Editors ProTools WP
Editors ProTools WP
Editors ProTools WP
www.avid.com
Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Copy/Consolidate to Any Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
DigiDelivery® Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Video Mixdown During Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
®
QuickTime Avid DNxHD Codec for Video Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Audio Mixdown During Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Export follows Mark In/Out and Selected Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Integration with Avid® Interplay® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Video Project Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
DigiTranslator™ 2.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Video Satellite Media Composer® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Pro Tools® and Avid DNA™ Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Audio Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Audio Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Sending Audio from Pro Tools to Avid Editing Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Shared Storage Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Co-installation of Pro Tools and Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Introduction
Nothing sells a story like a great sound track. Over the past decade, Avid has worked to
provide the industry’s most complete and flexible audio workflows. Whether you work in
an Avid Unity™ environment with Pro Tools and Media Composer directly connected, or
whether a Wide Area Network (WAN) separates picture editorial and audio post production,
Audio workflows can be surprisingly complex. Many factors must be considered when
• Audio Parameters – What audio information comes across? Is it possible for the
Pro Tools user to “inherit” the rough mix created by the Avid picture editor? Is it
possible for the Pro Tools user to ignore “rendered effects” from the video editor?
• Ease of Workflow – How many steps does it take to send audio and video data
between systems?
The good news is that Avid takes all these facets into consideration when designing and
testing audio workflows. Whatever angle you look at, no other vendor provides the depth
and breadth of audio post production workflows that Avid provides today. And starting with
version 2.5, Avid Media Composer includes a redesigned export window which streamlines
audio workflows across the board while enabling new workflows. New features include:
• Audio and Video Mixdown During Export – Ensures that the intent of the Avid
picture editor is conveyed fully to the Pro Tools operator
• Export Follows Mark In/Out and Selected Tracks – Allows the Avid editor to
export select portions of the sequence to Pro Tools
• Integration with Avid Interplay – Pro Tools is now integrated with Avid Interplay,
enabling new team-based workflows in Pro Tools 7.3 and beyond.
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Copy/Consolidate to Any Directory
One of the challenges with audio workflows is ensuring that the audio team has access
to all the production media, including all applicable sound takes. To make this easier,
Avid editing systems can Copy or Consolidate video and audio media to any directory.
Export to a USB2 or 1394 drive, a network share, or any arbitrary subfolder on any device
you can mount – you control where the exported media goes. And when the sequence
Combine this capability with the ability to transcode to other video formats during export
• Set up a network share on a Pro Tools system and copy/consolidate audio and
video media directly to that system.
• Set up a “drop folder” on a server and copy audio media to that folder.
Because the export function will not overwrite files which already exist in the
folder, exporting a new version of the sequence will copy only new material to
the drop folder. This speeds up the iterative creative process while organically
aggregating all production audio for the project in a single central location.
• Set up a network share on a laptop and then create an Export template which
transcodes your video media to DV25 and places it on the laptop share, along
with all the audio files. When it’s time to leave the edit suite, take your media and
project with you by simply grabbing your laptop.
This added flexibility takes media management to a whole new level, making it easy to
design unique workflows where you control exactly where your audio and video media
DigiDelivery Integration
What if it were easy to send a video
it didn’t fall into the wrong hands? And what if this process were as easy to use as email?
With DigiDelivery, all this is possible. Avid editing products now support direct
integration with DigiDelivery, Aspera’s Secure File Delivery System. With DigiDelivery,
sending and receiving large files over the WAN is easy and incurs no per-use or
subscription fees. You just install either turnkey Linux appliance – SERV|LT (80 GB cache)
2 or SERV|GT (500 GB) – and you have a plug-and-play WAN workflow. Any file you can
export from an Avid system can be easily uploaded to the DigiDelivery server and sent
to any recipient with an internet connection. The recipient simply installs the very small
For example, you may utilize an export template to initiate the transfer of a QuickTime
movie with AAF audio to a Pro Tools user half way around the globe – all with one simple
command from the File Menu in Media Composer. The recipient gets an email notification
automatically and then downloads the data using any internet connection. The encryption
key is transparently provided to the recipient so the files are automatically unlocked after
transfer. And once the files have been downloaded by the recipient, the DigiDelivery
server can be configured to automatically delete the material so the server’s storage
DigiDelivery can be used in a variety of workflows, including review and approval, project
transfer between Avid editing systems, graphics workflows – any workflow that requires
real-time visual effects plug-ins. For many projects, the Avid timeline contains several
• Flattening – Creating a video mixdown generates one single file that can be
played by Pro Tools (with Avid Mojo , Avid Mojo SDI or AVoption |V10). This
® ™
eliminates any possibility that the Pro Tools user will be missing any visual
elements in their timeline. And it creates a single file with the minimum quantity
of data, making it optimal for WAN transfers.
• Video metadata – Unlike other video formats like QuickTime, an AAF (Advanced
Authoring Format) file can include a single video mixdown file for playback by
Pro Tools while also including complex edit information (for example video clip
names and scene markers) that can be displayed in Pro Tools.
both Media Composer video editors and Pro Tools audio post professionals if they are
using QuickTime video playback in audio post. The new codec has been optimized for
superior playback performance within Pro Tools. Unlike codecs from Apple or others,
the Avid DNxHD QT codec can be exported much faster from Avid video editors, offers
superior playback performance and picture quality in Pro Tools, and has reduced
storage requirements.
department. And Avid editing systems also enable basic mixing using controls like Clip
When included with the raw production audio, a temp mix can convey the intention of the
picture editor. It is also beneficial for the Pro Tools user to have this audio guide track as a sync
reference, so that it is easy to see if a clip has been moved out of sync, and by how much.
This capability is analogous to a legacy workflow that was common practice in the era of
video tape: listening to a rough cut mix on a U-matic offline master tape to understand
Avid editing products can include an audio mixdown track (mono or stereo) along with
the raw production audio tracks. This is enabled by a simple checkbox in the export
there are alternate tracks which should not be sent. To make it easier to send only certain
aspects of a sequence to Pro Tools, AAF export can send only the content between Mark
In and Mark Out. It is also possible to send only selected tracks. This means that it is not
necessary to duplicate a sequence and modify the dupe before exporting to Pro Tools,
workflows. With Pro Tools 7.3 and later on Windows XP, integration of Pro Tools with
Interplay enables new audio workflows based on Interplay’s core asset management
• Team-based workflows – Pro Tools will be directly integrated with the Interplay
database, enabling Pro Tools users to check out AAF sequences, perform audio
sweetening, and integrate finished audio into the AAF sequence. All with a very
simple streamlined workflow. This integration will allow the Pro Tools user and the
Avid video editor to work in parallel within a managed workflow.
Step 1: The Avid video editor publishes an AAF sequence for Pro Tools by checking
it into Interplay. The Pro Tools Interplay integration takes advantage of Interplay’s
innovative multi-resolution workflows, where clips and sequences can exist at multiple
resolutions. This allows the video editor to work on an HD sequence, for example,
and in parallel allow the Pro Tools to playback the same sequence at DV25 resolution.
Alternately, Video Satellite Media Composer can be used with Pro Tools to playback
HD sequences.
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Step 2: Import into Pro Tools. The Pro Tools
completes audio sweetening and then exports the sequence to the Interplay database
using a command in the Pro Tools File Menu. This action triggers a check-in of a new
version of the sequence that contains the video created by the Avid picture editor and
Step 4: Review and Delivery. With the sweetened audio in place, the finished sequence
can be reviewed using Pro Tools, Avid Interplay Assist, or an Avid editing system. The
sequence can also be sent to a video server or opened in an Avid editing system for
you can create on an Avid editing system can be imported into Pro Tools, including
high definition sequences, Pro Tools 7.2 or higher can import the
audio tracks, and the Avid video track will appear as offline. (Pro Tools
supports Avid HD video playback with the Video Satellite option.) For
and Avid video can be played in Pro Tools using Avid Mojo,
DigiTranslator 2.0
The DigiTranslator 2.0 option allows reliable, accurate, and flexible import and export of
AAF, OMF®, and MXF files on Pro Tools|HD®, Pro Tools LE® and Pro Tools® M-Powered™
systems. This option is recommended for all Pro Tools editors who are interchanging
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Video Satellite Media Composer
With the Video Satellite Media Composer
video mixdowns as the Media Composer Video Satellite system can simply open the Avid bin
or sequence and play the picture exactly as it was seen in the video editing suite. It also takes
the heavy load of High Definition QuickTime video off of the Pro Tools|HD system. The two
computers are connected via Avid’s proprietary satellite Ethernet protocol, and the
Media Composer Video Satellite system supports all Avid video peripherals supported by
Media Composer 3.1 or later including Avid Mojo DX and Nitris® DX for high quality output
to an external HD NTSC or PAL monitor. Video Satellite can also be used to simultaneously
capture or layback to/from a VTR from both Media Composer and Pro Tools. The Video
for import and playback of Avid video media. Today, Pro Tools|HD
systems can be configured with Avid Mojo SDI, or the older Avid
standard definition Avid video. Pro Tools LE running v7.4 or later can
Built in a rugged anodized aluminum case, Avid Mojo SDI is compact enough for portable
Avid Mojo SDI enables Pro Tools|HD or Pro Tools LE editors to open sequences created with
Avid editing systems, play back video via an external monitor, tab from cut to cut in the Pro
Tools video track, and export finished audio for re-integration into an original Avid sequence.
Avid Mojo SDI works with many popular Avid video resolutions, including uncompressed SD,
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All three Avid DNA options for Pro Tools offer several advantages over QuickTime video:
• Import and play back Avid video clips on the Pro Tools Video track with near
sample-accurate precision against audio tracks
• Digitize video to the Pro Tools Timeline (Pro Tools|HD systems only)
• Spot individual video clips to new locations in the Pro Tools Video Track
• View video edits and clip names in the Pro Tools Video Track
• Import and play back true 24p and 25p progressive scan sequences created in
Avid editing systems
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The following table summarizes the supported formats of Pro Tools LE and Pro Tools|HD
in different configurations. Beginning with Pro Tools 7.2, Avid Mojo supports all video
Pro Tools|HD or
Pro Tools LE Pro Tools|HD or
Pro Tools|HD
with Avid Mojo SDI, or Pro Tools LE
with AVoption | V10
Pro Tools|HD with No Avid DNA Hardware
(Windows XP Only)
Avid Mojo (Windows XP,
Video Format
(Windows XP, Vista 32 & Mac OS X)
Vista 32 & OS X)
QuickTime Movie • • •
DV25 4:1:1 • •
DV25 4:2:0 • •
DV25 24p 4:1:1 • •
DV25 25p 4:2:0 • •
DV50 • •
IMX 50 • •
JFIF 10:1m • •
JFIF 4:1m • •
JFIF 15:1s • •
JFIF 4:1s • •
JFIF 2:1s • •
JFIF 20:1 • •
JFIF 10:1 • •
JFIF 3:1 • •
JFIF 2:1 • •
JFIF 8:1m 24p • •
JFIF 3:1m 24p • •
JFIF 35:1 24p • •
JFIF 28:1 24p • •
JFIF 14:1 24p • •
JFIF 3:1 24p • •
JFIF 2:1 24p • •
1:1 • •
MXF:1 • •
AVR 77 • •
AVR 75 • •
AVR 70 • •
AVR 12 • •
AVR 9s • •
AVR 8s • •
AVR 6s • •
AVR 4s • •
AVR 3s • •
AVR 2s • •
AVR 6m • •
AVR 4m • •
AVR 3m • •
AVR 2m • • 9
Audio Formats
Pro Tools supports a broad range of audio file formats, sample rates and bit depths.
And although Pro Tools does not support mixing of sample rates or bit depths in the
timeline simultaneously, DigiTranslator can import AAF files that contain mixed formats,
Supported by Supported by
Sample Rates Comment
Avid Editors Pro Tools
44.1 kHz • •
48 kHz • •
Supported by Supported by
Bit Depths Comment
Avid Editors Pro Tools
16-bit • •
24-bit • •
Mixed bit depths in Pro Tools will convert mixed bit depths to a
• N/A
a sequence uniform bit depth during import
Supported by Supported by
File Formats Comment
Avid Editors Pro Tools
WAV • •
AIFF • •
SDII is no longer recommended because it is not a
SDII N/A N/A
cross-platform file format
MXF
• • Pro Tools supports MXF audio as read-only
(PCM Descriptor)
Audio Parameters
Most nonlinear editors send very basic audio information to Pro Tools. Why settle for
just clips on a timeline? Avid editing systems send additional audio metadata, so the
Pro Tools user can choose to inherit audio decisions made during picture editorial.
• Clip Names
• Clip Gain
• Clip Pan
• Export Tracks as AAF/OMF – From the Pro Tools File Menu, you can export selected
tracks from a Pro Tools session, creating an AAF/OMF file with associated (“linked”)
or embedded media. If linked media is used, you can either export the media files
directly to the OMFI MediaFiles folder or Avid MediaFiles folder (in Avid Unity or
shared network environments such as Video Satellite with cross-mounted volumes),
or you must then transfer the media files to the appropriate media files folder on an
Avid editing system. Once the media files are in the proper media files folder, you
can then import the AAF/OMF file into the Avid editing system. The result will be an
audio sequence with associated clips in your Avid bin. You can then integrate this
audio sequence with other sequences in the project. This workflow makes it possible
to send “prelay” audio tracks from Pro Tools to an Avid editing system. It also makes
it possible to send several mixes or submixes (stems) back to the Avid system.
• Bounce to Disk – If you use Bounce to Disk to create a rendered mix file in the
form of an interleaved WAV file, you can import this WAV file into an Avid bin. The
result will be a new clip with the correct start time code. This is a quick and easy
way to render a mix and import it into an Avid system.
• Export Regions as Files – You can export individual “regions” of audio from
Pro Tools. These files can be imported into an Avid bin, creating new audio clips.
This workflow is helpful when some raw audio clips (e.g., voice-over takes, sound
effects, music cuts) need to be exported to an Avid system without any
timing information.
Storage System
Windows XP, Mac OS X Window XP,
Vista 32 Vista 32 and Mac OS X
Pro Tools|HD is qualified as a real time client for Avid Unity MediaNetwork and ISIS on
Windows systems only. All other configurations are currently qualified as push/pull only.
For the latest qualified storage configurations, please visit the support section on
http://www.digidesign.com/
Co-installation of Pro Tools and Media Composer
Pro Tools 8 and Media Composer 3.5 add improved support for co-installation of
Pro Tools and Media Composer on the same computer. Starting with these releases,
you can now have the Avid video engine installed with Pro Tools when Media Composer
is co-installed.
For the latest qualified co-install configurations, please visit the support section on
www.digidesign.com.
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