3/4-inch U-matic. One of the first composite videocassette formats, in which the composite signal is recorded onto 3/4- inch tape. Used for many years, particularly in field recording, the U-matic format is slowly being replaced by more advanced and lightweight systems.
4:2:2 digital video. A digital video system defined by the ITU-R 601 (CCIR 601) technical documentation. 4:2:2 refers to the comparative ratio of sampling of the three components of the video signal: luminance and two color channels.
A-mode. A linear method of assembling edited footage. In A-mode, the editing system performs edits in the order in which they will appear on the master, stopping whenever the edit decision list (EDL) calls for a tape that is not presently in the deck.
add edit. An edit added between consecutive frames in a sequence segment within the Timeline. An add edit separates segment sections so the user can modify or add effects to a subsection of a segment
AES/EBU. Audio Engineering Society/European Broadcasting Union. A standards-setting organization that defined a digital signal format for professional audio input to the Avid video-based editing systems using the SA 4 card. This signal format is typically used when you input sound directly to Avid video-based editing systems with a digital audiotape (DAT) machine, thereby bypassing the videotape digitizing process.
AIFF-C. Audio Interchange File Format-Condensed. A sampled-sound file format that allows for the storage of audio data. This format is primarily used as data interchange format but can be used as a storage format as well. OMF Interchange includes AIFF-C as a common interchange format for non-compressed audio data.
alpha channel. An 8-bit, grayscale representation of an image used to create a mask for keying images.
analog recording. The common form of magnetic recording where the recorded waveform signal maintains the shape of the original waveform signal. All videotape source footage is analog. When digitized (via telecine transfer), footage is converted from the analog format to a digital format.
anti-aliasing. A computerized process of digitally smoothing the jagged lines around graphic objects or titles.
aspect ratio. The numerical ratio of a viewing area's width to its height. In video and television, the standard aspect ratio is 4:3, which can be reduced to 1.33:1 or simply 1.33. HDTV video format has an aspect ratio of 16:9. In film, some aspect ratios include: 1.33:1, 1.85:1, and 2.35:1.
assemble edit. An edit where all existing signals on a tape (if any) are replaced with new signals. Assemble editing sequentially adds new information to a tape and a control track might be created during the edit. The edit is made linearly and is added to the end of previously recorded material.
Attic folder. The folder containing backups of your files or bins. Every time you save or the system automatically saves your work, copies of your files or bins are placed in the Attic folder, until the folder reaches the specified maximum. The Attic folder copies have the file name extension .bak and a number added to the file name. The number of backup files for one project can be changed (increased or decreased) in the Bin Settings dialog box.
audio timecode. Longitudinal timecode (LTC) recorded on an audio track.
AutoSave. A feature that saves your work at intervals you specify. Backups are placed in the Attic folder.
B-mode. A “checkerboard” or nonsequential method of assembly. In B-mode, the edit decision list (EDL) is arranged by source tape number. The edit system performs all edits from the tapes currently assigned to decks, leaving gaps that will be filled by material from subsequent reels.
B-roll. An exact copy of the A-roll original material, or new original material on a separate reel, for use in A/B-roll
editing.
backtiming. A method of calculating the IN point by subtracting the duration from a known OUT point so that, for example, music and video or film end on the same note.
backup. A duplicate copy of a file or disk in another location if the original file or disk becomes corrupted.
batch digitize. The automated process in which groups of clips, sequences, or both are digitized (recorded digitally).
Betacam, Betacam SP. Trademarks of Sony Electronics, Inc. Two component videotape and video recording standards. Sony Betacam was the first high-end cassette-based system, recording video onto 1/2-inch magnetic tape. The SP version arrived 3 years after the first Betacam, improving on signal-to-noise ratios, frequency responses, the number of audio channels, and the amount of tape available on cassettes. SP is now the only type sold.
bin. A database in which master clips, subclips, effects, and sequences are organized for a project. Bins provide database functions to simplify organizing and manipulating material for digitizing and editing.
black and code. Video black, timecode, and control track that are prerecorded onto videotape stock. Tapes with black and code are referred to as striped or blacked tapes.
black burst generator. An electronic device that emits a signal that registers as pure black when recorded on videotape.
black burst. A video signal that has no luminance or chrominance components (except burst) but contains all the other elements of a video signal. Black burst is the reference signal commonly used for timing audio and video samples.
black edits. 1. A video source with no image.
2. A special source you can fade into, out of, or use for other effects. G-2 Editing Essentials
bumping up. The transfer of a program recorded on a lower quality videotape to a higher quality videotape (such as from 3/ 4-inch to 1-inch videotape, or S-VHS to MII).
burn-in. A visible timecode permanently superimposed (burned in) on footage, usually in the form of white numbers in a black rectangle. Burned-in timecode is normally used for tracking timecode during previews or offline editing. A videotape with burn-in is also called
C-mode. A nonsequential method of assembly in which the edit decision list (EDL) is arranged by source tape number and ascending source timecode.
calibrate. To fine-tune video levels for maximum clarity during digitizing (from videotape).
channel. 1. A physical audio input or output.
2. One of several color components that combine to define a color image. An RGB image is made up of red, green, and blue color channels. In color correction, you can redefine color channels by blending color components in different proportions.
character generator. An electronic device, or computer device and software combination, that creates letters and numbers that can be superimposed on video footage as titles.
chroma. Video color.
chrominance. The saturation and hue characteristics of a composite video signal; the portion of the video signal that contains color information. Adjust chrominance and other video levels before digitizing.
clip. 1. A segment of source material digitized into your system at selected IN and OUT points and referenced in a project bin. The clip contains pointers to the media files in which the actual digital video and audio data is stored.
2. In a record in a log, which stands for one shot, the clip includes information about the start and end timecode for the shot, the source tape name, and the tracks selected for editing.
3. In OMFI, a general class of objects in the OMF Interchange class hierarchy representing shared properties of source clips, filler clips, attribute clips, track references, timecode clips, and edge code clips. A clip is a subclass of a component.
codec. Compressor/decompressor. Any technology for compressing and decompressing data. Codecs can be implemented in both software and hardware. Some examples of codecs are: Cinepak, MPEG, and QuickTime.
color bars. A standard color test signal, displayed as a video pattern of eight equal width columns (that is, “bars”) of colors. SMPTE color bars are a common standard. You adjust video levels against the color bars on your source videotape before digitizing.
colors displayed in video and on computer screens. Also called a color
component video. The structuring of the video signal whereby color and luminance signals are kept separate from one another by using the color-subtraction method Y (luminance), B (blue minus luminance) and R (red minus luminance), with green derived from a combination. Two other component formats are RGB and YUV.
composite video. A video signal in which the luminance and chrominance components have been combined (encoded) as in standard PAL, NTSC, or SECAM formats.
composition. The standard term used by OMF Interchange to refer to an edited sequence made up of a number of clips. The OMF equivalent of a sequence in an Avid system.
compression. 1. In audio, the process of reducing the dynamic range of the audio signal.
2. In video, a lack of detail in either the black or the white areas of the video picture due to improper separation of the signal level.
3. A reduction of audio signal details, video signal detail, or both to reduce storage requirements during transformation from analog to Avid digital format. In JPEG compression, for example, algorithms for variable frame length analyze the information in each frame and perform reductions that maximize the information retained. Compression does not remove any frames from the original material.
conform. To prepare a complete version of your project for viewing. The version produced might be an intermediate working version or the final cut.
Console. A display that lists the current system information and chronicles recently performed functions. It also contains information about particular items you are editing, such as the shots in your sequence or clips selected from bins.
contrast. The range of light-to-dark values present in a film or video image.
control track. The portion of the video recording used to control longitudinal motion of the tape during playback. Control track can be thought of as electronic sprocket holes on the videotape.
CPU. Central processing unit. The main computational section of a computer that interprets and executes instructions.
crossfade. An audio transition in which the outgoing sound gradually becomes less audible as the incoming sound becomes more distinct. Also called an audio dissolve.
cue. To shuttle a videotape to a predetermined location.
cut. 1. An instantaneous transition from one video source to another.
2. A section of source or record tape.
D-mode. An A-mode edit decision list (EDL) in which all effects (dissolves, wipes, graphic overlays) are performed at the end.
D1, D5. Two digital videotape recording formats that conform to the ITU-R 601 (CCIR-601) standard for uncompressed 4:2:2 digital component video. D5 is very similar to D1 in that it is a component digital recorder. However, D1 records with 8- bit accuracy; D5 records with 10-bit accuracy.
D2, D3. Two digital videotape recording formats for composite video. The main difference between D2 and D3 is that D2 uses 3/4-inch digital videotape, and D3 uses 1/2-inch digital videotape.
DAE. Digidesign Audio Engine. A trademark of Avid Technology, Inc. The application that manages the AudioSuite plug-ins.
DAT. Digital audiotape. A digital audio recording format that uses 3.8mm-wide magnetic tape in a plastic cassette.
decibel (dB). A unit of measurement for audio volume level.
deck controller. A tool that allows the user to control a deck by using standard functions such as shuttle, play, fast forward, rewind, stop, and eject.
depth shadow. A shadow that extends solidly from the edges of a title or shape to make it appear three-dimensional.
device can measure. Applications can play digital sample data from files on disk.
digital cut. The output of a sequence, which is usually recorded to tape.
digital recording. A method of recording in which the recorded signal is encoded on the tape in pulses and then decoded during playback.
digital television. DTV. The technology enabling the terrestrial transmission of television programs as data.
digitally record. To convert analog video and audio signals to digital signals.
digitize. To convert analog video and audio signals to an Avid compressed digital signal format.
dip. An adjustment to an audio track in which the volume gain level decreases or “dips” to a lower level, rather than fading completely.
direct digital interface. The interconnection of compatible pieces of digital audio or video equipment without conversion of the signal to an analog form.
dissolve. A video or audio transition in which an image from one source gradually becomes less distinct as an image from a second source replaces it. An audio dissolve is also called a segue.
drop shadow. A shadow that is offset from a title or shape to give the feeling of spatial dimension.
drop-frame timecode. A type of SMPTE timecode designed to match clock time exactly. Two frames of code are dropped every minute on the minute except the tenth minute, to correct for the fact that color frames occur at a rate of 29.97 fps, rather than an exact 30 fps. Drop-frame timecode is recorded with semicolons between the digits; for example, 1;00;10;02.
dupe reel. A reel designated for the recording and playback of dupes (duplicate shots) during videotape editing.
dupe. Duplicate. A section of film or video source footage that has been repeated (duplicated) one or more times in an edited program.
DV. Digital video that is transferred through equipment conforming to IEEE Standard 1394. This equipment is sometimes called FireWire or I-Link.
DVE. Digital video effect. dynamic range. An audio term that refers to the range between the softest and loudest levels a source can produce without distortion
E-mode. A C-mode edit decision list (EDL) in which all effects (dissolves, wipes, and graphic overlays) are performed at the end.
EBU. European Broadcasting Union. A standards-setting organization in which only users (not vendors) have a voice.
edit controller. An electronic device, often computer-based, that allows an editor to precisely control, play, and record to various videotape machines.
edit rate. In compositions, a measure of the number of editable units per second in a piece of media data (for example, 30 fps for NTSC, 25 fps for PAL, and 24 fps for film).
edit. To assemble film or video, audio, effects, titles, and graphics to create a sequence.
EDL. Edit decision list. A list of edits made during offline editing and used to direct the online editing of the master.
effects. The manipulation of an audio or video signal. Types of film or video effects include special effects (F/X) such as morphing; simple effects such as dissolves, fades, superimpositions, and wipes; complex effects such as keys and DVEs; motion effects such as freeze frame and slow motion; and title and character generation. Effects usually have to be rendered because most systems cannot accommodate multiple video streams in real time.
energy plot. The display of audio waveforms as a graph of the relative loudness of an audio signal.
extract. To remove a selected area from an edited sequence and close the resulting gap in the sequence.
fade. A dissolve from full video to black video or from full audio to no audio, or vice versa.
field. One-half of the scan lines in an interlaced video frame. In most systems, the odd-numbered lines form one field, and the even-numbered lines form the second. NTSC video contains approximately 60 fields (30 frames) per second, and PAL video contains 50 fields (25 frames) per second.
file system. A way of organizing directories and files on a disk drive, such as FAT or NTFS for Windows computers.
filler clip. A segment of a sequence that contains no audio or video information. Filler can be added to the Source monitor (or pop-up monitor) and edited into a sequence.
film. For example, a frame offset of +12 indicates the twelfth frame from the frame marked by th
format. To prepare a disk drive or floppy disk for use. For Windows computers, you format a disk drive by copying a file system (either FAT or NTFS) to the drive. formatting. The transfer and editing of material to form a complete program, including any of the following: countdown, test patterns, bars and tone, titles, credits, logos, space for commercial, and so forth.
fps. Frames per second. A measure of the film or video display rates (NTSC = 30 fps; PAL = 25 fps; SECAM = 25 fps; Film = 24 fps).
frame offset. A way of indicating a particular frame within the group of frames identified by the edge number on a piece of
frame. One complete video picture. A frame contains two video fields, scanned at the NTSC rate of approximately 30 fps or the PAL rate of 25 fps.
gain. 1. A measurement of the amount of white in a video picture.
2. Audio levels or loudness.
gamma. A measurement of the midpoint in the luminance range of an image. Used in color adjustments to control the proportions of brighter and darker areas in an image. Also called the gray point.
gang. Any combination of multiple tracks that are grouped. An edit that is performed on one track is also performed on tracks that are ganged together.
generation. The number of times material has been rerecorded. The original videotaped material is the first generation. A copy of the original is a second-generation tape, and so on. Each generation shows a gradual loss of image quality. With digital copies, there is little or no loss in quality.
genlock. In Broadcast, a system whereby the internal sync generator in a device (such as a camera) locks onto and synchronizes itself with an incoming signal.
gigabyte (GB). Approximately one billion bytes (1,073,741,824 bytes) of information.
handles. Material outside the IN and OUT points of a clip in a sequence. The Avid system creates handles when you decompose or consolidate material. The Decompose and Consolidate features can create new master clips that are shorter versions of the original master clip. The handles are used for dissolves and trims with the new, shorter master clips.
hard disk. A magnetic data recording disk that is permanently mounted within a disk drive.
hard recording. The immediate recording of all audio, video, timecode, and control tracks on a magnetic recorder. Because hard recording creates breaks in any existing timecode or control track on the tape, this procedure is often performed on blank tape when an edit is not required or in emergency circumstances. Also called crash recording.
HDTV . High-definition television. A digital video image having at least two times the resolution of standard NTSC or PAL video. The HDTV aspect ratio is 16:9. (Analog TV has a ratio of 4:3.)
head frame. The first frame in a clip of film or a segment of video.
headroom. 1. In video, the room that should be left between the top of a person's head and the top of the frame when composing a clip.
2. In audio, the amount of available gain boost remaining before distortion is encountered.
hertz (Hz). The SI unit of frequency equal to one cycle per second.
Hi Con. A high-contrast image used for creating matte keys.
hue. An attribute of color perception. Red, green, blue form the color model used, in varying proportions, to produce all the
IN point. The starting point of an edit. Also called a mark IN.
initializing. The setting of the computer edit program to proper operating conditions at the start of the editing session.
interface. 1. The computer software or hardware used to connect two functions or devices.
2. The program access level at which a user makes selections and navigates a given system.
IRE. A unit of measurement of the video waveform scale for the measurement of video levels, originally established by the Institute of Radio Engineers. The scale is divided into 140 IRE units, 100 above the blanking reference line and 40 below it.
ITU-R BT.601. The standard for standard-definition component digital video, published by the International
jam syncing. The process of synchronizing a secondary timecode generator with a selected master timecode.
JFIF. JPEG File Interchange Format. A file format that contains JPEG-encoded image data, which can be shared among various applications. JFIF resolutions store data at a constant rate; for example, JFIF 300 uses 300 KB for each frame it stores. JFIF resolutions comply with the ISO-JPEG interchange format and the ITUR 601 standard.
JPEG. Joint Photographic Experts Group. Also, a form of compression developed by Avid Te
kerning. The spacing between text characters in print media, such as titles.
keyframes. The frames used in an effect. Opacity levels, outgoing and incoming frame proportions, and acceleration settings can be applied to specified keyframes within an effect.
kilobyte (KB). Approximately one thousand bytes (1024 bytes) of information.
kilohertz (kHz). One thousand cycles per second.
layback. The process of transferring a finished audio track back to the master videotape.
layered tracks. The elements of an effect created by combining two or more tracks in a specified way, such as nesting one track as a layer within another.
leader. A length of film, tape, or a digital clip placed at the beginning of a roll, reel, or sequence to facilitate the cueing and syncing of material.
level. A quantitative measure of a video or an audio signal. A low level indicates the darker portions in video and the soft or quieter portions in audio; conversely, a high level indicates a brighter video image or a louder audio signal. The level of audio signal correlates directly with the volume of reproduced sound.
lift. To remove selected frames from a sequence and leave black or silence in the place of the frames.
line feed. A recording or live feed of a program that switches between multiple cameras and image sources. Also known in sitcom production as the director's cut.
linear editing. A type of tape editing in which you assemble the program from beginning to end. If you require changes, you must rerecord everything downstream of the change. The physical nature of the medium (for example, analog videotape) dictates how you place material on the medium.
locator. A mark added to a selected frame to qualify a particular location within a sequence. User-defined comments can be added to locators.
log. To enter information about your media into bins at the beginning of the editing process. Logging can be done automatically or manually. looping. The recording of multiple takes of dialog or sound effects.
lossless compression. A compression scheme in which no data is lost. In video compression, lossless data files are usually very large.
lossy compression. A compression scheme in which data is thrown away, resulting in loss of image quality. The degree of loss depends on the specific compression algorithm used.
LTC. Longitudinal timecode. A type of SMPTE timecode that is recorded on the audio track of a videotape.
luminance. The measure of the intensity of the combined color (white) portion of a
mark IN/OUT. 1. The process of entering the start and end timecodes for a clip to be edited into a sequence.
2. The process of marking or logging timecode numbers to define clips during a logging or digitizing session.
master clip. In the bin, the media object that refers to the media files digitized from tape or other sources.
master shot. The shot that serves as the basic scene, and into which all cutaways and closeups will be inserted during editing. A master shot is often a wide shot showing all characters and action in the scene.
master. The tape resulting from editing. The finished program.
match-frame edit. An edit in which the last frame of the outgoing shot is in sync with the first frame of the incoming shot,
matchback. The process allowing you to generate a film cut list from a 30-fps video project that uses film as the source material.
media data. Data from a media source. Media data can be: 1. Analog data: film frames, Nagra tape audio, or videotape video and audio.
2. Digital data: either data that was digitized such as video frame data and audio samples, or data created in digital form such as title graphics, DAT recordings, or animation frames. media files. Files containing the compressed digital audio and video data needed to play Avid clips and sequences.
media. The video, audio, graphics, and rendered effects that can be combined to form a sequence or presentation.
megahertz (MHz). One million cycles per second.
mix. 1. A transition from one video source to another in a switcher.
2. The product of a recording session in which several separate sound tracks are combined through a mixing console in mono or stereo.
mixdown audio. The process that allows the user to combine several tracks of audio onto a single track.
monitor. 1. In video, a picture tube and associated circuitry without tuner or audio sections. The monitor includes the display of source media, clips, and sequences. In Avid products, virtual monitors are displayed on the screen in which source media, clips, and sequences can be edited.
2. In audio, to monitor specific audio tracks and channels, or another name for the speakers through which sound is heard.
MOS. The term used for silent shooting. From the pseudo-German, “Mit Out Sprechenâ” without talking.
multicamera. A production or scene that is shot and recorded from more than one camera simultaneously.
multiple B-roll. A duplicate of the original source tape, created so that overlays can be merged onto one source tape.
multitrack. A magnetic tape or film recorder capable of recording more than one track at a time.
noise. 1. In video, an aberration that appears as very fine white specks (snow) and that increases over multiple generations.
2. In audio, a sound that is usually heard as a hiss.
non-drop-frame timecode. An SMPTE timecode format that continuously tracks NTSC video at a rate of 30 fps without dropping frames to compensate for the actual 29.97-fps rate of NTSC video. As a result, non-drop-frame timecode does not coincide with real time. Non-drop-frame timecode is recorded with colons between the digits; for example, 1:00:10:02.
nonlinear editing. A type of editing in which you do not need to assemble the program from beginning to end. The nature of the medium and the technical process of manipulating that medium do not dictate how the material must be physically ordered. You can use nonlinear editing for traditional film cutting and splicing, and for digitized video images. You can make changes at the beginning, middle, or end of the sequence.
nonlinear. Pertaining to instantaneous random access and manipulation of any frame of material on any track and on any layer of an edit sequence.
NTSC. National Television Standards Committee. The group that established the color television transmission system used in the United States, using 525 lines of information scanned at a rate of
offline edit. The preliminary or rough-cut editing that produces an <Italic>EDL (edit decision list).
offline. Pertaining to items that are unavailable to the computer, such as offline disks or media files.
OMFI. Open Media Framework Interchange, a registered trademark of Avid Technology, Inc. A standard format for the interchange of digital media data among heterogeneous platforms. The format is designed to encapsulate all the information required to interchange a variety of digital media, such as audio, video, graphics, and still images as well as the rules for combining and presenting the media. The format includes rules for identifying the original sources of the digital media, and it can encapsulate both compressed and uncompressed digital media data.
online edit. The final edit using the master tapes and an edit decision list (EDL) to produce a finished program ready for distribution; usually associated with high-quality computer editing and digital effects.
Other timecodes exist that include film timecode and audio timecode used during film projects. During editing, the Avid system can display and track several types of timecode.
OUT point. The end point of an edit, or a mark on a clip indicating a transition point. Also called a mark OUT.
outtake. A take that is not selected for inclusion in the finished product.
overlap edit. An edit in which the audio and video signals are given separate IN points or OUT points, so the edit takes place with one signal preceding the other. This does not affect the audio and video synchronization. Also called an L-cut, delay edit, or split edit.
overwrite. An edit in which existing video, audio, or both is replaced by new material.
PAL. Phase Alternating Line. A color television standard used in many countries. PAL consists of 625 lines of information scanned at a rate of 25 fps.
partition. A method of assigning disk space that creates two or more virtual disks from a single physical disk (similar to creating a directory).
patching. The routing of audio or video from one channel or track in the sequence to another.
pop-up monitor. An ancillary monitor used to view and mark clips and sequences.
position bar. The horizontal rectangular area beneath the Source monitor, Record monitor, Playback monitor, Composer monitor, and Source pop-up monitor that contains the position indicator.
position indicator. A vertical blue line that moves in the position bar and in the Timeline to indicate the location of the frame displayed in the monitor.
postroll. A preset period of time during a preview when a clip will continue to play past the OUT point before stopping or rewinding.
precomputed media. A computed effect stored in a file and referenced by a composition or sequence. Applications can precompute effects that they cannot create during playback.
preroll. The process of rewinding videotapes to a predetermined cue point (for example, 6 seconds) so the tapes are stabilized and up to speed when they reach the selected edit point (during digitizing of source material from a video deck).
preview. To rehearse an edit without actually performing (recording) it.
progressive media. Media composed of single frames, each of which is vertically scanned as one pass.
project. A data device used to organize the work done on a program or series of programs. Bins, rundowns, and settings are organized in the Project window. The project bins contain all your clips, sequences, effects, and
RAM. Random access memory. Computer memory that is volatile and unsaved — information in RAM clears when the computer is turned off.
random access. The ability to move to a video point instantly, without having to shuttle.
real time. The actual clock time in which events occur.
reel. A spool with a center hub and flat sides on which magnetic tape is wound. Generally, a spool of tape is referred to as a reel, and a spool of film is referred to as a roll.
rendering. The merging of effect layers to create one stream of digital video for playback in real time.
replace edit. An edit in which a segment in the sequence is overwritten or replaced with source material of matching duration.
resolution. The amount and degree of detail in the video image, measured along both the horizontal and vertical axes. Usually, the number of available dots or lines contained in the horizontal and vertical dimensions of a video image. Also, the number of color or grayscale values that can be added, usually stated in bits, such as 8-bit or 24-bit. Sometimes dots per inch (dpi) is referred to as the resolution, although it is more properly called the screen density.
RGB. Red, green, and blue. In computer systems, the additive primary colors used to create all other colors on a computer monitor.
rough cut. A preliminary edit of a program, usually the result of an offline edit
safe action area, safe title area. The regions of the video image considered safe from cropping for either the action or on-screen titles, taking into account variations in adjustments for video monitors or television receivers. Safe action is 90% of the screen measured from the center, and safe title is 80%.
sample data. The media data created by digitizing from a physical source. A sample is a unit of data that the digitizing
sample plot. The representation of audio as a sample waveform.
sample rate. The frequency of the sample units.
saturation. A measurement of chrominance. Saturation is the intensity of color in the video signal.
scale bar. A control in the Timeline window that allows you to expand and contract the Timeline area centered around the blue position indicator.
scroll bar. A rectangular bar located along the right side or the bottom of a window. Clicking or dragging in the scroll bar allows the user to move or pan through the file.
scrubbing. The process of shuttling through audio at various speeds as the audio pitch changes.
SECAM. Séquential Couleur á Memoire. A color television broadcast standard developed in France and several Eastern European countries.
segment. A section of a track or clip within a sequence in the Timeline that can be edited.
sequence. An edited composition that often includes audio and video clips and rendered effects connected by applied
shot log. A listing of information about a roll of film or a reel of videotape, usually in chronological order.
shuttling. The viewing of footage at speeds greater than real time.
sifting. The displaying of clips that meet specific criteria in a bin.
silence. Blank (black) space in the audio tracks in a Timeline that contains no audio material.
single-line display. 2. In audio, a visual representation of changing frequencies.
SMPTE timecode. A frame-numbering system developed by the Society of Motion Picture and Television Engineers that is used primarily for electronic editing and timing of video programs. It assigns a number to each frame of video, telling the elapsed number of hours, minutes, seconds, and frames; for example, 01:42:13:26.
soft wipe. A wipe effect from one image to another that has a soft, diffused edge.
sorting. The arranging of clips in a bin column in numerical or alphabetical order, depending on the column the user selects.
Sound Designer II. A trademark of Avid Technology, Inc. An audio file format used for the import and export of digital audio tracks.
source clip. One of the lowest level building blocks of a sequence composition.
source mode. A method of assembly that determines in what order the edit controller reads the edit decision list (EDL) and assembles the final tape. There are five different types of source mode: A-mode, A-mode, B-mode, C-mode, D-mode, E-mode.
speed. The point at which videotape playback reaches a stable speed, all servos are locked, and there is enough preroll time for editing or digitizing.
splice. An edit in which the material already on the video or audio track is lengthened by the addition of new material spliced in at any point in the sequence.
split-screen. The video special effect that displays two images separated by a horizontal or vertical wipe line.
stepping. The movement forward or backward one frame at a time. Also called jogging.
storyboard. A series of pictures (traditionally sketches) designed to show how a production will look. Comic books are essentially storyboards. Storyboards and subsequent sequences can be created by manipulating images from the digitized footage in a bin.
streaming. A technology that allows users to watch a video clip or movie over the Internet while the video is being copied to their computers.
striped stock. Film stock to which a narrow stripe of magnetic recording material has been applied for the recording of a sound track.
subclip. 1. An edited part of a clip. In a sequence, a subclip can be bound by any variation of clip beginnings, endings, and mark points.
2. A subclip created by marking IN and OUT points in a clip and by saving the frames between the points. The subclip does not contain pointers to media files. The subclip references the master clip, which alone contains pointers to the media files.
such that the incoming shot is an extension of the outgoing shot.
sync (synchronization). 1. The pulses contained within a composite video signal to provide a synchronization reference for signal sampling. Also, a separate signal that can be fed to various pieces of equipment.
2. The sound recorded on a separate audiotape but synchronized with videotape or film shot simultaneously.
tail frame. The last frame in a clip of film or a segment of video.
TBC. Time-base corrector. An electronic device that improves video signal stability by correcting time-base errors inherent in mechanical videotape recorders.
Telecommunication Union as ITU-R BT.601-5 (formerly CCIR 601). This standard defines digital component video as it is derived from NTSC and PAL. It forms the basis for HDTV formats as well.
three-point editing. The basic principle that an edit event requires only three marks between the source and record sides to automatically calculate the fourth mark and complete the edit.
TIFF. Tag Image File Format. A tag-based system developed by Aldus Corporation for storing and interchanging raster images. The OMF Interchange standard includes TIFF as a common format for graphic interchange, and it includes TIFF with extensions as a common format for video frame data.
time-of-day timecode. The timecode that approximately matches the actual time of day (clock time).
timecode. An electronic indexing method used for editing and timing video programs. Timecode denotes hours, minutes, seconds, and frames (00:00:00:00) elapsed on a videotape. Address track timecode is recorded simultaneously with the video picture. Longitudinal timecode (LTC) is recorded on an audio track. Vertical interval timecode (VITC) is recorded in the vertical blanking interval of the video track. SMPTE timecode is the prevalent standard.
Timeline. The graphical representation of every macroscopic and microscopic edit made to a sequence, including all nested effects and layered tracks.
title bar. The name given to a project or bin, located at the top of a window.
tone. A constant audio frequency signal recorded at the start of a tape at 0 VU (volume units) to provide a reference for later use. Usually recorded in conjunction with color bars.
track selector. A method of selecting one of the tracks from a track group; only the selected track is to be played. For example, a track selector can indicate which of four alternate views of the same scene is to be played.
track. 1. The section of tape on which a signal is recorded. Also called a channel.
2. The sound portion of a video program.
3. A region of a clip or sequence on which audio or video is placed.
4. A playback channel represented in a sequence as either a video track or an audio track. Tracks are composed of one or more segments connected by transitions.
tracking. The positioning of video heads during playback of a tape so that the heads reproduce the strongest possible signal. Tracking is adjusted on the deck prior to digitizing.
transition effect. A wipe, dissolve, or digital video effect (DVE) applied to an edit transition.
transition. A representation of what is to take place as one segment ends and the next one begins. The simplest transition is a cut, which occurs in video when the first frame of the starting segment directly follows the last frame of the segment that is ending.
transitions. The Avid system contains a Timeline that graphically represents the edited sequence.
trim. The process of adjusting transitions in a sequence from the Ti
uncompressed video. A digitized video stream that is not processed by a data compression scheme. The video signal remains uncompressed at all stages of the process: input, storage, and output. Uncompressed video conforms to the ITU-R BT.601 standard.
Undo/Redo. The process that allows a return to the state of the edit immediately preceding the last edit or a repeat of an “undo” edit.
up cut. In editing, to cut the end of the previous scene, often by mistake. In general, to cut short.
VCR. Videocassette recorder. A video recorder that uses consumer-grade videotape formats such as VHS, Betamax, and Hi8.
vectorscope. A visual display that shows the electronic pattern of the color portion of the video signal. It is used to adjust the color saturation and hue by using a stable color reference such as color bars. The Avid Vectorscope monitor uses a singleline display.
VHS. Video Home System. The 1/2-inch videocassette format developed by JVC for consumer and industrial use.
video stream. 1. In analog editing systems, also called a video playback source.
2. In digital editing systems, a stream of data making up a digital video image.
video. 1. The visual portion of a program or sequence.
2. All television other than broadcast television.
VITC. Vertical interval timecode. The timecode inserted in the vertical blanking interval.
VU meter. Volume unit meter. An instrument used to measure audio
WAVE. RIFF Waveform Audio File Format. A widely used format for audio data. OMF Interchange includes it as a common interchange format for audio data.
waveform. 1. In video, a visual display that shows the electronic pattern of the video signal. It is used to adjust the setup and gain by using a stable reference such as color bars. such as color bars. The Avid waveform uses a single-line display.
2. In audio, a visual representation of changing frequencies.
white point. The luminance value in a video image that you set to be equal to reference white when making a color adjustment.
wild sound, wild track. A recording of sound on either videotape or audiotape made without an accompanying picture.
YUV. The letter designations for luminance, luminance minus red, and luminance minus blue. YUV are the luminance and color difference signals of the component video standard for PAL