvement), and when he talks of the orchid as a nasty thing ( their perfume has the rotten sweetness of corruption he says as Marlowe drinks brandy) a progression from physical to moral decay. (Figs. 5-7) The placement of reaction shots suggests that the General's descriptions are significant for Marlowe. They forecast his passionate response to the morally depraved characters in the film. Figs 5-7 The General s reaction shot to Marlowe drinking brandy breaks the pattern and starts another SCS sequence; the camera has moved closer. (Figs. 8-9) The General s reaction shot is quite dramatic, giving us a hint that he (and as we ll see, Marlowe) are attracted and repelled by the corrupt world in which they operate. As Sternwood says later, I enjoyed your brandy as much as you did, Mr. Marlowe. The camera has moved closer, reflecting a closer level of intimacy between the two men. Figs 8-9 Another SCS sequence is established (the camera moves to a closer MS of each man) when Marlowe and the General begin to talk about Sternwood s two daughters. The change occurs when we cut to Marlowe as he says what he s heard about them: They re both pretty (Fig. 10), and both pretty wild (Fig. 11). Figs 10-11 Later the two men talk about Sean Reagan, a man respected by both of them who has recently disappeared. The conversation directly concerns Sternwood's feelings, but the composition of the sequence also tells us about Marlowe. This sequence begins by cutting back to a longer shot in which some exposition about Reagan is provided (Fig. 12) Since it conveys less emotionally charged material than the surrounding shots, the change of camera distance is appropriate. It s also important for easing the intensity, so the return to the medium close shot (Fig. 13) has more impact. Remember, in order to heighten the emotion of a moment, it s often a good idea to first ease the tension. (It s similar to music, where musicians lower the volume at the start of a crescendo for maximum effect.) Figs 12-13 The next shift is a major one: The composition changes as Marlowe walks over to the bar for a second drink. A long shot of Marlowe walking is followed by a new set-up of medium shot singles of the two men. This new SCS sequence continues to build the men's relationship as the General keeps discussing Reagan. (Figs. 14-16) Figs 14-16 This sequence recalls the opening, with shots of the General speaking and Marlowe reacting. The theme here is acting by proxy Marlowe and Reagan both do things that Sternwood can no longer do. This sequence again suggests that Sternwood's discussion has personal resonance for Marlowe. This is especially evident in the reaction shot of Marlowe as the General says of Reagan, He was my son, almost. (Similar to Fig. 15.) It is no accident that at key moments we hear the General and see Marlowe; the General talks of Reagan's doing things (sitting with him, sweating like a pig ) while we witness Marlowe doing what Reagan had done. We are thus subtly guided throughout this scene to begin to understand Marlowe's point of view. One of the main, if not the main, themes of the film is indulging in vices by proxy. The core of Marlowe s belief system is his disdain for this trait; he hates Mars and Canino, the two primary villains in the film, because they do other people s dirty work (Canino) or order others to do their own dirty work (Mars). On the other hand, Marlowe respects Jones, a petty criminal, for his personal code of honor, for his protection of his girlfriend Agnes, and for his refusal to get involved in other people s business. (It is of course ironic that Marlowe earns his living doing other people s business; it is the reason he needs to constantly play out this dilemma.) So, we see that the shot counter-shot structure can be used to focus on a character's perspective during an exchange that is presented from the outside. Reaction shots are used to bring out the emotions/thoughts of a character, simultaneously placing actions/other characters within that person s perspective. An event obviously meaningful to one character in the narrative (in this scene, the General) can also be revealed as significant for the character privileged through the use of reaction shots (both the General and Marlowe). Copyright 2008, Ellen Feldman Film frames provided courtesy of Warner Home Video.

In The Big Sleep (1946, Howard Hawks, director, Christian Nyby, editor) the viewer physically "travels with Marlowe throughout the film he is in every scene and we have little access to information not available to him or to events that he does not participate in. Most scenes in the film are structured the same way: the camera follows Marlowe as he enters a location, he has an encounter with one or more characters, and then the camera follows Marlowe as he exits. (Figures 1-4 below) (Figs 1-4) The opening and closing shots reinforce the principle that the viewer is traveling with Marlowe. This predisposes us to adopt Marlowe's emotional and conceptual attitudes. Our knowledge of the other characters is restricted to how they reveal themselves in their interactions with Marlowe. Moreover, the portraits of other characters are limited by their importance for Marlowe and his moral vision. The Big Sleep generally uses the shot counter-shot structure (SCS) to depict Marlowe s interactions with other characters. (See Figs. 2-3 above.) A standard structure used in films from the classic age of Hollywood filmmaking through contemporary filmmaking, the shot counter-shot sequence is typically used to portray dialog scenes. Also typically, the SCS exchange is established, broken, and re-established through the course of the exchange. The break in the pattern generally indicates a shift in the tone of the conversation or in the significance of the discussion for one or both characters. As the exchange reestablishes itself on a new plane and the relationship changes in some way, another pattern is established; it is clear that the shift by one person in the encounter is significant for both characters. The shot counter-shot structure is used in this film to show each scene as both an "objectively" depicted social encounter and a way for us to have access to Marlowe's perspective and judgment. To create a sense of objectivity and neutrality, Hawks favors eye-level camera placement, a slight oblique angle for each party, either singles or over-the-shoulder shots, a similar distance to the camera, and a clear repetition of pairs of shot compositions. Generally, if the shot is repositioned, the counter-shot will be adjusted to compensate for the change. The film thus tactfully avoids tipping the balance too far in Marlowe's favor and also refrains from emphasizing Marlowe's partiality. On the other hand, the reaction shot holds a privileged position in The Big Sleep s SCS scenes because it gives us access to Marlowe s thoughts and emotional life. Let s take a look at an early scene to see how the shot counter-shot form is used to create access to Marlowe's perspective while maintaining the sense that we re looking at the scene from outside any one character s perspective. This will be a close analysis; we provide some frames from the DVD, but encourage you to have the DVD handy so you can have a look for yourself. In this scene, Marlowe has his only encounter with General Sternwood, the elderly gentleman who hired Marlowe to investigate an act of blackmail against Carmen, one of his daughters. The entire scene between Marlowe and General Sternwood proceeds by establishing and then changing patterns of the shot counter-shot form during their long conversation. In his initial monologue, General Sternwood talks about himself, his milieu, and his problems, but interestingly, through the strategic placement of reaction shots, we also learn something about Marlowe. There are three reaction shots of Marlowe in this opening sequence: when the General tells Marlowe he may smoke, when he describes the effects of his illness (Marlowe pulls his ear lobe, a gesture indicating his mental involvement), and when he talks of the orchid as a nasty thing ( their perfume has the rotten sweetness of corruption he says as Marlowe drinks brandy) a progression from physical to moral decay. (Figs. 5-7) The placement of reaction shots suggests that the General's descriptions are significant for Marlowe. They forecast his passionate response to the morally depraved characters in the film. Figs 5-7 The General s reaction shot to Marlowe drinking brandy breaks the pattern and starts another SCS sequence; the camera has moved closer. (Figs. 8-9) The General s reaction shot is quite dramatic, giving us a hint that he (and as we ll see, Marlowe) are attracted and repelled by the corrupt world in which they operate. As Sternwood says later, I enjoyed your brandy as much as you did, Mr. Marlowe. The camera has moved closer, reflecting a closer level of intimacy between the two men. Figs 8-9 Another SCS sequence is established (the camera moves to a closer MS of each man) when Marlowe and the General begin to talk about Sternwood s two daughters. The change occurs when we cut to Marlowe as he says what he s heard about them: They re both pretty (Fig. 10), and both pretty wild (Fig. 11). Figs 10-11 Later the two men talk about Sean Reagan, a man respected by both of them who has recently disappeared. The conversation directly concerns Sternwood's feelings, but the composition of the sequence also tells us about Marlowe. This sequence begins by cutting back to a longer shot in which some exposition about Reagan is provided (Fig. 12) Since it conveys less emotionally charged material than the surrounding shots, the change of camera distance is appropriate. It s also important for easing the intensity, so the return to the medium close shot (Fig. 13) has more impact. Remember, in order to heighten the emotion of a moment, it s often a good idea to first ease the tension. (It s similar to music, where musicians lower the volume at the start of a crescendo for maximum effect.) Figs 12-13 The next shift is a major one: The composition changes as Marlowe walks over to the bar for a second drink. A long shot of Marlowe walking is followed by a new set-up of medium shot singles of the two men. This new SCS sequence continues to build the men's relationship as the General keeps discussing Reagan. (Figs. 14-16) Figs 14-16 This sequence recalls the opening, with shots of the General speaking and Marlowe reacting. The theme here is acting by proxy Marlowe and Reagan both do things that Sternwood can no longer do. This sequence again suggests that Sternwood's discussion has personal resonance for Marlowe. This is especially evident in the reaction shot of Marlowe as the General says of Reagan, He was my son, almost. (Similar to Fig. 15.) It is no accident that at key moments we hear the General and see Marlowe; the General talks of Reagan's doing things (sitting with him, sweating like a pig ) while we witness Marlowe doing what Reagan had done. We are thus subtly guided throughout this scene to begin to understand Marlowe's point of view. One of the main, if not the main, themes of the film is indulging in vices by proxy. The core of Marlowe s belief system is his disdain for this trait; he hates Mars and Canino, the two primary villains in the film, because they do other people s dirty work (Canino) or order others to do their own dirty work (Mars). On the other hand, Marlowe respects Jones, a petty criminal, for his personal code of honor, for his protection of his girlfriend Agnes, and for his refusal to get involved in other people s business. (It is of course ironic that Marlowe earns his living doing other people s business; it is the reason he needs to constantly play out this dilemma.) So, we see that the shot counter-shot structure can be used to focus on a character's perspective during an exchange that is presented from the outside. Reaction shots are used to bring out the emotions/thoughts of a character, simultaneously placing actions/other characters within that person s perspective. An event obviously meaningful to one character in the narrative (in this scene, the General) can also be revealed as significant for the character privileged through the use of reaction shots (both the General and Marlowe). Copyright 2008, Ellen Feldman Film frames provided courtesy of Warner Home Video.

Let's take a look at the Avid AVX SubCap Generator effect. Download high quality QuickTime for offline viewing (71MB) As international distribution becomes the norm, open captioning is essential. Open captioning is a common industry term the refers to captioning that is always visible to the viewer. With the Avid AVX SubCap Generator effect you can easily input or import text which is then automatically composited into the video material along with any background effects such as drop shadows or background boxes. The text can be entered manually or imported from files in standard captioning formats and becomes a permanent part of the finished video material. The text created by the SubCap Generator is a form of open captioning and edits to the open captions can be re-exported to update changes in an iterative workflow. The subcap effect is typically used for two different types of text information. Text that provides a translation of the spoken dialogue in a program. In this case we're assuming a viewer can hear the audio for the program, but cannot understand the language in which it is spoken. Alternatively we may be working with text that provides a full description of all of the audio content in a program. Here we're assuming a viewer who cannot hear the audio for the program and needs a description not only of the spoken dialog but also for the sound effects, the character of the music and so on. You might use the SubCap effect to create text that becomes part of the finished program. Alternatively, you might use the SubCap effect to create text the provides a preview during your production process but that is then replaced in the finished program by closed caption text encoded in the video signal. The SubCap effect has the following main features. Support for the EBU N19 (.stl) and the Avid DS caption file format including the storage of metadata such as contact and program information. Support for Unicode text entry. Parameter control over many aspects of text appearance including fonts, colors, line length and line spacing. Ability to apply parameter changes made on one caption effect clip to all other caption effect clips on the current track or throughout the entire sequence. And the ability to save sets of parameter values for any caption effect clip as a style-sheet file that you can then apply to other caption effect clips in the same or other sequences. As with other effects, the SubCap plug-in can be found in the Effects Palette under Generator. In my timeline, I'm going to add a new video track and then I'll add the SubCap effect to that new track. For more complex delivery requirements we might apply different instances of the effect to different video tracks and then simply toggle between them to create various language outputs. In this particular workflow, we're going to import an STL file. This file was created by a subtitling service. The STL files are quite small and can be sent as an email attachment. Before we do that, we will quickly run through the parameters in the plug-in. In doing so, we will setup a default style-sheet. Let's just add some text, adjust the size, opacity, shadow, then we'll center the text, remove the background. Once we have created a style that we like, we go to the global properties page. Many of the tabs reflect aspects of the STL specification such as Program Name, Program Title, Version, Creation Date, etc. The synchronize tab sets the priorities for which properties will propagate, or not, through to other captions when a style-sheet is applied. By selecting track the style-sheet will apply to all titles on the same track. By selecting program they will apply to all tracks in the program. This allows for flexibility in styles for different tracks if needed. Once complete we will go to the Stylesheet tab and save these parameters as a new style. This window allows for multiple styles to be saved. One can also be setup as a default. The next parameter is the import-export selection. From here we can select the STL file as sent to us from the subtitle service. Once selected you can see how many captions are in the file, the timecode range of the sequence as well as the timecode range of the file. Since the captions are all based on timecode for placement the import dialog will alert you if the captions fall out of the range. To see in advance whether an import will be successful is another nice feature of this tool. Once the STL file is imported you will see all the captions placed as individual titles on the timeline. These are created by the start and end timecodes in the file for each caption. Lets go to the first title. It does not yet appear with the style we created earlier, so with this title selected, let's go back to the global properties and stylesheets. Highlight the style we saved earlier and apply. All the captions now have the same look and feel. Plus, this is a real-time effect ready for playout. Now if changes need to be made, you can easily go to the edit master caption list. Where you can see all the captions on the current track. You can also edit all the text in a single view. Or, add a return carriage if you want to break it at a certain spot. Now lets add some open captions manually. I can add a subcap to each span of dialog in the timeline. And then I can enter the text for the first dialog and apply a pre-made style. Now when I make the second title active and start typing, you will see it automatically inherits the properties of the same style. This is a rapid way to create subtitles directly. And of course, each title can easily be moved and repositioned along with its sync track as needed. Another great feature of this tool is the ability to create a new STL file that reflects any changes or corrections made to the sub-titles or captions. The DS Caption File can be exported as well. This text file is portable, easy to read and useful for things like legal sign-off or rights management. Also, because the file is easy to edit it can be sent to a translator and a new file can be returned. Exporting an STL file can also be used in many DVD authoring applications as a subtitle track. Creating even more value for your productions or for your customer. The AVX SubCap Effect Generator is a new feature available with: Avid Media Composer Software v3.0 and above Upgrade or Buy Online | Request Info Avid Symphony v3.0 and above Request Info Avid NewsCutter Software v7.0 and above Request Info Also available on Avid Nitris DX and Avid Mojo DX system configurations. Editor's Note: Thank you to Lesley Glorioso, Michael Phillips and Steve Holyhead for writing this tutorial. Additional thanks to Steve Holyhead for creating and presenting this video.

Let's take a look at the Avid AVX SubCap Generator effect. Download high quality QuickTime for offline viewing (71MB) As international distribution becomes the norm, open captioning is essential. Open captioning is a common industry term the refers to captioning that is always visible to the viewer. With the Avid AVX SubCap Generator effect you can easily input or import text which is then automatically composited into the video material along with any background effects such as drop shadows or background boxes. The text can be entered manually or imported from files in standard captioning formats and becomes a permanent part of the finished video material. The text created by the SubCap Generator is a form of open captioning and edits to the open captions can be re-exported to update changes in an iterative workflow. The subcap effect is typically used for two different types of text information. Text that provides a translation of the spoken dialogue in a program. In this case we're assuming a viewer can hear the audio for the program, but cannot understand the language in which it is spoken. Alternatively we may be working with text that provides a full description of all of the audio content in a program. Here we're assuming a viewer who cannot hear the audio for the program and needs a description not only of the spoken dialog but also for the sound effects, the character of the music and so on. You might use the SubCap effect to create text that becomes part of the finished program. Alternatively, you might use the SubCap effect to create text the provides a preview during your production process but that is then replaced in the finished program by closed caption text encoded in the video signal. The SubCap effect has the following main features. Support for the EBU N19 (.stl) and the Avid DS caption file format including the storage of metadata such as contact and program information. Support for Unicode text entry. Parameter control over many aspects of text appearance including fonts, colors, line length and line spacing. Ability to apply parameter changes made on one caption effect clip to all other caption effect clips on the current track or throughout the entire sequence. And the ability to save sets of parameter values for any caption effect clip as a style-sheet file that you can then apply to other caption effect clips in the same or other sequences. As with other effects, the SubCap plug-in can be found in the Effects Palette under Generator. In my timeline, I'm going to add a new video track and then I'll add the SubCap effect to that new track. For more complex delivery requirements we might apply different instances of the effect to different video tracks and then simply toggle between them to create various language outputs. In this particular workflow, we're going to import an STL file. This file was created by a subtitling service. The STL files are quite small and can be sent as an email attachment. Before we do that, we will quickly run through the parameters in the plug-in. In doing so, we will setup a default style-sheet. Let's just add some text, adjust the size, opacity, shadow, then we'll center the text, remove the background. Once we have created a style that we like, we go to the global properties page. Many of the tabs reflect aspects of the STL specification such as Program Name, Program Title, Version, Creation Date, etc. The synchronize tab sets the priorities for which properties will propagate, or not, through to other captions when a style-sheet is applied. By selecting track the style-sheet will apply to all titles on the same track. By selecting program they will apply to all tracks in the program. This allows for flexibility in styles for different tracks if needed. Once complete we will go to the Stylesheet tab and save these parameters as a new style. This window allows for multiple styles to be saved. One can also be setup as a default. The next parameter is the import-export selection. From here we can select the STL file as sent to us from the subtitle service. Once selected you can see how many captions are in the file, the timecode range of the sequence as well as the timecode range of the file. Since the captions are all based on timecode for placement the import dialog will alert you if the captions fall out of the range. To see in advance whether an import will be successful is another nice feature of this tool. Once the STL file is imported you will see all the captions placed as individual titles on the timeline. These are created by the start and end timecodes in the file for each caption. Lets go to the first title. It does not yet appear with the style we created earlier, so with this title selected, let's go back to the global properties and stylesheets. Highlight the style we saved earlier and apply. All the captions now have the same look and feel. Plus, this is a real-time effect ready for playout. Now if changes need to be made, you can easily go to the edit master caption list. Where you can see all the captions on the current track. You can also edit all the text in a single view. Or, add a return carriage if you want to break it at a certain spot. Now lets add some open captions manually. I can add a subcap to each span of dialog in the timeline. And then I can enter the text for the first dialog and apply a pre-made style. Now when I make the second title active and start typing, you will see it automatically inherits the properties of the same style. This is a rapid way to create subtitles directly. And of course, each title can easily be moved and repositioned along with its sync track as needed. Another great feature of this tool is the ability to create a new STL file that reflects any changes or corrections made to the sub-titles or captions. The DS Caption File can be exported as well. This text file is portable, easy to read and useful for things like legal sign-off or rights management. Also, because the file is easy to edit it can be sent to a translator and a new file can be returned. Exporting an STL file can also be used in many DVD authoring applications as a subtitle track. Creating even more value for your productions or for your customer. The AVX SubCap Effect Generator is a new feature available with: Avid Media Composer Software v3.0 and above Upgrade or Buy Online | Request Info Avid Symphony v3.0 and above Request Info Avid NewsCutter Software v7.0 and above Request Info Also available on Avid Nitris DX and Avid Mojo DX system configurations. Editor's Note: Thank you to Lesley Glorioso, Michael Phillips and Steve Holyhead for writing this tutorial. Additional thanks to Steve Holyhead for creating and presenting this video.

Let's take a look at the Avid AVX timecode effect plug-in. This segment based effect allows for real-time overlay of source and record metadata as part of a digital cut, transcode or export. Download high quality QuickTime for offline viewing (55MB) Timecode burn-in is commonly needed in post production when handing picture over to sound or visual effects. Having the metadata as part of the image allows for easy reference for any of these downstream processes. As you'll see here though, the Avid AVX Timecode effect plug-in takes this idea to the next level. As with other AVX effects, the Timecode plug-in can be found in the Effects palette under Generators. In my timeline, I'm going to add a new track, then I'll add the AVX effect to that new track. This way, as I work, I can easily toggle the effect right here using the track monitor. If I go into effects mode, we can see up to four overlay controls. Three for timecode metadata and another for notes. Inside each of the overlay controls are the parameters for that metadata overlay. It is here in the reader menu that you will select the type of data you wish to display. The type menu is then used to control how the timecode display is calculated. Plus, you can select from which track the metadata should be drawn for display from any one of the twenty-four video our audio tracks. In addition to the timecode information the plug-in allows for any metadata that is currently displayed above the Source or Record monitor. This includes Keycode, duration, Ink Numbers, DPX, even clip names. For example, if I choose "Frames" from the reader menu and "Remaining" in the type menu, then I will get a countdown to the end of my movie in frames. Or, if I choose "Source" in the reader menu and "Current" from the type menu, then the source timecode for each clip in my sequence will be displayed. The fourth metadata display is actually a notes track overlay. The content of which is user-definable. Identification or promotion is an ideal use for this tool. As is open watermarking for security purposes. If we want to add a notes track, it's easy to do so by directly typing into the text window of the notes section. Of course we can always copy-and-paste into this area too. The appearance tab for each of the overlay windows allows for Position, Size, Opacity and Background Color. It is also convenient to be able to add the name of the clip to the overlay window so a producer or director can read which shot was actually included in the cut, maybe as a part of a review and approval process. Another really useful aspect of this tool is the Display Label. If this option is selected the display begins with a label identifying the timecode format. If this option is deselected, only the timecode value itself is displayed. As with all AVX plug-ins presets can be saved and quickly added as needed. The user can prepare layout, size, color, background, metadata type and position, and quickly add to the timeline when needed. As I drop these saved templates to the timeline, you can see how the timecode plug-in automatically inherits the source/record metadata of that timeline. And of course, all of these overlays are available in real-time. Also unique to the Avid AVX Timecode plug-in is that it makes use of the extensive metadata database within the Avid Media Composer. And is therefore able to create 24 frames-per-second and 30 frames-per-second burn-ins directly from the original FPS source. This ensures that PAL and NTSC workflows can proceed with clarity and predictability for the entire production chain. Feet and frames as well as total frames can be selected to support animation and feature film workflows. Avid built the AVX Timecode plug-in with the intention that it satisfy the most demanding of post production needs. The AVX Timecode Burn-in Effect Generator is a new feature available with: Avid Media Composer Software v3.0 and above Upgrade or Buy Online | Request Info Avid Symphony v3.0 and above Request Info Avid NewsCutter Software v7.0 and above Request Info Also available on Avid Nitris DX and Avid Mojo DX system configurations. Editor's Note: Thank you to Lesley Glorioso, Michael Phillips and Steve Holyhead for writing this tutorial. Additional thanks to Steve Holyhead for creating and presenting this video.

Let's take a look at the Avid AVX timecode effect plug-in. This segment based effect allows for real-time overlay of source and record metadata as part of a digital cut, transcode or export. Download high quality QuickTime for offline viewing (55MB) Timecode burn-in is commonly needed in post production when handing picture over to sound or visual effects. Having the metadata as part of the image allows for easy reference for any of these downstream processes. As you'll see here though, the Avid AVX Timecode effect plug-in takes this idea to the next level. As with other AVX effects, the Timecode plug-in can be found in the Effects palette under Generators. In my timeline, I'm going to add a new track, then I'll add the AVX effect to that new track. This way, as I work, I can easily toggle the effect right here using the track monitor. If I go into effects mode, we can see up to four overlay controls. Three for timecode metadata and another for notes. Inside each of the overlay controls are the parameters for that metadata overlay. It is here in the reader menu that you will select the type of data you wish to display. The type menu is then used to control how the timecode display is calculated. Plus, you can select from which track the metadata should be drawn for display from any one of the twenty-four video our audio tracks. In addition to the timecode information the plug-in allows for any metadata that is currently displayed above the Source or Record monitor. This includes Keycode, duration, Ink Numbers, DPX, even clip names. For example, if I choose "Frames" from the reader menu and "Remaining" in the type menu, then I will get a countdown to the end of my movie in frames. Or, if I choose "Source" in the reader menu and "Current" from the type menu, then the source timecode for each clip in my sequence will be displayed. The fourth metadata display is actually a notes track overlay. The content of which is user-definable. Identification or promotion is an ideal use for this tool. As is open watermarking for security purposes. If we want to add a notes track, it's easy to do so by directly typing into the text window of the notes section. Of course we can always copy-and-paste into this area too. The appearance tab for each of the overlay windows allows for Position, Size, Opacity and Background Color. It is also convenient to be able to add the name of the clip to the overlay window so a producer or director can read which shot was actually included in the cut, maybe as a part of a review and approval process. Another really useful aspect of this tool is the Display Label. If this option is selected the display begins with a label identifying the timecode format. If this option is deselected, only the timecode value itself is displayed. As with all AVX plug-ins presets can be saved and quickly added as needed. The user can prepare layout, size, color, background, metadata type and position, and quickly add to the timeline when needed. As I drop these saved templates to the timeline, you can see how the timecode plug-in automatically inherits the source/record metadata of that timeline. And of course, all of these overlays are available in real-time. Also unique to the Avid AVX Timecode plug-in is that it makes use of the extensive metadata database within the Avid Media Composer. And is therefore able to create 24 frames-per-second and 30 frames-per-second burn-ins directly from the original FPS source. This ensures that PAL and NTSC workflows can proceed with clarity and predictability for the entire production chain. Feet and frames as well as total frames can be selected to support animation and feature film workflows. Avid built the AVX Timecode plug-in with the intention that it satisfy the most demanding of post production needs. The AVX Timecode Burn-in Effect Generator is a new feature available with: Avid Media Composer Software v3.0 and above Upgrade or Buy Online | Request Info Avid Symphony v3.0 and above Request Info Avid NewsCutter Software v7.0 and above Request Info Also available on Avid Nitris DX and Avid Mojo DX system configurations. Editor's Note: Thank you to Lesley Glorioso, Michael Phillips and Steve Holyhead for writing this tutorial. Additional thanks to Steve Holyhead for creating and presenting this video.

Ever need to brand your video? For many reasons we often have a need to make sure the files we produce don't end up being used without our permission. Watermarking is a great way of showing off your video while still maintaining control. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze. The watermarking filter can be applied to any output format within Squeeze 5. There are two ways to do this. First of all, I can edit a filter and click watermark. Choose the position of the watermark. I can preview the filter by using the slider bar above the window. As a default, the Squeeze vise is used, but you can use any JPG, PNG or GIF. The other way to do it is to create a new filter by clicking on the plus button in the filter presets. I'll title this "Watermark". Now here I can click on watermark and choose the position...I always want it in the bottom right. So that's now my default watermark filter. I can apply this to my file, and there the watermark shows up. But I want to change it, I want to use a different icon than the Squeeze vise. So I'll browse to my computer, find the file that I want to use. Let's use this Sorenson Media JPEG. Doesn't look quite right yet. So I'm going to adjust the opacity and feathering a bit here, just to make sure it looks right on the video and blends in a little bit better. Then click OK. And now once I compress the output, you'll notice the final compressed output has the watermarking in it. It's really a quick and painless way to make sure your encoded video has your mark. Available in Squeeze 5. More Squeeze Quick Tips: Quick Tips for Creating Flash Video How To Add a Watermark to your Compressions How To Do Multi-Core Compression How To Setup a Watch Folder How To Constrain File Sizes How To Add Chapter Markers If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

Ever need to brand your video? For many reasons we often have a need to make sure the files we produce don't end up being used without our permission. Watermarking is a great way of showing off your video while still maintaining control. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze. The watermarking filter can be applied to any output format within Squeeze 5. There are two ways to do this. First of all, I can edit a filter and click watermark. Choose the position of the watermark. I can preview the filter by using the slider bar above the window. As a default, the Squeeze vise is used, but you can use any JPG, PNG or GIF. The other way to do it is to create a new filter by clicking on the plus button in the filter presets. I'll title this "Watermark". Now here I can click on watermark and choose the position...I always want it in the bottom right. So that's now my default watermark filter. I can apply this to my file, and there the watermark shows up. But I want to change it, I want to use a different icon than the Squeeze vise. So I'll browse to my computer, find the file that I want to use. Let's use this Sorenson Media JPEG. Doesn't look quite right yet. So I'm going to adjust the opacity and feathering a bit here, just to make sure it looks right on the video and blends in a little bit better. Then click OK. And now once I compress the output, you'll notice the final compressed output has the watermarking in it. It's really a quick and painless way to make sure your encoded video has your mark. Available in Squeeze 5. More Squeeze Quick Tips: Quick Tips for Creating Flash Video How To Add a Watermark to your Compressions How To Do Multi-Core Compression How To Setup a Watch Folder How To Constrain File Sizes How To Add Chapter Markers If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

To simplify your encoding workflow you can encode multiple videos using watch folders. Here's how Squeeze can do it. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze. In the input window of Squeeze click on the "Watch Folder" icon. Next you'll choose a destination for your watch folder and create a new folder by click on the "New Folder" button. We'll title this "Squeezed Video". Your folder when then appear in the batch tree window in the main interface. Next, apply a preset or multiple presets to the watch folder you created. After you apply your presets and filters, click the "Squeeze It" button. You'll notice the word "Watching" appears. This means the application is waiting for you to place your videos in the watch folder. Next, just drop your videos in the watch folder, and the encoding begins. Inside the watch folder the output files will be place in a "CompressedOutput" folder and the source files will be placed into a "CompletedSource" folder. Watch folders are a great timesaver. Especially if you have multiple people needing videos encoded. More Squeeze Quick Tips: Quick Tips for Creating Flash Video How To Add a Watermark to your Compressions How To Do Multi-Core Compression How To Setup a Watch Folder How To Constrain File Sizes How To Add Chapter Markers If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

To simplify your encoding workflow you can encode multiple videos using watch folders. Here's how Squeeze can do it. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze. In the input window of Squeeze click on the "Watch Folder" icon. Next you'll choose a destination for your watch folder and create a new folder by click on the "New Folder" button. We'll title this "Squeezed Video". Your folder when then appear in the batch tree window in the main interface. Next, apply a preset or multiple presets to the watch folder you created. After you apply your presets and filters, click the "Squeeze It" button. You'll notice the word "Watching" appears. This means the application is waiting for you to place your videos in the watch folder. Next, just drop your videos in the watch folder, and the encoding begins. Inside the watch folder the output files will be place in a "CompressedOutput" folder and the source files will be placed into a "CompletedSource" folder. Watch folders are a great timesaver. Especially if you have multiple people needing videos encoded. More Squeeze Quick Tips: Quick Tips for Creating Flash Video How To Add a Watermark to your Compressions How To Do Multi-Core Compression How To Setup a Watch Folder How To Constrain File Sizes How To Add Chapter Markers If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

I m Bob Russo with Avid Technology. In this tutorial I m going to demonstrate how to transfer media using version 2 of the Sony XDCAM EX clip browser software with the Avid Media Composer . Download high quality QuickTime for offline viewing (27MB) Along with Mac Intel support, version 2 of the Sony XDCAM EX Clip Browser software now enables the MP4 files to be directly rewrapped to Avid Media Files. The first step is to select the destination for the MXF files. Since these are Avid Media Files the exact folder must be selected: Avid MediaFiles MXF and the appropriate numbered folder. Now select the SxS card or folder where the EX media is stored; choose the clips to use in the Media Composer and select File, Export, Avid AAF. Select a location for the AAF file and click execute. AAF files are created with the clip metadata and the clips are rewrapped as OPAtom MXF files. Now in the Media Composer, select File, Import. Navigate to the folder where the AAF files are and select them. The clips along with sequences are imported into the bin linked to the media ready for an edit. The sequences can be deleted. And that s how you use media from an XDCAM EX camera with the Avid Media Composer.

I m Bob Russo with Avid Technology. In this tutorial I m going to demonstrate how to transfer media using version 2 of the Sony XDCAM EX clip browser software with the Avid Media Composer . Download high quality QuickTime for offline viewing (27MB) Along with Mac Intel support, version 2 of the Sony XDCAM EX Clip Browser software now enables the MP4 files to be directly rewrapped to Avid Media Files. The first step is to select the destination for the MXF files. Since these are Avid Media Files the exact folder must be selected: Avid MediaFiles MXF and the appropriate numbered folder. Now select the SxS card or folder where the EX media is stored; choose the clips to use in the Media Composer and select File, Export, Avid AAF. Select a location for the AAF file and click execute. AAF files are created with the clip metadata and the clips are rewrapped as OPAtom MXF files. Now in the Media Composer, select File, Import. Navigate to the folder where the AAF files are and select them. The clips along with sequences are imported into the bin linked to the media ready for an edit. The sequences can be deleted. And that s how you use media from an XDCAM EX camera with the Avid Media Composer.

I m Bob Russo with Avid Technology. In this tutorial I m going to demonstrate how to transfer media using version 2 of the Sony XDCAM EX clip browser software with the Avid Media Composer . Download high quality QuickTime for offline viewing (27MB) Along with Mac Intel support, version 2 of the Sony XDCAM EX Clip Browser software now enables the MP4 files to be directly rewrapped to Avid Media Files. The first step is to select the destination for the MXF files. Since these are Avid Media Files the exact folder must be selected: Avid MediaFiles MXF and the appropriate numbered folder. Now select the SxS card or folder where the EX media is stored; choose the clips to use in the Media Composer and select File, Export, Avid AAF. Select a location for the AAF file and click execute. AAF files are created with the clip metadata and the clips are rewrapped as OPAtom MXF files. Now in the Media Composer, select File, Import. Navigate to the folder where the AAF files are and select them. The clips along with sequences are imported into the bin linked to the media ready for an edit. The sequences can be deleted. And that s how you use media from an XDCAM EX camera with the Avid Media Composer.

Squeeze 5 now has the ability to utilize your computer's multiple core processing power. You can now simultaneously encode up to 1.5 files on each of the computer's cores. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze. To make sure your computer is capable of processing multiple files, open up the Preferences Menu from the Squeeze pull-down menu, or it's the Edit Menu on the PC. Click on the Behavior tab on the right. Squeeze automatically detects how many processing cores you have on this computer, in this case it's two. And as a default it sets the maximum simultaneous compressions to the maximum--which was 1.5 per core--so the maximum is three, but you can change this if you wish to, we'll keep it back at three. Then click OK. Now, we have the ability to simultaneously encode three files at the same time. So I'll take a couple of different files, open them up. I'll apply my preset, and now all I have to do is click "Squeeze It" and watch Squeeze go to work. More Squeeze Quick Tips: Quick Tips for Creating Flash Video How To Add a Watermark to your Compressions How To Do Multi-Core Compression How To Setup a Watch Folder How To Constrain File Sizes How To Add Chapter Markers If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

Squeeze 5 now has the ability to utilize your computer's multiple core processing power. You can now simultaneously encode up to 1.5 files on each of the computer's cores. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze. To make sure your computer is capable of processing multiple files, open up the Preferences Menu from the Squeeze pull-down menu, or it's the Edit Menu on the PC. Click on the Behavior tab on the right. Squeeze automatically detects how many processing cores you have on this computer, in this case it's two. And as a default it sets the maximum simultaneous compressions to the maximum--which was 1.5 per core--so the maximum is three, but you can change this if you wish to, we'll keep it back at three. Then click OK. Now, we have the ability to simultaneously encode three files at the same time. So I'll take a couple of different files, open them up. I'll apply my preset, and now all I have to do is click "Squeeze It" and watch Squeeze go to work. More Squeeze Quick Tips: Quick Tips for Creating Flash Video How To Add a Watermark to your Compressions How To Do Multi-Core Compression How To Setup a Watch Folder How To Constrain File Sizes How To Add Chapter Markers If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.