Lightworks v11 User Guide

EditShare Lightworks v11
User’s Guide
Copyright and Disclaimer
Copyright © 2012 by EditShare
This manual, as well as any software described in it, is furnished under either a license or a confidentiality agreement, is
confidential to EditShare, and may be used or copied only in accordance with the above mentioned agreements. The
information in this manual is furnished for your use only and is subject to change without notice. EditShare assumes no
responsibility or liability for any errors or inaccuracies that might appear in this manual.
This Documentation is the property of EditShare and is provided in accordance with an EditShare license agreement.
Copying, modifying, or distributing this Documentation in violation of the license agreement, Copyright Laws of England
and Wales, or the Copyright Laws of any applicable foreign jurisdiction is expressly prohibited.
EditShare is a registered trademark of EditShare in the US and other countries.
Avid is a registered trademark of Avid Technology, Inc. DAVE is a registered trademark of Thursby Software Systems, Inc. Final
Cut Pro, Leopard, Macintosh, and Macintosh OS are registered trademarks of Apple, Inc. Premiere is a registered trademark of
Adobe, Inc. Windows is a registered trademark of Microsoft Corporation. All other brand and product names are trademarks
or registered trademarks of their respective companies and are hereby acknowledged.
Notice: To the best of our knowledge, the information in this document is accurate; however, EditShare assumes no
responsibility or liability for the accuracy or completeness of this information. Mention of trade names or commercial
products does not constitute endorsement by EditShare except where explicitly stated.
EditShare EMEA
Clifton House
Bunnian Place
Basingstoke
Hampshire, RG21 7JE
England
Tel: +44 (0) 20 7183 2255

Fax: +44 (0) 20 7183 2555
Email: [email protected]
http://www.editshare.com
28 May 2012
ii
Contents
Chapter 1: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
System Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Hardware Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Customized Keyboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Additional Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter 2: Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Starting Lightworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Setting up a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
About Rooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Creating a New Room from the Projects Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Creating a New Room from within a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Using an Existing Room. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Clips, Subclips, and Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Subclips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Bins and Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
About Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Racks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Naming Bins and Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Bin and Rack Permanence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Arranging Bins and Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Using the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Console Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Console Editing Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Console Button Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Using the On-Screen Console. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Controlling Objects with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
The Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Chapter 3: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Preparing to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Basic Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
iii
Recording with Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Recording without Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Logging Clip Details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Cueing to a Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Chapter 4: Playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Playing a Tile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Opening a Tile in a Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Playing in a Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Linking Tiles to Viewers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Displaying Labels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Resizing the Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Moving Through Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Jumping to a Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Adding and Jumping to Cues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Chapter 5: Basic Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Editing Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Starting a New Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Marking Portions of Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Marking a Portion of a Source Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Marking the Entire Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Using Out Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Swapping In and Out Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Removing a Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Marking on the Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Selecting Tracks for Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Editing into the Record Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Replacing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Open-Ended Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Source Selection Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Record Section Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Picture-Only or Sound-Only Replace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Entire Clip Replace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Backward Replace - Knowing Out in Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Backward Replace - Knowing Out in Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Remove. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Insert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
iv
Empty Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Copying an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Fit-to-Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Changing Start Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chapter 6: Timeline Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Displaying a Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Navigating the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Customizing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Zooming the Position Indicator In and Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Resizing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Displaying Text on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Working with Tracks on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Selecting Tracks on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Grouping Tracks in an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
About Editing Grouped Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Ungrouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Other Timeline Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Locking and Unlocking the Timeline Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Popping Out the Original . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Unjoining and Joining Edits in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Adding Controls to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Displaying Audio Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Changing Audio Levels in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Trimming Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Simple Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Trimming the Outgoing Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Trimming the Incoming Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Console Trimming Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Adding Black or Audio Spacing at a Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Trimming by Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Previewing Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Finishing a Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Moving a Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Monitoring While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Monitoring Audio While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Monitoring Pictures While Trimming using Trimview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Displaying Pictures with Trimview Enabled . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Changing Sync Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
v
Syncing by Playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Syncing by Aligning Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Fixing Sync Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Fixing Sync Using the Timeline Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Fixing Sync Using the Timeline Sync Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Undoing and Redoing Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Using Drag-and-Drop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Copying or Moving with Drag-and-Drop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Inserting or Replacing Using Drag-and-Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Chapter 7: Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Replacing Sound with Atmos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Replacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Resyncing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Moving Sections of Audio within an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Moving Audio with the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Moving Audio with Key Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Moving Audio by Ctrl+Dragging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Chapter 8: Editing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Adding an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Applying Effects to a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Positioning an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Setting Effect Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Removing an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Configuring an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
About Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Trimming Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Trimming a Simple Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Trimming a Multi-Track Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Trimming a Multi-Track Effect with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Mix Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Luma Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Masked Blend Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Squeeze Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
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DVE Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
3D DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Quad Split Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Mask Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Matte Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Color Bars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Color Gradient Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Color Matte. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Corner Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Simple 2D Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Stylize Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Box Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Gaussian Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Mosaic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Obscure (Blur) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Obscure (Mosaic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Posterize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Radial Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Sharpen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Sharpen Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Rolling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Lightworks Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Keying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Bluescreen and Greenscreen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Image Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Luma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Chapter 9: Color Correction and Color Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Color Correction (HSV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Color Correction (RGB). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Selective Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
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Color Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Color Tint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Greyscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Negative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Tri-Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Two Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Chapter 10: Plug-In Effects and Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Installing Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Using Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Changing Rendered Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Assistant Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Adding, Changing, and Removing a New Assistant Application . . . . . . . . . . . . . . . . . . . . . . . . . 137
Using Assistant Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Importing Material Rendered in an Assistant Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Chapter 11: Editing When Playing Multiple Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Playing Two Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Playing Using Sync Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Generating a New Sync Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Selecting a Sync Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Combining Sync Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Adding Sources to a Sync Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Removing a Source from a Sync Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Displaying Sync Groups on Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Displaying the Lock Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Changing the Lock Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Displaying Synced Tiles as Viewers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Playing Sync Group Tiles and Viewers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Match-Framing for Sync Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Working with Kemrolls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Live Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Strategies for Live Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
About the Console Cut Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Starting and Stopping Live Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Viewing an Edit Created by Live Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Changing an Edit During Live Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Resuming Live Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Adding Edits to Sync Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
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Live Editing Picture Only. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Live Editing to an Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Undo and Redo When Live Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Chapter 12: Playing Out your Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Playout Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Performing Controlled Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Playing out an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Making an Audio-Only Version of an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Synchronizing with No Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Enabling Burned-In Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Chapter 13: Edit Decision Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Requirements for a Correct EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Reel ID Truncation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
EDLs for NTSC Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
EDL Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Selecting EDL Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
EDL Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Re-editing after an Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
EDL Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Mapping Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Project TV Standard When Importing NTSC EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Importing an EDL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Changing Handles after EDL Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Chapter 14: Projects and Rooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Project Card Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Opening the Project Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Selecting Project Details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Selecting Video Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Selecting Stereoscopic 3D Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Selecting Audio Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Selecting Film Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Selecting Miscellaneous Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Running Hardware Output Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Updating the Project Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Editor Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Selecting Tool Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Selecting Key Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Chapter 15: Searching for Clips and Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
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Specifying Search Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Searching by Date. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Searching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Chapter 16: Bins and Logging Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Creating Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Creating a Bin of Clips Not Used . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Changing the Order of Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Saving Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Moving Around in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Resizing a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Bin Duration Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Field Cut-and-Paste Shortcuts for Logging Databases. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Tagging Entries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Popping out a Tile from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Dropping a Tile into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Naming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Bin Permanence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Auto Synchronising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Searching Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Searching and Replacing in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Saving Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Merging Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Breaking down Recordings Using Autochop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Updating Clip Logs after Recording Using Retrofit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Chapter 17: Advanced Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Recording from Tapes with Breaks in Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Stop Record if Label is Missing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Stop Record if Label Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Record from Tapes with Gaps in Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Record from a Source with No Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Correcting Timecode Errors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Entering Labels Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Advanced Recording Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Setting Analog Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Choosing a Record Destination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Recording from a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
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Creating a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Loading an Existing Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Adding and Modifying Logging Database Entries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Setting Default Values for Logging Database Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Checking the Logging Database. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Saving a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Deleting a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Merging Logging Databases. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Printing a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Moving Around a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Editing Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Sorting a Logging Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Selecting Entries to Record by Tagging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Chapter 18: Redigitizing and Filling an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Conditions for Filling an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Changing Picture Edit Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Recording New Material for an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Filling an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Replacing Deleted Material in an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Chapter 19: Working with Subclips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Attributes and Behaviors of Subclips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Moving or Copying Subclips Between Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Exporting and Importing Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Deleting Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Undoing and Redoing Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Tracing Subclips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Chapter 20: Consolidating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Consolidating an Edit to Free Hard Disk Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Consolidating an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Consolidating a Subclip to Free Hard Disk Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Using Consolidate to Copy an Edit to Another Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Chapter 21: Exporting and Importing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Export Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exporting Using the Export Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Exporting Lightworks Archives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Exporting OMF1 and OMF2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Exporting an Edit or Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
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Exporting Image Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Exporting DPX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Importing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Importing Using the Import Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Importing Using Drag-and-Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Supported Imports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Importing Stereoscopic Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Importing Single Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Importing Lightworks Touch Archives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Importing DPX Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Editing While Ingesting Geevs MDA material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Encoding Imported Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Importing OMF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
About Importing RED Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Importing R3D Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
NTSC Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
PAL Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
The Audio Speed Transfer Details Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Assigning Correct Timecode Type to Imported Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Chapter 22: Material Disk Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Displaying the Disk Manager Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Naming Material Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Displaying Free Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Moving or Copying Material Between Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Chapter 23: Deleting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Deletion Process and Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Deleting Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Finding the Clips, Subclips, and Edits to Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Finding an Individual Clip, Subclip, or Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Finding All the Clips Used in an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Deciding Whether to Delete Material Only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Deleting with Bin Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Delete Material (Picture and Sound) from Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Delete Only Picture Material from Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Delete Only Sound Material from Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Destroy Clips, Material, Edits, and Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Chapter 24: Device Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
External Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
xii
Adding a New Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Renaming a Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Deleting a Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Device Configuration Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Device Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Custom Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Selecting a Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Default Label Mapping for Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Setting Up a VTR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Chapter 25: Sharing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Mapping Network Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Managing Project Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Creating a Project Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Selecting the Shared Project Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Creating Additional Rooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Creating a User List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
File Ownership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Appendix A: Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Viewing Software Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Upgrading to Lightworks Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Activating a License. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Moving a Single Activation License . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Detaching a Network License . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Appendix B: Backups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Automatic Backups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Changing the Milestone Default Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
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xiv
Chapter 1: Introduction
Welcome to your EditShare Lightworks system. Lightworks provides you an
interface between software and hardware, including a console, that allows you
to easily perform your non-linear editing work. With wide support for codecs
and EditShare’s Universal Media Files, Lightworks offers seamless media and
project sharing with a wide group of fellow editors and with Avid and Final Cut
Pro applications.
This document introduces you to the purpose and functions of your Lightworks
system, explains the concepts you’ll need to understand to use it effectively, and
describes workflow procedures. The manual is designed for anyone who uses
the Lightworks system.
See the following topics:
• System Requirements
• Hardware Components
• Additional Documentation
• Technical Support
System Requirements
Minimum system specifications are described in the EditShare Lightworks

Installation Guide.
Hardware Components
Hardware components are as follows:

• DV camera or deck (not supplied). DV source usually attached to the
Lightworks through the IEEE 1394 interface to provide video and audio
input and output. You can also transfer files from a network interface or
removable storage.
• Console. Plays pictures and sound, and controls most editing functions.
For details on console transport controls, see "Using the Console" on page
31.
CHAPTER 1: INTRODUCTION
CUSTOMIZED KEYBOARDS
• Mouse. A two-button mouse with a fly wheel in the middle. For details on
mouse usage, see "Controlling Objects with the Mouse" on page 35.
• Keyboard. You can change key assignments. See "Selecting Tool
Preferences" on page 195.
Customized Keyboards
You can special order a regional keyboard that more closely matches your
usual keyboard.
Keyboards for the following languages are available:

• English - United Kingdom
• English - United States
• French, German, Spanish
• Japanese
• Chinese (Hong Kong)
• Chinese (Taiwan)
When you import Lightworks Preferences, the keyboard template that matches
your physical keyboard is imported.
Additional Documentation
The following document is also available from EditShare:

• EditShare Lightworks Installation Guide
16
TECHNICAL SUPPORT
Technical Support
For assistance beyond this document and that provided in your Lightworks
documentation, if you have purchased a support agreement, contact EditShare
Technical Support at [email protected]. Have the exact version number
of your Lightworks implementation ready.
EditShare strongly recommends that you purchase a support agreement; if you
do not have a support agreement, a per-incident rate is available for problems
not covered by warranty. Otherwise you can seek support by visiting the forum
at http://www.lwks.com/forum.
17
TECHNICAL SUPPORT
18
Chapter 2: Getting Started
This chapter provides you with the essentials for starting to use your Lightworks
system. See the following topics:
• Starting Lightworks
• Working with Projects
• Clips, Subclips, and Edits
• Bins and Racks
• Using the Console
• Controlling Objects with the Mouse
• The Toolbar
For information about installing your Lightworks application, refer to the
EditShare Lightworks Installation Guide.
Starting Lightworks
To start the system, do the following.
TASK
1. Log into Windows as an Administrator by doing one of the following:
• (Windows 7 and Windows Vista) Right-click the application icon, and
select Run As Administrator.
• (Windows XP) Right-click the application icon, select Run As, select
Administrator, type the Administrator password, and click OK.
NOTE: You must run as Administrator, but you have to do this only the first time
you run Lightworks.
2. Double-click the Lightworks icon on the desktop.
The Lobby opens and displays the Projects Browser.
CHAPTER 2: GETTING STARTED
WORKING WITH PROJECTS
The Projects Browser shows the projects that currently exist on the system.
Working with Projects
Your work on the system is divided up into projects. You do the editing for your
project in a room. Any work done in a room is stored in the project.
• "Setting up a Project" on page 21
• "About Rooms" on page 22
• "Creating a New Room from the Projects Browser" on page 22
• "Creating a New Room from within a Project" on page 23
• "Using an Existing Room" on page 24
20
Setting up a Project
In Lightworks, you play material and edit it in the Room. A room is the
arrangement of project components and can belong to only one project. A
project can have more than one room. For example, you could create one room
called Editor and another room called Assistant.
To set up a new project, do the following.
TASK
1. In the Projects Browser, click Create a New Project.
2. Select a frame rate for the project from the Frame rate list.
3. Click the Name text box, type the name you want, and click Open at the
bottom of the Projects Browser.
The Import dialog box opens.
4. Click the Close button.

You are now in the room for the project. The project name and an arbitrarily
assigned room name appear in the upper left corner.
5. Click the room name, type the name you want, and then press Enter to save
the name.
6. Click the name of the project in the top left corner to see current
project details.
21
7. Click the Preferences icon in the Toolbar to set Editor preferences. See
"Selecting Tool Preferences" on page 195.
8. To return to the Projects Browser, click the Back to Projects Browser button.
About Rooms
The room is where you edit. A room belongs to one project only. Any work you
do in a room is stored in its project.
You can have several rooms that belong to the same project. You can delete and
recreate rooms without affecting any of the work in the project. To Lightworks,
a room is simply a screen arrangement.
Creating a New Room from the Projects Browser
To create a new room, do the following.
TASK
1. Click a project in the Projects Browser.
NOTE: To return to the Projects Browser from a room, click the Back to Projects
Browser button.
2. Click New Room.

You enter the new room. The project name and an arbitrarily assigned room
number appear in the upper left corner.
22
the name.
Creating a New Room from within a Project
You can also create a new room from within an existing project. This can be
useful if you are working on several episodes from one project, so each episode
can be on the screen in its own room. Do the following.
TASK
1. In a room, click the room name.
2. Click New Room.

You enter the new room.
the name.
23
CLIPS, SUBCLIPS, AND EDITS
Using an Existing Room
To use an existing room, do the following.
TASK
• Click the room.
NOTE: If the project is password-protected, you are returned to the Lobby and
prompted for the password. Type the password and press Enter.
You enter the room. All the screen objects that were in the room when you last
used it are displayed.
Clips, Subclips, and Edits

• "Clips" on page 24
• "Subclips" on page 25
• "Edits" on page 25
Clips
A clip is created by a single continuous recording of picture and or sound into

the system. A clip is stored on the system as both a log file and a material file.
The log file for a clip contains logging information such as the clip name, reel
ID and timecode. The material file contains pictures or sound for the clip.
Clips recorded into the system may need further preparation; for example,
breaking down long recordings into subclips or syncing up separate picture and
sound. The products of these processes are called Subclips (see "Subclips" on
page 25).
The following illustration shows the relationship between a clip, a subclip, and
an edit.
24
CLIPS, SUBCLIPS, AND EDITS
GRAPHICS SCREEN SYSTEM DRIVE MATERIAL DRIVE
EDIT = LOG
Edit plays material

from Clip
Edit refers to Clip logs
for timecodes , etc.
CLIP = LOG + Material
Subclip plays material

from Clip
SUBCLIP
= LOG
Subclips
A subclip is so named because it has no material of its own. When you play a
subclip, it plays the pictures and sound from the material files of its original
clip(s).
There are three types of subclips:
• Basic Subclip: A subclip from a longer recording.
• Sync: The result of syncing up separately digitized picture and sound clips.
• Print: Made from an edit when a videotape master from an online has to
be recut. Prints behave like clips during editing and behave like edits
during project-management processes. When you work with prints, do
not delete the original clips, as each print refers to the log of its original
clip for labels such as timecode.
Edits
An edit is an edited sequence of clips or subclips. You can combine clips and
subclips in an edit.
NOTE: The edit that you see on the graphics screen does not exist in the same way as a
film cutting copy or videotape master. The edit is simply a list of edit points in Lightworks’
own format without pictures, sound, or timecode. The edit refers to the logs of its
constituent clips for labeling information such as timecode. When you view the edit, it
plays the pictures and sound from the material files of the original clips.
25
BINS AND RACKS
Bins and Racks
Bins and racks are additional tools you can use to organize and work with your
material. See the following topics:
• "About Bins" on page 26
• "Working with Bins" on page 27
• "Racks" on page 28
• "Naming Bins and Racks" on page 29
• "Bin and Rack Permanence" on page 29
• "Arranging Bins and Racks" on page 30
About Bins
Bins are used to organize and display your clips and edits during editing. The
clips and edits are displayed as small pictures called Tiles.
It is possible for a clip to be in more than one bin at the same time. You can use
this feature to help organize your material more flexibly. However, seeing a clip
in more than one place on the screen does not mean there is more than one copy
of the clip on the hard disk.
26
BINS AND RACKS
Working with Bins
Bins are used to organize and display your clips and edits during editing. You
can display clips and edits in two ways:
• As a thumbnail version of a tile
• As a list with thumbnails
To work with bins, do the following.
TASK
• To generate a bin, do any of the following:
• Click the Bin of Clips button on the Edit menu.
• Click the Bin icon in the Toolbar.
• Search using the Searchcard.
The bin opens.

• Click the display icon in the upper right corner and select one of the following:
• Tiles
• List
• Play a tile by clicking the thumbnail picture and pressing Play on the Console.
• Move tiles from one bin to another by clicking the tile and dragging it.
• Add a tile to a minimized bin by right-left clicking it.
• Edit a tile by double-clicking it in List view.
• Select multiple clips by Shift-clicking or Ctrl-clicking them.
• In Tiles view, click the area between tiles and then drag around tiles to select
them.
27
BINS AND RACKS
• Move selected clips by dragging them into another bin, the Edit viewer, or the
Timeline.
The cursor changes to show you how many clips you are moving.
• Copy selected clips by Ctrl-dragging them into another bin, the Edit viewer, or
the Timeline.
The cursor changes to show you how many clips you are copying.
• To open a new bin with selected clips, drag the selected clips onto the Bin icon
in the Toolbar.
• To open a new edit with selected clips, drag the selected clips onto the Edit
icon in the Toolbar.
• Select additional options by clicking the Cogs icon and then doing any of the
following:
• Sort the tiles by selecting Sort By > sort option.
• Align the tiles without re-sorting them by selecting Tidy.
• In Tiles view, change the tile size to Big or Small by selecting Tile size >
size option.
• In List view, change the thumbnail size by selecting Thumb size > size
option.
Racks
The Rack is kind of file cabinet that you use to store bins, sync groups, and other
racks on the graphics screen.
A rack has the following properties:
• It can contain up to 15 items.
• It can be closed to save space on the screen.
• Closed bins can be dropped into closed racks.
• Closed racks can be placed in other racks.
• It can be made permanent and then searched for.
To place a bin in a rack, do the following.
28
BINS AND RACKS
TASK
1. Minimize the bin.
2. Click the Rack icon in the Toolbar.
The Rack opens.
3. Click the closed bin and drag it onto the rack.

The rack expands to accommodate the bin.
4. To drop a closed bin onto a closed rack, place the closed bin over the rack and
right-left click.
Naming Bins and Racks
Each bin or rack has a name, which is displayed whether the object is open or
closed. To change the name, do the following.
TASK
1. Left-click the existing name.
2. Type a new name and press Enter.
Bin and Rack Permanence
A bin or rack can be transient or permanent.

Transient is the default state for a new bin or rack. Transience is marked by a
blue label. If you delete a transient object, you cannot retrieve it. Deleting does
not delete the clips or edits from the hard disk, however. Typing a name for a
transient bin makes it permanent.
Permanent is marked by a green label. You can change an object from transient
to permanent in the options list that you access by clicking the Cogs icon. If you
delete a permanent bin or rack, you can retrieve it with the Searchcard. A rack
(but not a bin) automatically becomes permanent when you first place an item
in it. If you delete a tile from a permanent bin, a message box opens asking if you
want to remove the tile from the bin.
29
USING THE CONSOLE
Arranging Bins and Racks
You can drag a bin or rack to any position on the screen, or even place it partially
off screen. You can also resize a bin.
NOTE: Lightworks recommends you keep the number of on-screen bins and racks to a
minimum.
Do the following.
TASK
1. To move a bin or rack, click the object and drag it to where you want it.
2. To resize the object, click the border and drag it to a larger or a smaller size.
NOTE: You can drag any of the four borders.
Using the Console
You use the console to play video and audio, and to control many of the
editing functions.
30
USING THE CONSOLE
• "Console Functions" on page 31

• "Console Editing Buttons" on page 32
• "Console Button Combinations" on page 33
• "Using the On-Screen Console" on page 34
Console Functions
The following table describes the console functions.
Console Control Function
Play buttons The Play Forward and Play Backward buttons play material forward or backward at normal play
speed. Press a second time doubles the speed. Press again to return to normal speed.
To nudge one frame forward or backward, hold down the Stop button and press one of the Play
buttons. To play frame by frame (at approximately 10 percent normal speed), continue to hold the
Stop button and press the Play button.
Stop button Stops playback instantly.
Console lever Lets you play the clip forward or backward at any speed between 0 percent and approximately 1000
percent of normal play speed. Dual levers offer positions for left-handed and right-handed users.
The levers include notches at play speed forward and backward (for accurate timing, use the
buttons instead). Sync sound is maintained from 0 to 6 times play speed; above this, sound is
muted.
Jump buttons Move the current frame from event to event, forward or backward. An event is a cut, dissolve, or
wipe; a cue point or audio node; the blue mark; the first or last frame of an edit or clip. The jump
button sets the current frame to the first frame after the cut and jumps to events on all selected
tracks.
Jog wheel Lets you play material slowly in forward or reverse, particularly when audio scrubbing. You enable
the jog wheel by doing one of the following:
• Press the Jog On/Off button.
• Move the jog wheel sharply (gentle movement is not effective).
Editing buttons See "Console Editing Buttons" on page 32.
31
USING THE CONSOLE
Console Editing Buttons
The following table describes the console editing buttons. For information on
editing using the console, see "Chapter 5: Basic Editing" on page 55.
Console Editing Button Description
Mark buttons Marks the current frame of a clip or cut, used to insert, replace, move, or delete the
portion between the mark and the current frame. The marked portion is represented by a
blue marker on the View Indicator Strip and Timeline.
Unmark button Removes the mark from the active tile or viewer.
Swap buttons Swaps the position of the current frame (red diamond) and the marked frame (blue
diamond).
Cue button Creates a green cue point at the current frame. The cue point is permanent until deleted
by pressing Stop+Cue. Jump to cue points with the Jump buttons.
Replace buttons Controls overlay operations and used to assemble or replace clips.
Remove button Lifts the selected part of the edit, leaving black behind. The reverse of the Replace button.
Insert button Inserts all the selected source frames into the edit, without overwriting anything else.
Delete button Cuts out the selected part of the edit and closes the gap. The reverse of the Insert button
Trim buttons Allows cut points to be unjoined without using the mouse. Multiple cut points can be
unjoined at the same time.
32
USING THE CONSOLE
Console Button Combinations
You can combine console buttons with the Stop button for additional
operations. For information on editing using the console, see "Chapter 5: Basic
Editing" on page 55.
To use the button combinations, press the Stop button and then press the
additional button. See the following table.
Console Editing Button Description
Stop+Play Forward Nudges the material forward one frame.
Stop+Play Backward Nudges the material backward one frame.
Stop+Jump Back Jumps to the start of the active clip or edit.
Stop+Jump Forward Jumps to the end of the active clip or edit.
Stop+Replace Replaces backward (for making backtimed edits). See "Backward Replace - Knowing Out
in Source" on page 64.
Stop+Insert Performs an insert and leaves the current frame at the end of the inserted clip. This is
useful when you assemble clips into an edit.
Stop+Delete Performs a Redo on the currently selected edit.
Stop+Remove Performs an Undo on the currently selected edit.
Stop+Unmark Same as the Join/Unjoin button on the Timeline. Joins and unjoins cuts for trimming. See
"Unjoining and Joining Edits in the Timeline" on page 79.
Stop+Cue Deletes a cue. Park on a frame before you press Stop+Cue.
Stop+Swap Switches activity between the Record viewer and the current source.
Stop+Mark Places a mark at the end of the clip currently parked on, that is, selects the remainder of
the current clip.
Stop+Trim buttons Unjoins either the previous clip (left button) or the following clip (right button) for
trimming. For more information, see "Chapter 6: Timeline Editing" on page 71.
Stop+User keys 1-4 You can use these for additional user keys.
33
USING THE CONSOLE
Using the On-Screen Console
You can choose to display an on-screen version of the console. To display and
use the on-screen console, do the following.
TASK
1. Click on the Preferences icon in the Toolbar.
The Preferences dialog box opens.
2. In the User Interface area, select Show On-Screen Console.
The on-screen console appears at the bottom of the project window.
3. Click the button that correspond to the console function you want. See the
following table for a description of the play functions.
Button Icon Description
Play/Stop Plays forward. Changes to Stop icon during play.
Back to Cut Jumps back to closest cut point. Press Shift and click to jump to start of edit.
Forward to Jumps forward to closest cut point. Press Shift and click to jump to end of edit.
Cut
Back One Jumps back one frame. Click again to jump again in the same direction.
Frame
Forward One Jumps forward one frame. Click again to jump again in the same direction.
Frame
34
CONTROLLING OBJECTS WITH THE MOUSE
Controlling Objects with the Mouse
You use the mouse buttons to control the position and behavior or screen
objects. When the system is busy, the cursor changes to an hourglass and you
cannot use its functions until it returns to its usual appearance (white arrow).
Several mouse functions are different in Lightworks than you might be
accustomed to. See the following table.
Mouse Function Function Operation
Left click Activate Click the left mouse button on an object, button, or command, and then
release the button.
Reset default position For sliders. Click the left mouse button on a slider to reset it to the default
position.
Right or left click Drag-and-drop Click the right mouse button on an object, drag the object to where you
want it, and then release the button.
Jump red-diamond For objects with the red diamond current frame marker. Place the cursor at
frame marker the new position on the Indicator Strip, press the right jmouse button, and
click the left mouse button.
Resize For Timelines, bins, and Logging databases. Click the right mouse button on
the border of the object, drag the mouse to resize the object, and then release
the button.
Right click Menu display Click the right mouse button over any object to view the menu for
that object.
Right-Left click Foreground obscured For viewers, Timelines, and bins. Place the cursor over the object, press the
objects right mouse button, and click the left mouse button.
Sharking Remove from screen Press the right mouse button on the Shark icon, drag the Shark over the
object you want to remove, and click the left mouse button. The object is
removed and the Shark returns to its default position.
Restore to screen Click the Shark icon with the left mouse button.
Hover Tool Tips Hover the mouse over an object until information appears.
Wheel Moving through rows Scroll the mouse wheel to move through database rows and to jump through
and cut points cut points within an edit.
35
THE TOOLBAR
The Toolbar
The Toolbar provides access to several tools you use during your recording and
editing process. It is open by default.
See the following topics for further details about Toolbar functions:
• "Chapter 3: Recording" on page 39
• "Importing" on page 259
• "Chapter 5: Basic Editing" on page 55
• "Chapter 15: Searching for Clips and Edits" on page 199.
36
THE TOOLBAR
• "About Bins" on page 26.
• "Racks" on page 28.
• "Chapter 11: Editing When Playing Multiple Sources" on page 141.
• "Chapter 22: Material Disk Management" on page 273.
• "Chapter 12: Playing Out your Edit" on page 159.
• "Exporting" on page 253.
• "Selecting Tool Preferences" on page 195
37
THE TOOLBAR
38
Chapter 3: Recording
This chapter describes basic procedures for ingesting material. You can record
material in three ways:
• Recording without machine control
• Recording with machine control
• Recording with machine control and a Logging database
You can record material as a series of separate recordings, where each recording
is one take of the original material, or you can make a continuous recording
containing many takes.
• Preparing to Record
• Basic Recording
Preparing to Record
To prepare for recording, do the following.
TASK
1. Click the Record Tool icon in the Toolbar.
The Record tool opens.
CHAPTER 3: RECORDING
PREPARING TO RECORD
2. Click the Record tool and drag it to the position you want.
3. Click the Device list and select the device you want to record from.
The Add New Device dialog box opens.
4. Type a name for the device in the Name text box.

5. Select a device from the Type list, and then click Do It.
NOTE: You might need to scroll down to see the full list of devices.
6. Click the Device configuration icon to configure the device.
The device dialog box opens to the Connections tab.
40
PREPARING TO RECORD
7. Select the connections your device uses.

8. Click the Labels tab.
9. Select labels and label options for the recording, and then click the Close
button.
41
BASIC RECORDING
10. In the Record tool, select a video format.

Supported formats include the following:
• PAL/NTSC 4:3
• PAL/NTSC 16:9
• 720p (PAL) 50 fps
• 720p (NTSC) 59.94 fps, 60 fps
• 1080i (PAL) 25 fps
• 1080i (NTSC) 29.97 fps, 30 fps
• 1080p (sf) (NTSC) 23.98 fps, 24 fps, 29.97 fps, 30 fps
11. Select a Compression type.
Supported types include the following:
• DV/DVCAM
• DVCPro 50
• DVCPro 25
• Matrox Uncompressed 8bit and 10bit (dependant on Precision setting
on the project card)
• MPEG 422 I Frame
• YUYV HD and SD
• Avid DNxHD (requires additional codec)
12. Select a destination for the recorded material.
13. Select a file format: AVI, MXF or MOV.
14. Select a Recording type from the following:
• Manual
• Database
• Voice Over
Basic Recording
For basic recording, do the following. For additional information, see the
following topics:
• "Recording with Machine Control" on page 45
• "Recording without Machine Control" on page 45
• "Logging Clip Details" on page 46
• "Cueing to a Timecode" on page 46
42
BASIC RECORDING
TASK
1. Follow the steps in "Preparing to Record" on page 39.
2. Click the Standby button.
If the required resources are available, the buttons turns yellow. The Video
Display area opens to the right, and the video input from the source device
displays. For analog recordings, an audio level meter opens for each
audio channel.
3. Use the transport control buttons to position the tape a few seconds before
you want the In point to be.
4. Make sure the Video and Genlock buttons under the video display are green.
If they are unlit, the video signal or the video reference is unstable.
5. Click the Record button.
The button label changes to End. A clip Filecard opens.
43
BASIC RECORDING
During Manual recording, each clip is placed in a Bin named after the tape ID.
6. To stop the recording, do one of the following:

• To keep the material you have recorded, click the End button in the
Record tool, or click the Stop button on the Console.
• To discard any material recorded so far, click the Cancel button during
recording.
7. After you stop recording, press the Standby button again.
44
BASIC RECORDING
Recording with Machine Control
You can use the console to control recording. Do any of the following.
TASK
• Use the Play Forward, Play Backward, and Stop buttons to control the tape
machine.
• Use the lever to shuttle at any speed.
• Use the jump buttons to control fast wind in either direction.
• Use the jog wheel to play at any speed up to normal speed.
• To disable machine control, do one of the following:
• Open the Device Configuration dialog box, and select 9-pin Control >
None.
• Select a new device.
• Add a new device.
Recording without Machine Control
To record without machine control, do the following.
TASK
1. Switch the VTR to Local.
2. Select the device in the Record tool.
3. Proceed with recording as described in "Basic Recording" on page 42.
45
BASIC RECORDING
Logging Clip Details
A clip Filecard opens during recording. It displays the reel ID and timecode
information for each clip. To log additional details, do the following.
TASK
1. Select a text box in the Filecard and type the information you want.
NOTE: You cannot change the Reel or Start Time information.

2. To modify the Filecard when you are not recording, left-click the Filecard
button in a viewer or a tile.
Cueing to a Timecode
You can cue the source device to a timecode by doing the following.
TASK
1. Open the Record tool.
2. Do one of the following:
• Click the Timecode display, type the timecode you want, and press
Enter.
• Right-Left click the timecode in a viewer, right-click and drag the time-
code onto the Timecode display in the Record dialog box, click the
Standby button, and right-left click the timecode.
The source device cues to the timecode you want.
46
Chapter 4: Playing
This chapter describes the procedures you follow to play and move through
your material. You can play your material in a tile or in a viewer.
• Playing a Tile
• Opening a Tile in a Viewer
• Playing in a Viewer
• Moving Through Material
Playing a Tile
After you record or import material, a clip appears as a tile in a bin. To play a
tile, do the following.
TASK
1. Click anywhere in the picture area of the tile.
The border changes to bright blue
2. Play the material by doing one of the following:

• Use the console Play buttons, the lever, or the jog wheel.
• Use the keyboard. For information on assigning keys, see "Selecting
Tool Preferences" on page 195.
CHAPTER 4: PLAYING
OPENING A TILE IN A VIEWER
Opening a Tile in a Viewer
To open a tile in a viewer, do any of the following.
TASK
• Hover the mouse over a tile and click the Viewer button.
• Double left clicking on a tile.
A viewer replaces the tile. The name of the clip appears at the top of the
viewer. The right and left ends of the Indicator strip represent the start and
end of the clip.
NOTE: You can have as many viewers on the screen as you want.
Playing in a Viewer
You play material in a viewer. You can also link tiles to viewers, and you can
change the label display and the viewer size. See the following topics:
• "Displaying Labels" on page 49
• "Resizing the Viewer" on page 51
To play in a viewer, do the following.
TASK
1. Open a tile in a viewer. See "Opening a Tile in a Viewer" on page 48.
2. Left-click in the picture area.
The border brightens, indicating that the viewer is active.
48
CHAPTER 4: PLAYING
PLAYING IN A VIEWER
3. Play the material by doing one of the following:

• Use the console Play buttons, the lever, or the jog wheel.
• Use the keyboard. For information on assigning keys, see "Selecting
4. To move through the material, click the red frame marker in the Indicator strip
and drag it where you want.
5. To jump to a new point, left-right click the mouse at the position you want to
jump to.
6. To lock the viewer on the screen, click the Pin button in the upper right corner.
To unlock the viewer, click the Pin button again.
7. To display the video output in full size on a second monitor, assign a key to
Toggle Fullscreen Playout and then press the key. See "Selecting Key
Assignments" on page 196.
The viewer/edit displays in full size on the monitor.
NOTE: You must have a two-monitor setup to display full-screen video.
Linking Tiles to Viewers
You can link tiles to viewers. This lets you link tiles to permanent bins, which
preserves their mark and park information as well as In and Out points. To link
tiles to viewers, do the following.
TASK
1. Right-click the Bin icon in the Toolbar.
2. Select Link Bin Tiles to Viewers > Yes.
Displaying Labels
The current timecode displays at the bottom of the viewer. When you hover the
mouse over the arrow to the right of the timecode, a label containing
information about the clip opens. You can change the content of the label. Do
the following.
TASK
1. Left-click the arrow to the right of the viewer timecode.
The Labels dialog box opens.
49
CHAPTER 4: PLAYING
PLAYING IN A VIEWER
The defaults labels are described in the following table.
Label Option Description
Edit Timecode Edit timecode for the current frame (shown in white).
Clip Code Source timecode for the current frame (in blue).
Elapsed Duration between the start point and the current frame (shown in green).
Marked Duration Duration between the mark and the current frame (shown in purple), or the duration
between the start and the current frame if no mark exists.
Total Duration Total length of the clip in the viewer (shown in red).
2. To add a label, click the Add button.

The Add Label dialog box opens.
3. Select the label you want.

4. Select the type you want, and then click Do It.
5. Click Enable Modifications.
50
CHAPTER 4: PLAYING
MOVING THROUGH MATERIAL
Resizing the Viewer
Click on any edge of a viewer and drag it to resize. The size of the viewer appears
in the upper left corner while you drag it.
Moving Through Material
You can move through your material in several additional ways. You can jump
to a specific timecode, and you can insert cues and then jump to them. See the
following topics:
• "Jumping to a Timecode" on page 51
• "Adding and Jumping to Cues" on page 52
Jumping to a Timecode
You can cue the source device to a timecode by doing the following.
TASK
1. Open the Record tool.
• Click the Timecode text box in the label, type the timecode you want,
and press Enter.
• Right-Left click the timecode in another screen object (other viewers,
Timeline, and so on), right-click and drag the timecode onto the Time-
code text box in the label, and right-left click the timecode.
The viewer jumps to the timecode you want.
51
CHAPTER 4: PLAYING
Adding and Jumping to Cues
Cues let you mark points of interest in your material. You can use them later for
reference points, and you can move through material by jumping to them. Cues
appear as small green triangles on the viewer indicator strip. Cues are long-term
markers.
To add and jump to cues, do the following.
TASK
1. Move to the position you want.
• Press the Cue button on the console.
• Press the assigned key. For information on assigning keys, see "Selecting
The cue appears as a small green mark on the indicator strip.
3. Click the Cogs icon.

The viewer menu opens.
4. (Option) Rename the cue by doing the following:

a Click Cue Panel in the Clip Commands list.
The Cues dialog box opens and the viewer menu closes.
52
CHAPTER 4: PLAYING
b Click the Description text box for a cue and type a new name.
c Press Enter.
5. (Option) Sort a column alphabetically and numerically by clicking its heading.
6. Close the Cues dialog box.
7. Jump to a cue in the viewer by doing one of the following:
• Press a console Jump button.
• Right-left click the cue point on the indicator strip.
• Left-click the cue in the Cues dialog box.
The current frame moves to the cue point.
53
CHAPTER 4: PLAYING
54
Chapter 5: Basic Editing
This chapter describes how to get started editing. Your editing workflow and
procedures are described in the following topics:
• Editing Workflow
• Starting a New Edit
• Marking Portions of Clips
• Selecting Tracks for Editing
• Editing into the Record Viewer
• Changing Start Time
You can also edit in the Timeline. See "Chapter 6: Timeline Editing" on page 71.
Editing Workflow
Your editing workflow might be as follows:

• Open an edit (record) viewer.
• Mark a portion of a clip in a source viewer.
• Select source and record tracks
• Use the following functions to edit the source material into the record
viewer:
– Replace
– Remove
– Insert
– Delete
– Clipboard
– Empty cut
– Copy
– Fit to Fill
CHAPTER 5: BASIC EDITING
STARTING A NEW EDIT
Starting a New Edit
To start a new edit, do the following.
TASK
1. Click the Edit icon on the Toolbar.
An empty viewer and empty Timeline open.
This viewer is now the Record viewer.

2. Select a tile or viewer you want to use as the first source.
The border displays in blue. This tile or viewer remains the source until you
select another one.
56
MARKING PORTIONS OF CLIPS
Marking Portions of Clips
You can mark portions of clips in several ways.

NOTE: Lightworks editing allows only one In point. If you mark an In point in both your
source viewer and your record viewer, Lightworks ignores the mark in the record viewer.
• "Marking a Portion of a Source Clip" on page 57
• "Marking the Entire Clip" on page 58
• "Using Out Points" on page 58
• "Swapping In and Out Points" on page 59
• "Removing a Mark" on page 59
• "Marking on the Fly" on page 60
• "Selecting Tracks for Editing" on page 60
Marking a Portion of a Source Clip
For many editing operations, you need to select a length of the source clip. You
can do this by marking the In point and using the current frame as the Out
point. Lightworks refers to the following procedure as Mark and Park. Do the
following.
TASK
1. Position the frame marker where you want the portion to begin.
2. Press the Mark button on the console (or an assigned key).
57
The mark appears in blue, replacing the red mark.

3. Move the current frame to where you want the portion to end.
The portion between the mark and the current frame is now selected and
appears in white.
Marking the Entire Clip
You can select the entire clip by doing the following.
TASK
1. Jump to the beginning of the clip.
2. Press Stop+Mark on the console.
The entire clip is selected.
Using Out Points
If you are accustomed to using Out points (as in Avid or Final Cut Pro editing
applications), you can mark the clip with In and Out points by doing the
following.
TASK
1. Assign keys for Mark In and Mark Out, or import your editing application
keyboard shortcuts. See "Selecting Tool Preferences" on page 195.
2. Press the Mark In key you assigned to mark the In point.
3. Navigate to the Out point you want and press the Mark Out key you assigned.
The Out point is marked.
58
Swapping In and Out Points
If you mark an In point and then want to jump to a different In point, you lose
your Out mark.
To swap In and Out points without losing the Out point, do the following.
TASK
1. Mark an In point using the Mark and Park procedure (see "Marking a Portion
of a Source Clip" on page 57).
2. Press the Swap button on the console.
The blue In point replaces the red current frame marker, and the blue In point
is replaced by the red current frame marker. You can now change the In point.
NOTE: Although you have swapped the points around, the first marker is still the
In point, that is, if you mark and park then press the Swap button, the park is still
the In point although it was previously the mark.
Removing a Mark
You can remove a mark that you no longer need by doing the following.
TASK
1. Position the current frame marker on the mark point you no longer need.
2. Press the Unmark button on the console.
The mark is removed.
59
SELECTING TRACKS FOR EDITING
Marking on the Fly
You can mark your cutting point while the clip is playing by doing the
following.
TASK
1. Play the clip (see "Playing in a Viewer" on page 48).
2. Press the Mark button (or click the assigned key) where you want the In point.
3. Play backward and forward to make sure you have the point you want; if you
change your mind, press Mark again.
NOTE: If you need to mark more than one point in the clip, use the Cue
function, instead. See"Adding and Jumping to Cues" on page 52.
Selecting Tracks for Editing
You need to select which tracks you want to edit. Selected source tracks are
edited into selected record tracks. Source tracks are used in order, starting with
the first selected record track.
To select tracks, do the following.
TASK
1. In the Timeline, select (click) only the source tracks you want. Make sure no
other tracks are selected.
2. Select only the record tracks you want. Make sure no other tracks are selected.
60
EDITING INTO THE RECORD VIEWER
Editing into the Record Viewer
You can edit source material into the record viewer in several ways:
• Replace. See "Replacing Material" on page 61.
• Remove. See "Remove" on page 65.
• Insert. See "Insert" on page 65.
• Delete. See "Delete" on page 66.
• Clipboard. See "Clipboard" on page 66.
• Empty cut. See "Empty Cut" on page 68.
• Copy. See "Copying an Edit" on page 68.
• Copy. See "Fit-to-Fill" on page 69.
Replacing Material
You use the Replace button in the console to place or replace material in the
record viewer. You can replace in several ways. See the following sections:
• "Open-Ended Replace" on page 62
• "Source Selection Replace" on page 62
• "Record Section Replace" on page 63
• "Picture-Only or Sound-Only Replace" on page 63
• "Entire Clip Replace" on page 63
• "Backward Replace - Knowing Out in Source" on page 64
You can also replace in the Timeline using drag-and-drop. See "Inserting or
Replacing Using Drag-and-Drop" on page 94.
61
REPLACING MATERIAL
Open-Ended Replace
TASK
1. Click where you want the In point to be in the record viewer.
NOTE: Do not press the Mark button. The current frame is the In point. If you are
starting a new edit in an empty viewer, the In point is the first frame.
2. Go to the In point in the source viewer.
3. Make sure neither viewer has a blue mark in the indicator strip; if one does,
press the Unmark button.
4. Press the Replace button in the console.
Everything from the source In point on replaces everything from the record
In point on.
Source Selection Replace
Use this method if you want to edit in a specific cutaway with a known start and
end point.
TASK
1. Select the cutaway in the source viewer using the Mark and Park method.
2. Make sure the record viewer does not have a blue mark in the indicator strip;
if one is there, press the Unmark button.
3. Click the In point you want in the record viewer.
4. Press the Replace button in the console.

The selected section in the source replaces the material after the current
frame marker in the record viewer, to the same length. The frame marker rests
at the start of the replaced section.
62
REPLACING MATERIAL
Record Section Replace
Use this method if you want to replace a section in the record viewer with a
different section of the same length.
TASK
1. Select the section of your edit (in the record viewer) that you want to replace
using the Mark and Park method.
2. Make sure the source viewer does not have a blue mark in the indicator strip;
if one is there, press the Unmark button on the console.
3. Go to the In point in the source viewer.
4. Press the Replace button.
The selected section in the source replaces the material in the record viewer.
Picture-Only or Sound-Only Replace
When you want to replace only video or audio, you use the track selection
buttons to control the replacement, and then the Replace button. For example,
if you want to replace a piece of bad audio, you should deselect all video tracks
before you press Replace.
Entire Clip Replace
To replace an entire clip, do the following.
TASK
1. Press the Jump button on the Console to jump to the beginning of the first
clip you want to replace.
2. Press the Mark button.
3. Press the Jump button until you are parked on the first clip you do not want
to replace.
4. Press the Replace button.
63
REPLACING MATERIAL
Backward Replace - Knowing Out in Source
If you know only the Out point for a replace in the source viewer, you can use
the Backward Replace method.
TASK
1. Select the section of your edit (in the record viewer) that you want to replace
using the Mark and Park method.
2. Make sure the source viewer does not have a blue mark in the indicator strip;
3. Go to the Out point in the source viewer.
4. Hold the Stop button on the console and press the Replace button.
The selected section in the source replaces the material in the record viewer
starting with the last frame of the selected section and replacing backwards.
Backward Replace - Knowing Out in Record
If you know only the Out point for a replace in the record viewer, you also use
the Backward Replace method.
TASK
1. Select the section of your source using the Mark and Park method.
2. Make sure the record viewer does not have a blue mark in the indicator strip;
3. Go to the Out point in the record viewer.
4. Hold the Stop button on the console and press the Replace button.
The last frame of the selected section from the source replaces the material
in the record viewer starting with the selected frame and replacing
backwards.
64
REMOVE
Remove
The Remove function lifts a selected portion of the edit onto the Clipboard,
leaving the same length of black or silence in its place.
To use the Remove function, do the following.
TASK
1. In the record viewer, select the section of your source using the Mark and Park
method.
2. Deselect the tracks you do not want to remove.
3. Press the Remove button on the console.
The overall length of the edit does not change.
Insert
Use the Insert function to add material into the edit without overlaying
anything. A cut is made into the edit and the selected part of the source is
inserted into it. The edit is lengthened by an amount equal to the selected part
of the source. You can insert into all edit tracks or only selected tracks.
If you insert into selected tracks, sync can be affected because of the length
difference. If you deselect tracks in the record viewer, nothing is inserted into
them and the relative sync of the edit tracks changes. If you deselect tracks in the
source, black or silence is inserted into any edit tracks that do not have a
corresponding selected source, and sync is not affected.
You can also insert in the Timeline using drag-and-drop. See "Inserting or
Replacing Using Drag-and-Drop" on page 94.
To insert material, do the following.
TASK
1. Deselect any source tracks you do not want to include in the insert.
2. Deselect any tracks in the record viewer into which you do not want to insert
the section.
NOTE: Lightworks recommends leaving all tracks selected in the record viewer.
The system defaults to inserting black and silence where necessary to avoid sync
loss.
3. Click in the record viewer where you want to start the insert.
65
DELETE

• Select the part of the source you want to insert using the Mark and Park
method, and then press the Insert button on the console.
• Drag a tile over the record viewer.
5. (Option) To leave the current frame marker at the end of the insert so it is
ready for the next insert, press Stop+Insert (Assemble) on the console instead.
Delete
The Delete function cuts out a selected portion of an edit and closes the gap.
Because the deletion occurs only on selected tracks, sync can be affected because
of the length difference.
To delete material, do the following.
TASK
1. Deselect any tracks in the record viewer from which you do not want to delete.
NOTE: Lightworks recommends leaving all tracks selected to avoid sync loss.
2. Select the part of the edit you want to delete using the Mark and Park method.
3. Press the Delete button on the console.
Clipboard
The Clipboard holds the last section of video or audio that an editing function
— Replace, Remove, Delete — overwrote. The Clipboard holds this section until
the next operation overwrites it.
The Clipboard appears on the screen as a tile. You can enlarge it to a viewer,
which makes it easier to use for cutting and pasting.
66
CLIPBOARD
NOTE: You can also cut and paste with the Timeline drag-and-drop function. See
"Chapter 6: Timeline Editing" on page 71.
To use the Clipboard for cutting and pasting, do the following.
TASK
1. Select a section of the edit that you want to replace using the Mark and Park
method.
2. Press the Delete button or the Move button on the console.
The selected section of the edit appears in the Clipboard.
3. Mouse over the Clipboard and left-click the viewer button to enlarge the
Clipboard into a viewer.
4. Click the Clipboard to select it as the source.

Its border turns bright blue.
5. Click in the record viewer where you want to add the material.
6. Press the Replace button or the Insert button.
The material is pasted into the edit.
7. (Option) Press the Undo or Redo button at the right side of the clipboard
viewer to undo or redo the last change made to the Clipboard.
67
EMPTY CUT
Empty Cut
You can make an empty cut in your edit, also referred to as an invisible edit, a
zero-length edit, or an unintentional splice. For example, you might want to
change the sync of one part of a piece of audio without affecting the rest. Empty
cuts are often used when you varispeed part of a clip, or when you make audio
level-control adjustments within a clip.
To make an empty cut, do the following.
TASK
1. Deselect any tracks you do not want to cut.
2. Press the Mark button on the console, and then press the Delete button.
Because the current frame and the blue mark are in the same place, no
frames are deleted. leaving an empty cut.
Copying an Edit
Lightworks recommends making a safety copy of an edit before you begin to

recut it. You might also want to break the edit into shorter sections (clipping up)
during editing. Do the following.
TASK
1. Open the edit in a record viewer.
2. To copy the entire edit, press the Copy button on the right side of the viewer.
3. To copy part of an edit, select the section to be copied using the Mark and Park
method, press the Copy button, and then left-click Subclip in the message box
that opens.
A new tile opens next to the original edit, containing the copy of the original,
either all or part. The original edit is unchanged by this procedure.
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FIT-TO-FILL
Fit-to-Fill
Fit-to-Fill forces a section of source material to fill a specified duration in the

edit.The system automatically determines the varispeed need to do the fill.
Fit-to-fill is for video only.
To use the Fit-to-Fill function, do the following.
TASK
1. Select the section in the source.
2. Select the section to be filled in the edit.
3. Press Alt+V on the keyboard.
The section of the edit is filled with the selected source section, with the clip
speed set accordingly.
Changing Start Time
The default start time for an edit defaults to 00:00:00:00. To change the start
time, do the following.
TASK
1. Click the arrow to the right of the viewer timecode.
The Labels dialog box opens.
69
CHANGING START TIME
2. Click Enable Modifications.
3. Type the start timecode you want in the Edit/Play TC text box.
4. Press Enter, and then click the Close button.
70
Chapter 6: Timeline Editing
The Timeline provides a simple view of a clip or edit. Its most powerful feature
is that it allows you to make changes to an edit. This chapter discusses editing
operations controlled by the Timeline, particularly trimming.
• Displaying a Timeline
• Navigating the Timeline
• Customizing the Timeline
• Working with Tracks on the Timeline
• Other Timeline Controls
• Displaying Audio Waveforms
• Changing Audio Levels in the Timeline
• Trimming Cuts
• Monitoring While Trimming
• Changing Sync Using the Timeline
• Undoing and Redoing Changes
• Copying or Moving with Drag-and-Drop
CHAPTER 6: TIMELINE EDITING
DISPLAYING A TIMELINE
Displaying a Timeline
To display a Timeline, do the following.
TASK
1. Open a record viewer.
2. Click the Timeline button.
A Timeline display opens.
The Timeline contains each track of video, audio, and effects in the edit. Time
runs from left to right. Cuts are represented by vertical lines. The current frame
marker marks the current position in the clip or edit. Each track has its own
current frame marker. The Indicator bar is on top. and shows position of the
current frame as well as any markers.
Navigating the Timeline
The left end of a track represents the beginning of the clip or edit and the right
end represents the end. On the Timeline, the white section of the Indicator bar
shows which section of the edit is displayed. This changes when the Zoom In (+)
or Zoom Out (-) buttons are used.
The Indicator bar also shows the position of the current frame (red), any
marked frame (blue) and any cues (green).
Any selected frames (those between the current frame and the marked frame)
are highlighted in pink.
The Timeline current frame marker shows the position of the current frame on
each track. When you play or shuttle with the Console Lever or Jog Wheel, the
current frame marker normally moves along the track until it reaches the end of
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CUSTOMIZING THE TIMELINE
the section displayed in the Timeline. The Timeline updates and the current
frame marker jumps back to near the start.
You can lock the current frame marker in the Timeline in place by Alt+clicking
it — the color changes from red to purple. When the edit is played, the current
frame marker stays fixed (rather like the heads on a synchronizer or flatbed
editor) and the tracks scroll past it. To revert to having the current frame marker
move across the tracks, Alt+click it again. For this to work, you must be
zoomed in.
NOTE: When the Timeline is completely zoomed out, or when close to the start or end of
an edit, the current frame marker behaves in the normal way.
You can use the mouse to move the current frame by dragging the current frame
marker. Also, you can jump to a new position immediately by clicking anywhere
on the grey area between the edits or above and below the tracks.
NOTE: If you click the edits themselves, you unjoin cuts for trimming.
Customizing the Timeline
You can customize the Timeline in several ways. See the following topics:
• "Zooming the Position Indicator In and Out" on page 73
• "Resizing the Timeline" on page 74
• "Displaying Text on the Timeline" on page 74
Zooming the Position Indicator In and Out
You can change the magnification of the position indicator. This can be useful
when you have many cuts in the edit. Zooming in or out changes the amount of
time represented in the Timeline. To zoom in or out, do the following.
TASK
• Do one of the following:
• Click the Zoom In button or the Zoom Out button.
• Position the cursor over either end of the position indicator, and when
it changes to a double-pointed arrow, click and drag it.
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CUSTOMIZING THE TIMELINE
Resizing the Timeline
To resize the entire Timeline or any of the tracks, do any of the following.
TASK
• Left-click or right-click either side and drag it horizontally.
• Left-click or right-click the top or bottom edge and drag it up or down.
• Left-click or right-click any corner and drag it out to resize in both dimensions.
• Right-click the top or bottom edge of a track button and drag it up or down.
Displaying Text on the Timeline
You can change the text shown in the clips by doing the following.
TASK
1. Click the Cogs icon in the Timeline.
The Timeline menu opens.
2. In the Timeline Commands list, click Clip texts.

The Clip Texts dialog box opens.
74
WORKING WITH TRACKS ON THE TIMELINE
3. Click any of the lists and select the text you want to appear on each track.
4. Click Do It.
The Timeline is updated.
Working with Tracks on the Timeline
You can work with tracks on the Timeline in several ways. See the following
topics:
• "Selecting Tracks on the Timeline" on page 75
• "Grouping Tracks in an Edit" on page 76
• "About Editing Grouped Tracks" on page 77
• "Ungrouping Tracks" on page 77
Selecting Tracks on the Timeline
Each displayed track has a Track Selector button. When the track is selected, the
button is blue; when it is deselected, it is grey.
Any edits using the console buttons affect only selected tracks. A track does not
have to be selected for you to edit it in the Timeline.
To select tracks, do any of the following.
75
TASK
• Click a Track Selector button to select the track. Click the button again to
deselect the track.
• Click the All button to select or deselect all tracks.

• Right-left click a track to select only that track and deselect all others.
Grouping Tracks in an Edit
You can group tracks. Any edits or trims affect all tracks in a group. This might
be particularly useful when you edit stereo pairs.
To group tracks, do the following.
TASK
1. Click the Cogs icon, and then select Group tracks from the Edit Commands list.
The Group Tracks dialog box opens.

2. Select Audio tracks or Video tracks from the list at the top.
76
3. Click the tracks you want to group, and then click OK.
The grouped tracks display as a single track in the Timeline.

NOTE: Grouping tracks in the Timeline affects only how they are displayed and
edited in the Timeline. They are still treated as separate tracks for audio routing or
video output.
About Editing Grouped Tracks
You can select cuts on individual tracks for trimming by Shift-clicking them.
Console edits apply to all grouped tracks currently selected.
Ungrouping Tracks
TASK
1. Click the Cogs icon, and then select Ungroup tracks from the Edit Commands
list.
The Ungroup Tracks dialog box opens.
2. Select Audio tracks or Video tracks from the list at the top.
77
OTHER TIMELINE CONTROLS
3. Click the group you want to ungroup, and then click OK.
The tracks display individually in the Timeline.
Other Timeline Controls
You can use several other Timeline controls. See the following topics:
• "Locking and Unlocking the Timeline Position" on page 78
• "Popping Out the Original" on page 78
• "Unjoining and Joining Edits in the Timeline" on page 79
• "Adding Controls to the Timeline" on page 79
Locking and Unlocking the Timeline Position
TASK
1. Click the Pin button.
The position of the Timeline is locked on the screen.
2. Click the Pin button again to unlock the position.
Popping Out the Original
TASK
1. Open a record viewer for an edit.
• Click the Pop Out Original button.
• Right-click any clip in the Timeline and select Show Tile.
The original source clip for the current frame on the first selected track
displays as a tile that is parked at the same frame as the current frame.
3. To pop out an audio clip, deselect the video tracks.
78
OTHER TIMELINE CONTROLS
Unjoining and Joining Edits in the Timeline
You can reopen edits at the points where they were last opened for trimming.
Lightworks recommends practicing unjoining cuts in the Timeline before you
start serious work so you gain a feel for what happens when you click in
different places.
TASK
1. Left-click a cut.
2. Click the Unjoin button at the bottom of the Timeline.
The trims open and the button label changes to Join. The record viewer for
the edit expands to show an additional window.
3. Click the Join button in the Timeline to join the edits again.
Adding Controls to the Timeline
TASK
• Click the Advanced button.
Several new controls appear on the right:
79
DISPLAYING AUDIO WAVEFORMS
• Clip speed controls. To change clip play speed, select a preset speed or
type the speed you want.
• Sound level controls. See "Changing Audio Levels in the Timeline" on

page 81.
• Clip gain controls. Type the gain you want if the clip is over- or
under-recorded
• Timeline Sync buttons (only if your audio and video is out of sync). See
"Changing Sync Using the Timeline" on page 89.
• Render button. See "Rendering" on page 135.
Displaying Audio Waveforms
You can display audio waveforms, and you can select Pre levels or Post levels.
Do the following.
TASK
2. In the TImeline Commands list, click Show Audio Waveforms.
3. Select Pre Levels or Post Levels.
Audio waveforms appear in the audio tracks.
80
CHANGING AUDIO LEVELS IN THE TIMELINE
4. To see the waveforms more clearly, resize the Timeline. See "Resizing the
Timeline" on page 74.
Changing Audio Levels in the Timeline
You can set nodes on the audio tracks and use them to adjust audio levels. You
can use a Touch ME Mackie Sound Controller, or you can use the mouse to
manipulate the audio dB levels on the Timeline.
Do the following.
TASK
1. To manually boost/ or lower the audio level of a clip, do one of the following:
• Park in the clip and type the dB level you want.
• Drag the slider on the bottom of the audio track level window (left
window) to the dB level you want.
• Position the mouse over the audio track and roll the mouse wheel to
raise or lower the level.
NOTE: The audio levels set apply only to the individual clips within the edit (or
cut point to cut point). Also, nodes need to be added to each track individually.
2. To delete a node, park directly on the node and press the ‘-‘ button next to the
audio track level window.
81
TRIMMING CUTS
3. To delete a series of nodes, mark and park the section you want to reset, and
click the ‘-’ button.
The last node prior to the mark and the first node prior to the park are
connected.
4. To reset the audio level to unity (zero) for the clip, mark at the beginning of a
clip and park at the end.
Trimming Cuts
The main use of the Timeline is to make adjustments to the timing of cuts. You
do this by opening or unjoining the cuts so when you play the edit, you can
move the position of the cut. When you are done, you rejoin the cuts.
You can unjoin a cut in three places:
• On the outgoing (left) side
• On the incoming (right) side
• In the middle (trimming left and right simultaneously)
You should unjoin the cuts on every track of the edit together to avoid sliding
out of sync. After you unjoin cuts and nudge or play backward or forward, the
clip is extended or shortened. The rest of the edit is pushed along or pulled back,
but is otherwise unaffected.
See the following topics.
• "Trimming the Outgoing Clip" on page 83
• "Trimming the Incoming Clip" on page 84
• "Adding Black or Audio Spacing at a Cut" on page 84
• "Trimming by Numbers" on page 85
• "Finishing a Trim" on page 86
• "Previewing Trims" on page 85
• "Moving a Cut" on page 86
82
TRIMMING CUTS
Simple Trimming
To use the simplest method of trimming, do the following.
TASK
1. Click a cut.
The viewer changes to the Trim viewer, displaying both sides of the cut.
2. In the Timeline, hold down the mouse button and drag the cut.
Trimming the Outgoing Clip
TASK
• Left-click close to the left of a cut.
The cut is unjoined on the outgoing side. The Timeline adds a small curl just
before the cut.
You can now shorten or lengthen that portion.
83
TRIMMING CUTS
Trimming the Incoming Clip
TASK
• Left-click close to the right of a cut.
The cut is unjoined on the incoming side. The Timeline adds a small curl just
after the cut.
You can now shorten or lengthen that portion. Playing changes the first frame
after the cut. Everything before it is unaffected.
Console Trimming Buttons
You can use the four console trimming buttons:
Button Function Console Location
Open head of current clip Top left trim button
Open tail of previous clip Bottom left trim button
Open tail of current clip Top right trim button
Open head of next clip Bottom right trim button
Adding Black or Audio Spacing at a Cut
You can use this method to quickly add gaps or space between clips.
TASK
1. (Option) Group the tracks to maintain sync.
3. Select Drag in Black from the menu.
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TRIMMING CUTS
4. Right-left click to the right of a cut.

The cut is unjoined on the incoming side.
5. Play to add black or audio spacing to the start of the incoming clip.
Trimming by Numbers
You can type the number of frames by which you want to trim a cut using the
numeric keypad.
TASK
1. To trim forward, do the following:
a Unjoin the cut.
b Press the plus sign (+) on the numeric keypad
The Nudge Forwards dialog box opens.
c Type the number of frames you want to trim, and then press Do It.
2. To trim backward, do the following:
a Unjoin the cut.
b Press the plus sign (+) on the numeric keypad
The Nudge Backwards dialog box opens.
c Type the number of frames you want to trim, and then press Do It.
Previewing Trims
You can preview trims by playing or shuttling through cuts while they are
unjoined. You can then make adjustments quickly without needing to join the
trim.
To preview trims, do the following.
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TRIMMING CUTS
TASK
1. Assign a keyboard shortcut to the Preview Trim function.
2. Press the shortcut you created or press the key from your imported
Preferences file.
The current frame marker jumps back by the preview preroll time. The edit
immediately plays forward across the unjoined cut and continues to play.
3. Press Play on the console or use the Jog wheel and lever to play or shuttle
backwards or forwards over the trim point.
NOTE: The position of the cut is not changed.
4. To stop the preview, press the Stop button on the console.
The current frame marker returns to its original position. This is usually at the
first trim point.
5. Use the console to adjust the trim.
Finishing a Trim
When you are finished trimming, you need to join the cuts again.
TASK
• Left-click the same point on each clip as you did when you unjoined the
cut.
• Left-click the Join button on the Timeline. This joins all the cuts.
• Hold the Stop button on the console and press Unmark.
The cut or cuts are joined.

NOTE: Once a clip becomes very short in the Timeline, you might not have room
to choose the side you want to join. Use the Zoom button to enlarge the display. See
"Zooming the Position Indicator In and Out" on page 73.
Moving a Cut
To move a cut, do the following.
TASK
1. Unjoin the cut by left-clicking the middle of it.
The cut is unjoined down the middle, with both sides showing a curl.
86
MONITORING WHILE TRIMMING
2. Play backward or forward until you can hear or see that the cut is in the right
place.
3. Click Join or press Stop+Unmark on the console to join all the cuts
back together.
Monitoring While Trimming
You can monitor while trimming in several ways. See the following topics:
• "Monitoring Audio While Trimming" on page 87
• "Monitoring Pictures While Trimming using Trimview" on page 88
• "Displaying Pictures with Trimview Enabled" on page 88
Monitoring Audio While Trimming
The red marker determines the audio you hear while trimming. For split edits,
the audio you hear is not necessarily the audio at the audio cut point. The first
track you select determines the position of the red marker.
To monitor audio while trimming, do the following.
TASK
1. Select the track on which you want to monitor audio.
2. To monitor the audio trim for a split edit, where picture and audio cuts are in
different places, deselect the video track.
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MONITORING WHILE TRIMMING
Monitoring Pictures While Trimming using Trimview
The Trimview feature controls the way that picture trims display on both the
graphics screen and the system video outputs.
To use Trimview, do the following.
TASK
2. In the Edit Commands list, select Trimview > Enabled.
The record viewer expands and you see the two sides of a picture trim at the
same time.
Displaying Pictures with Trimview Enabled
The pictures displayed in Trimview are governed by the kind of trim, as follows:
• When you are trimming more than one cut, the cut point nearest to the
red marker displays in the Trimview viewer.
• During trimming, the picture on the left side of the Trimview viewer is
shown on the monitor output the edit is assigned to. The picture in the
right side of the viewer is shown on the next monitor output.
• Changing clip lengths: only one side of the cut is changing. The side of the
Trimview viewer that represents the unchanging clip shows a freeze of the
first (or last) frame. The other side shows the clip that is changing.
• Moving a cut: the left side of the Trimview viewer shows the outgoing clip,
while the right side shows the incoming clip. Both sides change.
• Slipping a clip: both the In points and Out points are changing. The left
side of the Trimview viewer shows the first frame of the clip, while the
right side shows the last frame of the clip.
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CHANGING SYNC USING THE TIMELINE
• Sliding a clip: the In points and Out points of the clip being slid are not
changing. The left side of the Trimview viewer shows the last frame of the
clip before the clip you are sliding, while the right side shows the first
frame of the clip after.
Changing Sync Using the Timeline
If you need to change sync between tracks, you can use the Timeline. For
example, you might need to lay a sound effect in the right place. You can either
play the clip while trimming, or you can mark the matching points on the tracks
and use the Align Marks command in the Timeline menu.
The following sections assume that the tracks are already laid up, and that you
need to change only the sync.
See the following sections:
• "Syncing by Playing" on page 89
• "Syncing by Aligning Marks" on page 90
• "Fixing Sync Using the Timeline Menu Commands" on page 91
• "Fixing Sync Using the Timeline Sync Commands" on page 92
Syncing by Playing
To change sync while playing, do the following.
TASK
1. Find the sync point on the tracks in question.
2. Deselect the picture tracks and all the audio tracks to be synced.
NOTE: Click the All button to deselect all the tracks.
The red current-frame marker is locked down on those tracks.
3. On each track of audio to be synced to the video, unjoin both the incoming
and outgoing ends of the clip or series of clips.
These sections are now free to slip within their own clips. The rest of the edit
is unaffected.
89
4. Play forward or backward until you reach the point you want.
5. Click Join or press Stop+Unmark on the console.
6. Select the tracks again.
Syncing by Aligning Marks
To change sync while aligning marks, do the following.
TASK
1. Find the sync point on the video.
2. Press Mark on the console.
3. Deselect the video track.
4. Find the matching sync point on the audio and press Mark again.
Each track now contains a separate blue mark.
5. Select the video track again.
6. Unjoin a cut on video or audio track you want to move to achieve sync. Make
sure you leave one of the tracks joined.
7. Click the Cogs icon, and select Align Marks in the Trimming Commands list.
The mark on the track that you unjoined is lined up with the mark on the
other track.
8. Left-click Join.
The edit is now in sync.
Fixing Sync Using the Timeline
When you edit, you might introduce sync loss while making trims and
adjustments.
You might introduce the loss of the original sync relationship for video and
audio that were recorded into the system together. You can fix this type of sync
loss using the Show Sync Loss and Fix Sync commands.
You might also lose sync relationships when you make a cut or trim on one track
and not on others. You can fix this type using the Timeline Sync buttons.
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Fixing Sync Using the Timeline Menu Commands
You might introduce the loss of the original sync relationship for video and
audio that were recorded into the system together. You can fix this type of sync
loss using the Show Original Sync Losses and Fix Original Sync commands.
TASK
1. Click the Cogs icon, and select Show Original Sync Losses in the Timeline
Commands list.
The number of frames out of sync is indicated in yellow boxes.
2. Position the current frame marker so it sits within both the video and the
audio you want to fix. Make sure it is not on a clip that is in sync.
NOTE: Start with the leftmost sync error and work your way to the right end of the
Timeline.
3. Choose appropriate cut point to trim to restore sync, and then unjoin those
cuts.
4. Click the Cogs icon, and select Fix Original Sync in the Trimming Commands
list.
The Timeline updates to reflect the sync fix. The cut automatically closes.
5. To fix a single clip where the picture is in the wrong place but the audio is
correct, unjoin the incoming and outgoing cuts on the video track, and then
select Fix Original Sync in the Trimming Commands list.
91
Fixing Sync Using the Timeline Sync Commands
You might also lose sync relationships when you make a cut or trim on one track
and not on others. You can fix this type of sync loss using the Timeline
Sync buttons. Do the following.
TASK
1. Select the track you want to fix.
A Sync button appears at the right end of any track that is out of sync.
The Sync button displays the number of frames by which the audio track is out
of sync with the video track. A positive value indicates that the track has
increased in length. A negative value indicates that the track has been
shortened.
2. Click the Cogs icon, and select Show Original Sync Losses in the Timeline
Commands list.
3. Unjoin the tracks at appropriate places.
4. Left-click the Sync button for the track you want to fix.
The track returns to sync.
NOTE: If you did not unjoin the tracks in a way that allows the sync to be fixed, a
message box opens saying that the current selections do not allow sync fix.
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UNDOING AND REDOING CHANGES
Undoing and Redoing Changes
You can undo and redo your latest action.

NOTE: If you undo a trim, pressing Unjoin does not unjoin the cut. Undo returns the edit
to its previous state, which has no information about future trims made to it.
Do the following.
TASK
1. Click the Undo button.
The last action is reversed.
NOTE: You can undo or redo up to 10 times. You set the number by changing thee
backup_depth parameter in the Config.dat file.
2. If you click Undo too many times, click the Redo button.
Using Drag-and-Drop
You can copy or move a section of video or audio to a new position in the
Timeline using drag-and-drop. You can also insert or replace clips in the
Timeline.
• "Copying or Moving with Drag-and-Drop" on page 93
• "Inserting or Replacing Using Drag-and-Drop" on page 94
Copying or Moving with Drag-and-Drop
To copy or move a section of video or audio to a new position in the Timeline

using drag-and-drop, do the following.
TASK
1. Make sure the edit is a record machine.
2. Select the section you want using the Mark and Park method.
NOTE: If you want to copy only a single clip, you do not need to use Mark and
Park.
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USING DRAG-AND-DROP
3. To copy, press the Shift key on the keyboard and click the section you want,
then drag the section to a new position in the Timeline, in the same track or in
a different track of the same type.
The section snaps to the nearest cut.
4. To move, press the Ctrl key on the keyboard and click the section you want,
then drag the section to a new position in the Timeline, in the same track or in
a different track of the same type.
The section snaps to the nearest cut.
Inserting or Replacing Using Drag-and-Drop
You can insert or replace clips in the Timeline using drag-and-drop.

Do the following.
TASK
1. Select the clip you want to put in the Timeline.
• To insert the clip, click it and drag it to the place you want it in the Time-
line.
• To replace the clip, press Shift, then click the clip and drag it to the place
you want it in the Timeline.
94
Chapter 7: Audio Editing
This chapter describes the basics of audio editing. For information about
playing out audio, see "Playing out an Edit" on page 163.
• Replacing Sound with Atmos
• Moving Sections of Audio within an Edit
Replacing Sound with Atmos
You can remove sound and replace it with atmos in two ways. See the following
topics:
• "Replacing" on page 95
• "Resyncing" on page 96
Replacing
TASK
1. In the record viewer, select the tracks you want to change.
2. Select a section using the Mark and Park method.
3. Click the Pop Out Original Tile button on the record viewer.
The source pops out as a tile.
4. Locate the beginning of a quiet section on the source clip.
5. Press the Replace button on the console.
CHAPTER 7: AUDIO EDITING
MOVING SECTIONS OF AUDIO WITHIN AN EDIT
Resyncing
If you have long pieces of atmosphere available, the following method is useful.
TASK
1. Open the Timeline.
2. Make empty cuts by pressing Mark+Delete on the console at both ends of the
section of sound you want to replace.
3. Unjoin this section at the beginning and end (see "Unjoining and Joining Edits
in the Timeline" on page 79).
4. Play through the clip until you find a long enough piece of atmosphere.
5. Left-click the Unjoin button.
Moving Sections of Audio within an Edit
See the following sections:

• "Moving Audio with the Clipboard" on page 96
• "Moving Audio with Key Combinations" on page 97
• "Moving Audio by Ctrl+Dragging" on page 97
Moving Audio with the Clipboard
You can move audio within the edit using the Clipboard by doing the following.
TASK
1. Select only the tracks that include the audio you want to move.
2. Select a section using the Mark and Park method.
3. Press the Remove or Delete button in the console.
The audio section appears in the Clipboard.
4. Deselect the audio source tracks and select the destination tracks.
5. Position the current frame marker where you want the audio to move to.
6. Left-click the Clipboard to select it.
7. Press the Replace or Insert button on the console.
The audio moves to the destination position.
96
Moving Audio with Key Combinations
You can move audio vertically within the Timeline using several key
combinations. These operations maintain sync. Do the following.
TASK
1. Open the edit in a record viewer.
2. Select only the source and destination tracks
3. Select the section of audio you want to move using the Mark and Park
method. You can select any of the following:
• Clip
• Part of a clip
• Sequence of clips
4. Press keys as described in the following table.
Key
Combination Description
Alt+M The selected section of audio moves from the source track to the
destination track.
Alt+S The selected section of audio swaps from the source track to the
destination track and vice versa.
Alt+K The selected section of audio copies from the source track to the
destination track.
Moving Audio by Ctrl+Dragging
Use Shift+drag to copy and move audio within the Timeline. Do the following.
TASK
1. (Option) Select a section using the Mark and Park method.
2. Hold down the Ctrl key.
3. Click the clip or section you want to move, and drag the audio to a new
location, on the same track or on a different one.
The original audio clip or section remains on the source track and a copy
appears at the destination.
97
98
Chapter 8: Editing Real-Time Effects
You can edit with real-time effects.
• Adding an Effect
• Applying Effects to a Track
• Positioning an Effect
• Setting Effect Duration
• Removing an Effect
• Configuring an Effect
• About Keyframes
• Working with Keyframes
• Trimming Transitions
• Mix Effects
• DVE Effects
• Mask Effects
• Matte Effects
• Stylize Effects
• Title Effects
• Keying Effects
Note: For information about color effects, see "Chapter 9: Color Correction and Color
Effects" on page 127.
CHAPTER 8: EDITING REAL-TIME EFFECTS
ADDING AN EFFECT
Adding an Effect
You add any effect to an edit by doing the following.
TASK
1. Select the track you want in the Timeline.
2. Mark and park the elements of the edit to which you want to apply the effect.
3. Click the Effects button in the Timeline.
The Add Effects dialog box opens.
4. Click the label at the top and select a type of effect.
The list of available effects changes.

5. Select the effect you want from the list, and then click Do It.
The effect is added to the edit.
100
APPLYING EFFECTS TO A TRACK
Applying Effects to a Track
You can apply simple transitions between two adjacent clips on the same track.
Mixes, reveals, pushes, squeezes, and some DVEs can be applied as simple
transitions. Simple transitions are indicated in the Timeline by a light blue strip
between the two clips.
You can also apply effects to one or more tracks. For example, you can apply an
effect to elements such as single clips, parts of clips, or a group of clips on one
or more tracks. All video effects can be applied as multi-track effects.
Multi-track effects are represented in the Timeline by a strip on an FX track
positioned above the effect element on the V track. A strip with the same color
is also displayed on the elements themselves in the Timeline.
If you park on a cut or mark either side of a cut, the effect is applied as a simple
transition. All other mark positions apply the effect as a multi-track effect. For
more information on positioning, see "Positioning an Effect" on page 101.
NOTE: If you select only audio tracks, audio crossfades are applied.
Positioning an Effect
You can select the position of an effect by doing the following
TASK
1. Select one of the Region options at the bottom of the Add Effects dialog box
as described in the following table:
101
POSITIONING AN EFFECT
Position Description
Centered Here Applies the effect centered at the park position; lets you set duration.
From Here Applies the effect forward from the park position; lets you set duration.
To Here Applies the effect backward from the park position; lets you set duration.
Current Applies the effect to the clip you are parked on.
section
Matching Applies the effect between the selected option, for example, Reel or “not
Sections containing.”
Use Mark Applies the effect between mark and park. Available only if you have set a
mark.
If you select Centered Here, From Here, or To Here, a Duration area opens.
2. Select or type a duration in the Duration text box.

3. Select one of the following units:
• Frames
• Seconds, Frames
4. Click Do It.
102
SETTING EFFECT DURATION
Setting Effect Duration
To set the effect duration, do the following.
TASK
1. Position the effect using From Here, Centered Here, or To Here. See
"Positioning an Effect" on page 101.
• Type the duration you want in frames, seconds and frames, or feet and
frames (for film projects), and then press Enter on the keyboard.
• Click the arrow to the right of the duration text box, and select a preset
duration in frames from the list.
Removing an Effect
Remove effects from an edit by doing the following.
TASK
• Right-click the effect and select Remove.
• Mark the effect and then select Delete or Remove on the console.
For simple transitions, the position of the resultant cut is determined by the
park position at the time. If you are not parked within the effect, the resultant
cut appears halfway through the transition.
103
CONFIGURING AN EFFECT
Configuring an Effect
You manipulate each effect in its configuration dialog box. The dialog box
shows all parameters for the effect on which you are currently parked. (For
information about each parameter, see "Mix Effects" on page 109, "DVE Effects"
on page 113, "Matte Effects" on page 115, and "Keying Effects" on page 123.)
To configure an effect, do the following.
TASK
• Right-click the effect in the Timeline and select Configure.
• Click the Effects button, and double-click the effect in the Add Effects
dialog box.
The configuration dialog box opens.
NOTE: When you add a new effect, its configuration dialog box automatically
opens. To avoid this happening, in the Effects tool menu, select Auto configure new
effects > No.
• Move an effect parameter slider.
• Type a value into the parameter’s text box.
If the edit is parked within the effect, changes appear immediately in the edit
viewer and on the output monitor.
104
ABOUT KEYFRAMES
About Keyframes
Most effect parameters are keyframeable. Keyframes allow you to specify the
value for an effect parameter at any point in time within an effect. This allows
properties of the effect to be varied as the effect progresses through time. The
system by default interpolates between the values set at each keyframe, resulting
in a smooth transition between adjacent keyframes.
NOTE: Most parameter's KF buttons are deselected by default. In this mode adjustments
to a parameter are applied for the duration of the effect.
The Progress parameter is on all effect configuration dialog boxes. You use the
Progress slider to control the progress of an effect through time. It sets, for
example, the position of a wipe at a particular time. Unlike other parameters,
Progress for most effects defaults to being Keyframeable. Initially it has two
Keyframes: one at the start of the effect where its value is 0% and one at the end
where its value is 100%.
By adding keyframes to the Progress parameter, the effect can be made to
assume different positions at different times. For example, the wipe can be made
to stop, reverse and then continue to the end. See "Working with Keyframes" on
page 105. As with other parameters, keyframes for Progress can be turned off.
In this case, the effect assumes the value set on the progress slider for the
duration of the effect. In this state the effect is static. This is useful for creating,
for instance, a static wipe.
Working with Keyframes
To add and work with keyframes, do the following.
TASK
1. To add a keyframe, click the Add (+) button in the Keyframes area of the
configuration dialog box.
Each keyframe parameter has a corresponding labeled and color-coded

position strip below the graph.
2. To jump to a keyframe, click the Previous (<) button or the Next (>) button (or
assign a keyboard shortcut to do this).
3. To remove a keyframe, click the Remove (-) button.
105
WORKING WITH KEYFRAMES
4. To adjust keyframe values, do the following:

a Click the Graph button.
The Graph dialog box opens, showing all the keyframed parameters
within the current effect, and how the parameters vary over time. The
value is shown vertically on the Y-axis and time is showing horizontally
on the X-axis. The light and dark areas in the line represent video frames.
b Right-click the keyframe and drag it vertically to the value you want.
The effect at the current time updates in the edit viewer and in the
Keyframes area.
5. (Option) Change the type of interpolation - Smooth or Linear - by clicking the

graphs line.
The type of interpolation switches to the other type.
6. To move a keyframe, right-click the keyframe in its position strip, and then
drag it.
NOTE: You can select multiple keyframes and move them together, which
maintains their relationships.
106
TRIMMING TRANSITIONS
Trimming Transitions
You can trim, slip, or slide a simple transition just as you might trim a clip (see
"Trimming Cuts" on page 82). See the following sections:
• "Trimming a Simple Transition" on page 107
• "Trimming a Multi-Track Effect" on page 108
• "Trimming a Multi-Track Effect with Keyframes" on page 108
Trimming a Simple Transition
You can trim a simple transition effect. If you have Trimview enabled, dragging
the current frame displays certain points in the edit, and if you disable
Trimview, other points are displayed.
To use the Trimview with a simple transition effect, do the following.
TASK
1. Unjoin one end of a simple transition.
3. In the Edit Commands list, select Trimview > Enabled.
The record viewer expands and you see the two sides of a picture trim at the
same time.
4. Drag the current frame marker as described in the following table.
Current Frame Marker Trimview Enabled Trimview Disabled
Before the transition Left Trimviewer displays one frame before The viewer shows the frame at the head of
the head of the transition; right Trimviewer the transition.
displays incoming material at the head of the
transition.
After the transition Left Trimviewer displays outgoing material at The viewer shows the frame after the tail of
the tail of the transition.; right Trimviewer the transition.
displays the frame after the tail of the
transition
107
TRIMMING TRANSITIONS
Trimming a Multi-Track Effect
You can move or trim a multi-track effect exactly the same way you move or
trim a clip. A multi-track effect differs only in the way that keyframes are treated
when trimming.
When you trim multi-track effects, the positions of the elements to which the
effect is applied do not change unless they are being simultaneously trimmed.
Similarly, when you trim clips, the position of their effects on the FX track do
not change unless they are being simultaneously trimmed.
Trimming a Multi-Track Effect with Keyframes
You can shorten or lengthen effects with keyframes in Time-locked mode and
in Proportional mode.
Time-locked mode ensures that keyframes remain locked to edit time when you
trim the tail of the effect. When you shorten an effect in Time-locked mode,
keyframes are deleted when they are trimmed out. When you extend an effect,
the final keyframe values are maintained into the extended region.
In Proportional mode, when you trim the tail of an effect, the keyframes are
moved so they maintain their position in proportion to the overall length of the
effect.
To select a mode, do the following.
TASK
1. Enter trim mode.
2. Select the mode you want from the Trimview Timeline menu.
108
MIX EFFECTS
Mix Effects
The Mix category of effects are described in the following topics:

• "Blend Effects" on page 109
• "Dissolve Effects" on page 110
• "Luma Wipe Effects" on page 110
• "Masked Blend Effects" on page 111
• "Push Effects" on page 111
• "Squeeze Effects" on page 111
• "Wipe Effects" on page 112
Blend Effects
Description: Blends two or more overlapping images. Can also act as a dissolve
into another scene or image. You can select different effects from the Method
list.
The effects are as follows:

• In Front
• Add
• Subtract
109
MIX EFFECTS
• Multiply
• Screen
• Overlay
• Soft Light
• Hard Light
• Exclusion
• Lighten
• Darken
• Average
• Difference
• Color
• Luminosity
• Dodge
• Burn
Dissolve Effects
Description: Simulates a film-type dissolve.

Type: Multi-track or simple transition
Keyframeable parameters: Progress
Luma Wipe Effects
Description: Transition between images based on their luminance.

Type: Allows the clip to transition through color. Either background or
foreground can be selected from the Luma source list. You can vary the size with
the slider or by typing the size into the text box.
Keyframeable parameters: All as DVE.
110
MIX EFFECTS
Masked Blend Effects
Description: A blend between two images using an explicit mask.

Push Effects
Description: Contains a range of push effects where the transition between two
elements is made by one element pushing another off screen.
The effects are as follows:
• Push down
• Push left
• Push right
• Push up
Type: All multi-track or simple transition.
Squeeze Effects
Description: Contains a range of squeeze effects where the transition between

two elements is made by one element entering the screen while squeezing down
the other. The effects are as follows:
• Squeeze down
• Squeeze left
• Squeeze right
• Squeeze up
Keyframeable parameters: All as DVE
111
MIX EFFECTS
Wipe Effects
Description: Wipes the screen, transitioning between outgoing and incoming

elements.
Keyframeable parameters:
Parameter Description
Pattern Offers different choices of wipes in Category list. Includes wipes such as
clock, edge, iris, matrix, Matrix, and user.
Repeats Controls direction of repeat: Across or Down.
Border Size Controls the size of the border applied on the inside edge of a wipe. 0%
produces no border; 100% produces the maximum border available
Border Color Adjusts the color of the border of the wipe. Choice of two colors. First
color appears on the right side when the border is increased. Second color
appears on the left.
Edge Softness Controls the softness of a wipe’s edge. 0% produces a hard edge; 100%
produces the softest edge available.
Progress Switches between the key frames added. Adjusts the progress when a key
frame is created.
Reverse If selected, changes the direction of the wipe, for example, a wipe that
Direction previously wiped from left to right wipes from right to left.
Horizontal Controls horizontal position of the wipe effect.

Position
Vertical Controls vertical position of the wipe effect.

Position
112
DVE EFFECTS
DVE Effects
The DVE category contains a range of picture effects, all of which derive from
the basic Picture-in-Picture and DVE effects. See the following topics:
• "3D DVE" on page 113
• "DVE" on page 114
• "Flip" on page 114
• "Flop" on page 114
• "Split Screen" on page 114
3D DVE
Description: Allows you to move the image in any position you want.
Rotation: Allows you to rotate the image however you want.
X flips the image over using the clock. You can also type a value into the text box
to the left of the clock. The display to the left reflects how many full rotations
have been made.
Y rotates the image around creating a manual flop on the image.
Z rotates the image diagonally.
Positioning: Allows you to position the image however you want.
X positions the image horizontally.
Y positions the image vertically.
Z positions the image from the front of the frame to the back.
Pivot: Allows you to pivot the image however you want.
X moves the image horizontally.
Y moves the image vertically.
Edge Softness
Opacity
Crop
Shadow
113
DVE EFFECTS
DVE
Description: Allows you to move the image, create shadows, and so on.
Scale
Crop
Shadow
Flip
Description: Turns the foreground upside down.

Type: Multi-track.
Flop
Description: Reverses the picture right to left.

Type: Multi-track.
Quad Split Screen
Description: Lets you position four different images within the frame, each
simultaneously independent. Each image has its own partition:
• Top right
• Top left
• Bottom left
• Bottom right
You can control each independently from its section in the Effect tool.
Type: Multi-track.
Split Screen
Description: Two images side by side

Type: Multi-track.
114
MASK EFFECTS
Split Screen and Background
Description: Two images side by side with a gradient background

Type: Multi-track.
Mask Effects
Description: This effect category contains the Mask effect.

Type: Multi-track
• Hue
• Saturation
• Luminance
• Reveal
• Changing the color. You can change the color with the dropper by clicking
the color box and shifting the scales.
• Inverting the mask. Select Invert Mask.
Matte Effects
The Matte category includes effects described in the following topics:

• "Color Bars" on page 116
• "Color Gradient Matte" on page 116
• "Color Matte" on page 116
• "Corner Gradient" on page 116
• "Image" on page 117
• "Simple 2D Shape" on page 117
115
MATTE EFFECTS
Color Bars
Description: Adds color bars.

Type: Multi-track or single transition
Standard. Select 75% or 100%.
Color Gradient Matte
Description: Places a color gradient over the underlying image.

Gradient type. Change the direction of the gradient from top to bottom, left to
right, and so on, by selecting the Type bar in color gradients and selecting the
option you want from the list.
Colors. Select colors for color one and color two. Click the color boxes and select
the color you want. Drag the sliding scale to regulate color extent. The smaller
the extent, the more the image underneath shows through. Activate colors by in
the keyframe timeline by clicking the box to the left of the color box.
Color Matte
Description: Places a color over the top of the image.

Corner Gradient
Description: Creates a color matter for each or a single corner.

Type: Multi-track
116
MATTE EFFECTS
Image
Description: Places an image of the top of the images on the timeline.

• Position X
• Position Y
• Scale
• Crop
• Selecting an image. Click the Choose a File button in the image area, and
then select the drive the image is save in and select the file. The file is
imported and you can select options for it.
Simple 2D Shape
Description: Places a shape over an image.

Type: Multi-track
• Position X
• Position Y
• Width
• Height
• Foreground
• Background
• Softness
• Selecting an image. Click the Shape area box, and then select the shape
from the list.
117
STYLIZE EFFECTS
Stylize Effects
The Stylize category includes effects described in the following topics:

• "Box Blur" on page 118
• "Gaussian Blur" on page 118
• "Glow" on page 119
• "Mosaic" on page 119
• "Obscure (Blur)" on page 120
• "Obscure (Mosaic)" on page 121
• "Posterize" on page 122
• "Radial Blur" on page 122
• "Sharpen" on page 122
• "Sharpen Edges" on page 122
Box Blur
Description: Creates a blur on an image.

Type: Multi-track
• Amount
• Changing the channels
Gaussian Blur
Description: Similar to box blur but creates a different-shaped blur.

Type: Multi-track
118
STYLIZE EFFECTS
Glow
Description: Enhances the brighter colors and gives image a glow-like quality.
Type: Multi-track
• Tolerance
• Feather
• Size
• Strength
• Color
• Source. Lets you select an outline for the glow effect. Click the luminance
box to select a color.
Mosaic
Description: Enlarges the pixels and turns them into larger squares to create a
mosaic kind of effect.
Type: Multi-track
Keyframeable parameter:
• Size
119
STYLIZE EFFECTS
Obscure (Blur)
Description: Combines any of the Stylize effects. The following dialog box
opens, with a wide range of options to select.
NOTE: You might need to resize the window or scroll down to see all options. The
available options depend on which effects you choose to combine.
Type: Multi-track
120
STYLIZE EFFECTS
• Fg Opacity
• Box Blur amount
• Horizontal Position
• Vertical Position
• Mosaic Size
• Red Channel
• Green Channel
• Blue Channel
• Alpha Channel
• Wipe Pattern
• Repeats Across
• Repeats Down
• Border Size
• Border First Color
• Border Second Color
• Border Softness
• Border Progress
• Border Reverse Direction
• Simple 2D Shape
• Simple 2F Position
Obscure (Mosaic)
Description: Same as Obscure (Blur) but with a mosaic effect instead of a blur.
121
STYLIZE EFFECTS
Posterize
Description: Creates pop-art kind of effect on an image.

Type: Multi-track
• Amount
Radial Blur
Description: Creates a blur in a set position within the frame.

Type: Multi-track
• Origin X
• Origin Y
Sharpen
Description: Sharpens the edges of the picture and any fine lines within the
frame.
Type: Multi-track
• Amount
Sharpen Edges
Description: Sharpens the edges within the frame as well as the frame itself.
Type: Multi-track
• Radius
• Strength
• Tolerance
122
TITLE EFFECTS
Title Effects
The Title category includes effects described in the following topics:

• "Crawling Titles" on page 123
• "Rolling Titles" on page 123
• "Lightworks Titles" on page 123
All these effects use Inscriber to create the font and use templates from the
Inscriber application. The sequence is exported into the Inscriber software,
which usually launches automatically. If it doesn’t, click the green launch CG
button to manually launch the application.
Crawling Titles
Description: Titles that crawl across the screen.

Type: Multi-frame
Rolling Titles
Description: Titles that roll down or up the screen.

Type: Multi-frame
Lightworks Titles
Description: Static titles that are in a fixed position in the frame.

Type: Multi-frame
Keying Effects
The Keying category includes effects described in the following topics:

• "Bluescreen and Greenscreen" on page 124
• "Image Key" on page 124
• "Luma Key" on page 125
123
KEYING EFFECTS
Bluescreen and Greenscreen
When you add either of these effects, the Chromakey dialog box opens
Description: Removes color from the front image to reveal the image behind it.
Type: Multi-frame
• Key Color
• Hue
• Saturation
• Key Softness
• Invert
• Reveal
• Remove Spill
Image Key
Description: Lets you insert an image into the frame on top of the other image,
which allows images to run alongside each other and lets you place inserts where
you want them.
Type: Multi-frame
• Fg Opacity
• Position X
• Position Y
• X Scale
• Y Scale
• Crop Left
• Crop Right
• Crop Top
• Crop Bottom
124
KEYING EFFECTS
Luma Key
Description: Replaces the color from an image and can be used for titles and
credits, for example.
Type: Multi-frame
• Tolerance
• Edge Softness
• Invert
125
KEYING EFFECTS
126
Chapter 9: Color Correction and Color Effects
You can use color correction, selective correction, and color effects.

• Color Correction
• Color Correction (HSV)
• Color Correction (RGB)
• Selective Correction
• Color Effects
CHAPTER 9: COLOR CORRECTION AND COLOR EFFECTS
COLOR CORRECTION
Color Correction
Description: Modified the colors within an image.

Type: Multi-track
• Saturation. This section lets you create a black and white image or
emphasize an image’s color; moving the scale to a lower percentage distills
the color.
• Gamma. Controls the luminance of the image.
• Contrast. Also controls the luminance of the image.
• Brightness. Controls the amount of light entering the image.
• Gain. Also controls the amount of light entering the image and affects its
quality. The higher the gain, the more distorted the image becomes as it
takes on a grainy, pixelated quality.
• Balance Section. In this section, you can choose three colors to edit with.
The defaults are black, white, and grey.
You can change these by clicking the dropper tool and selecting a color
within the frame. You can also click the color box on the left side of the
dropper and then manually create the color you want in the RGB scale.
Click the HSV tab on the top of the viewer to select a color from a color
spectrum.
• Tonal Ranges. Defines the ranges of tones from 0% to 100% for the look
you want. Change the definitions you want by clicking the dots and
dragging them. The spectrum changes depending on where you drag
them.
• Shadows. Controls color shades in the color spectrum using the tint hue,
tint amount, and brightness parameters.
• Mid-tones. Controls the mid-tones you want in the spectrum.
• Highlights. Modifies the brighter colors in the images.
128
COLOR CORRECTION (HSV)
Color Correction (HSV)
Description: Adjusts the hue, saturation, and value settings.

Type: Multi-track
• Hue scales
• Hue bias
• Saturation scales
• Saturation bias
• Value scales
Color Correction (RGB)
Description: Adjusts red, green, and blue channels individually. Each of the
options helps to create different effects on the colors in the image. Gamma,
contrast, and brightness adjust the lighting of the image.
To change the color from the default, click the color box and use the scales or
the dropper to create the color you want
Type: Multi-track
• Balance Black
• Balance White
• Balance Grey
• Gamma Master
• Gamma Red
• Gamma Green
129
SELECTIVE CORRECTION
Selective Correction
Description: Similar to color correction but lets you changes up to four

different colors at once.
Type: Multi-track
• Balances
• Saturation
• Gamma
• Contrast
• Brightness
• Gain
Color Effects
The following topics describe the color effects:

• "Color Tint" on page 130
• "Greyscale" on page 131
• "Negative" on page 131
• "Tri-Tone" on page 131
• "Two Tone" on page 132
Color Tint
Description: Tints the whole image in one color.

Type: Multi-track
• Tint Color. To change the color from the default, click the color box and
use the scales or the dropper to create the color you want.
• Amount. Increases or decreases the amount of tint.
130
COLOR EFFECTS
Greyscale
Description: Adjusts the greyscale within an image.

Type: Multi-track
• Channel weight Lets you make colors lighter or darker by adjusting the
red, blue, and green scales within the greyscale.
• Channel contrasts
Negative
Description: Changes the image color to a negative state.

Type: Multi-track
• Level
• Softness
Tri-Tone
Description: Allows you to adapt three colors (dark, mid, and light).
The threshold features let you enhance the chosen colors manually.
Type: Multi-track
• Threshold one. The higher the percentage, the more the image takes on
the color in the dark color box.
• Threshold two. The higher the percentage, the more the image takes on
the mid color; the lower the percentage, the more it takes on the light
color.
• Dark color
• Mid color
• Light color
131
COLOR EFFECTS
Two Tone
Description: Similar to Tri-tone, allows you to adapt two colors (dark and
light).
Type: Multi-track
• Dark color
• Light color
132
Chapter 10: Plug-In Effects and Rendering
Lightworks supports the ability to use several plug-in effects. The currently
supported applications include the following:
• Adobe After Effects
• Adobe Premiere
• Boris FX v9.3.2
• Boris RED v4.3.3
• Combustion 2008
• Inscriber TitleMotion
• Sapphire
For details on working with plug-ins, see the following topics:
• Installing Plug-In Effects
• Using Plug-Ins
• Rendering
• Changing Rendered Material
• Assistant Applications
Installing Plug-In Effects
To install plug-in effects, do the following.
TASK
1. Exit the Lightworks application.
2. Install the plug-in application according to its setup instructions.
You are queried about the type of plug-in system.
• Select the type of plug-in you have.
• For Inscriber, select Premiere Compatible Host, and deselect any other
entries if prompted.
• For Boris applications, select Custom Host.
CHAPTER 10: PLUG-IN EFFECTS AND RENDERING
USING PLUG-INS
4. If prompted for a plug-in directory, type one of the following:

• Windows 7: C:\Users\Public\Documents\Lightworks\Plugins
• Windows XP: C:\Documents and Settings\All Users\Documents\Light-
works\Plugins
5. Start the Lightworks application.

6. Confirm that the plug-in appears in the Timeline Add Effects dialog box.
Using Plug-Ins
To use the plug-in, do the following.
TASK
• Park within the clip in which you want to use the plug-in.
• Mark and park a section of the edit in which you want to use the plug-in.
2. Click the Effects button

The Add Effects dialog box opens.
3. At the bottom of the list, select the plug-in from the Plug-Ins category, and
then click Do It.
The plug-in starts and the video from your edit opens in a window.
134
RENDERING
4. Use the plug-in.

5. When you are satisfied with the effect, do one of the following:
• Click the Apply button.
• Select File > Save.
The plug-in closes and the effect appears in your edit.

6. Step through the edit frame by frame to see the effect.
NOTE: You only need to render the effect if you have a Combustion effect that
crosses a cut point.
Rendering
To render all or part of an edit, an effect, or a plug-in, do the following.
TASK
1. Decide how long you want the effect to last in your edit. If you want it to be
shorter than the edit, mark and park within the effect.
2. Click the Advanced button in the Timeline.
The Timeline expands.
3. Click the Render button.

The Render dialog box opens.
135
CHANGING RENDERED MATERIAL
4. Select the task you want, which vary depending on the tracks you have (for
example, if you have and FX track and V1 and V2 tracks, you can select All
Effects for each track):
• Marked section. If you did not previously mark and park, you must do so
now.
• Current effect. You must be parked within the effect.
• Clips (consolidated).
• Unplayable sections.
• All effects on track.
5. Select a destination disk, format, compression, and file format.

• Click Do It.
• Place the cursor over the effect, right-click, and select Render.
When the render finishes, the material is placed within the edit.
Changing Rendered Material
If you want to make a change in rendered material, do the following.
TASK
1. Right-click the rendered material within the edit.
2. Select Reconfigure.
The clip is returned to its unrendered version.
3. Make the changes you want, and then render again, following the procedure
in "Rendering" on page 135.
4. To use the plug-in again on this material, right-click the effect, select
Configure, make the changes you want, and then render again, following the
procedure in "Rendering" on page 135.
136
ASSISTANT APPLICATIONS
Assistant Applications
You can use effects programs such as Discreet Combustion and Eyon Digital
Fusion with Lightworks by using the Assistant Application feature to apply
advanced effects to video. Within an edit, you can mark and park a section and
then launch a third-party application from within Lightworks. An EDL opens
that describes what material you have used and where to locate it when you use
a third-party application. After you apply an effect to the material, you can
import the clip directly back into the edit.
• "Adding, Changing, and Removing a New Assistant Application" on page
137
• "Using Assistant Applications" on page 139
• "Importing Material Rendered in an Assistant Application" on page 140
Adding, Changing, and Removing a New Assistant Application
You add, change, or remove new assistant application from the Effects menu.
Do the following.
TASK
1. Click the cogs icon in the Effects dialog box.
2. Select Assistant Applications.
The Assistant Applications dialog box opens.
3. Click Add.
The Add Assistant Application dialog box opens.
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4. For applications installed on your Lightworks system, click the Executable

button.
The Executable dialog box opens.
5. Navigate to the .exe file, select it, and click Do It.

You are returned to the Add Assistant Application dialog box.
6. Type a name for the application in the Name text box.
NOTE: This is the name that appears on the Timeline. It does not have to match
the executable name.
7. Click the Output Directory option.
The Choose Directory dialog box opens.
8. Navigate to the folder where you want to save clips rendered by the
application, select the folder, and click Do It.
9. Click Do It in the Add Assistant dialog box.
The new application is added to the list of defined applications, and is
available in the Timeline and in the Video Routing window.
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10. To change a defined assistant application, click the Change button, change
what you want, and then click Do It.
11. To remove an assistant application, select the application, click Remove, and
then click Do It.
Using Assistant Applications
After you add an assistant application, it appears in the Timeline Effects menu.
You can use the application to define a section of an edit where the rendered
material will be placed once it has been created. The configuration dialog box
for the assistant application lets you direct the output, associate a project or
workspace with an effect, describe the effect, and launch the assistant
application.
To use the configuration dialog box, do the following.
TASK
1. (Option) In the Output Director text box, change the output directory you
selected in the Add Assistant dialog box as described in "Adding, Changing,
and Removing a New Assistant Application" on page 137.
2. In the Project File text box, define a project or workspace you want to
associate with this effect.
NOTE: This is particularly useful when the assistant application is installed on the
same machine as Lightworks, since the application launches with the correct
project file. If the application is not on the same machine, it still keeps track of
which file or workspace was rendered to form the material for the effect.
3. Type text describing the effect in the Notes text box.
The text is displayed on the viewer when you are parked inside the effect.
4. Click Launch to start the assistant application.
NOTE: This button is unavailable if you did not select an executable.
5. To see a list of which material files are referenced by the effect, click List
Sources.
6. To generate new pieces of material exactly the same length as the effect, click
Flatten Sources.
The V tracks connected to the effect (for the region defined by the start and
end of the effect) are flattened, creating one material files for each
connected track.
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Importing Material Rendered in an Assistant Application
When you have rendered material in an assistant application, you need to

import it into Lightworks. Do the following.
TASK
1. In the Timeline, right-click the assistant application effect.
2. Select Replace with Import.
A dialog box opens.
3. Navigate to the rendered material file, select it, and click Do It.
The material is imported and inserted into the edit.
NOTE: If you import a single image this way, Lightworks performs an automatic
varispeed so the image fills the effect duration.
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Chapter 11: Editing When Playing Multiple
Sources
Lightworks makes playing and editing material from multiple sources simple,
quick, and flexible. You can update up to four sources locked together in real
time, depending on the type of material and the method you choose, but you can
lock together as many sources as you want.
Lightworks offers several methods for playing multiple sources simultaneously:
• Play the record viewer and a single source viewer together
• Play four sources together in real time
• Play more than four sources, with at least four in real time
NOTE: Playing back multiple pictures at the same time completely and smoothly depends
on the available resources and system bandwidth limitations.
• Playing Two Sources
• Playing Using Sync Groups
• Live Editing
Playing Two Sources
You can lock the record viewer and a single source together for twin playing by
doing the following.
TASK
1. Park the record viewer at the sync frame you want.
2. Park the source viewer at the sync frame you want.
3. Press Alt+2.
4. Click one of the viewers, and press the Play button on the console.
Both viewers play. The audio for the active viewer is routed to the audio
monitoring system.
CHAPTER 11: EDITING WHEN PLAYING MULTIPLE SOURCES
PLAYING USING SYNC GROUPS
5. To stop twin playing, do one of the following:

• Click the Stop button.
• Press Alt+1.
Playing Using Sync Groups
The sync group feature lets you lock together multiple sources (clips, subclips,
or edits) so they play in synchronization. For example, you can use a sync group
to set up multi-camera events for live editing (see "Live Editing" on page 149).
All sources do not have to have the same timecode, as synchronization can be
by timecode or by a selected sync point (frame).
When you place a tile in a sync group, it immediately becomes synced with all
other tiles in the group. It is only the individual tile that is synced, not the
original clip or edit. The same clip can appear in many different sync groups,
represented by separate tiles that are all synced by different methods and at
different points.
CAUTION: Even though the same clip can appear on the screen in more than one place,
there is only one copy of the material on disk. Deleting the material for a clip that
appears in one sync group deletes it everywhere it appears.
• "Generating a New Sync Group" on page 143
• "Selecting a Sync Method" on page 143
• "Combining Sync Methods" on page 144
• "Combining Sync Methods" on page 144
• "Removing a Source from a Sync Group" on page 145
• "Displaying Sync Groups on Screen" on page 146
• "Displaying the Lock Indicator" on page 146
• "Changing the Lock Frame" on page 147
• "Displaying Synced Tiles as Viewers" on page 147
• "Playing Sync Group Tiles and Viewers" on page 148
• "Match-Framing for Sync Groups" on page 148
• "Working with Kemrolls" on page 149
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Generating a New Sync Group
To generate a new sync group, do the following.
TASK
1. Click the Sync Group icon on the Toolbar.
The Sync Group window opens with a default name of Sync Group 1.
2. Select Sync Group 1 and type a new name.
Selecting a Sync Method
You can sync with timecode or with lock-frame. You can also combine
methods; see "Combining Sync Methods" on page 144.
To select a sync method, do the following.
TASK
1. Click the Cogs icon in the Sync Group window.
The Sync Group options window opens.
143
2. In the Sync Group Commands area, select an option from the Sync To list.
If you select Lock-frame, tiles are synced together by the frame each clip is
parked on when you place it in the sync group.
3. If you select Timecode, select an option from the When Timecode, Sync To list
as described in the following table.
Option Description
V The timecode is taken from the video channel of the master clip. This is
the default.
A1 The timecode is taken from the first audio channel of the master clip.
A2 The timecode is taken from the second audio channel of the master clip.
Combining Sync Methods
You can combine the two sync methods if, for example, all clips do not share the
same timecode. The following procedure describes a situation where clips A and
B have matching timecodes and clips C and D do not.
TASK
1. In the Sync Group Commands area, select Sync To > Timecode.
2. Place clip A in the sync group.
The timecode of the clip becomes the master timecode reference point.
3. Place clip B in the sync group.
The position of clip B is matched to the timecode reference point of clip A.
Both clips are now in sync.
4. In the Sync Group Commands area, select Sync To > Lock-frame.
For the clips A and B, the master timecode reference point is now also the
lock-frame.
5. Set clips C and D to the frame you want while they are still outside the sync
group.
6. Place clips C and D in the sync group.
Clips C and D are now in sync with clips A and B even though you used a
different sync method.
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Adding Sources to a Sync Group
You can add a clip, subclip, or edit as a tile to a sync group. You can add a single
tile or a bin of tiles. The first four tiles to be added to a sync group are
automatically assigned to video outputs 1 to 4 in order and to console Cut
buttons 1 to 4. The video output also determines which console Cut button the
viewer is represented by for live editing (see "Live Editing" on page 149).
To add sources to a sync group, do the following.
TASK
1. Make sure you have already selected a sync method as described in "Selecting
a Sync Method" on page 143.
2. Display the clip, subclip, or edit as a tile.
• Open a sync group, and drag the tile into the sync group.
• Display all the tiles you want in a Bin, open an empty sync group so it
overlaps the Bin, and select Fill from Bin from the Sync Group
Commands area.
All the tiles are added to the sync group and are synced by the method
you selected. The sync group is given the same name as the Bin it was
filled from.
Removing a Source from a Sync Group
To remove a source from a sync group, do the following.
TASK
1. Select the source in the sync group.
2. Click the Close button of the tile.
The clip is no longer a member of the sync group, and is no longer synced. If
it had been displayed as a viewer, this closes, too.
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Displaying Sync Groups on Screen
You can display sync groups on the screen in several ways. You can have only
one sync group open on screen at one time. To change the sync group display,
do the following.
TASK
1. To display the sync group as fully open, open a sync group and make sure the
button on the bottom right reads Normal.
2. To display only members of the sync group that are displayed in viewers, click
the Normal button until it reads Compact.
The display shrinks. This saves system resources and reduces clutter on your
screen.
3. To minimize the sync group, click the Minimize button.
Displaying the Lock Indicator
The Lock indicator appears only on clips that are part of the displayed sync
group. On tiles, the Lock indicator is in the top left corner. If a clip or edit is
displayed in the sync group, the indicator displays L for Lock-frame and L: for
Timecode.The clip name on a viewer appears in green if it is locked and flashes
green and red if it is unlocked.
You can view the lock-frame in the Lock indicator by doing the following.
TASK
• Click the L.
The lock-frame for the edit is displayed.
NOTE: If you selected to sync to timecode, clicking the L has no effect.
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Changing the Lock Frame
You can change the lock frame of any clip after you have placed it in a sync
group by doing the following.
TASK
1. Click the tile or viewer you want to change.
2. Open the Sync Group options window.
3. Click the Pin button so the window stays on the screen.
4. Select Allow Lock Adjustments > Yes.
The Lock indicator flashes green and red on the currently active tile or viewer.
5. Use the console to find the new lock-frame.
6. Select Allow Lock Adjustments > No.
The Lock indicator reverts to its usual green. The new lock-frame is set.
Displaying Synced Tiles as Viewers
You can display synced tiles as viewers by doing one of the following.
TASK
• Click the viewer button of the tile to display the clip or edit in a viewer, and
then click it and drag it to the position you want.
• In the Sync Group options windows, select Display viewers. When you close a
a sync group, the viewers close, and when you open that sync group again,
any viewers that had been displayed automatically open again.
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Playing Sync Group Tiles and Viewers
You can play all members of a sync group. To play sync group tiles or viewers,
do the following.
TASK
1. To play all members of the sync group, click one tile or viewer.
2. Press the Play button on the console.
The currently active tile or viewer plays smoothly, and any other players
assigned to video outputs 1-4 play. Other members of the sync group update
slowly and jump to the correct sync frame with you click Stop.
Match-Framing for Sync Groups
You can use the match-framing feature to force a sync group to display the same
frame as an edit that you generated from that sync group, or to force an edit to
display the equivalent frame to that being shown by a sync group.
To use match-framing, do the following.
TASK
1. Display the edit.
2. Make sure the sync group it was created from is open and set to Normal, with
the tiles or viewers visible.
3. Select the viewer or tile you want to match to.
This can be the edit or one of the members of the sync group.
4. Park on the frame you want to attach to.
5. Press the space bar or press Ctrl+M.
All members of the sync group and the edit display the matched frame.
6. To jump the record viewer to a matched frame, park any member of the sync
group on a frame and press the space bar.
NOTE: The source clip that the edit is parked on must be a member of the sync
group and currently displayed as a viewer or as a tile, or the sync group must be
open and set to Normal. The edit itself does not have to be a member of the sync
group.
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LIVE EDITING
Working with Kemrolls
The kemroll features produces an edit that has black or audio spacing between
clips, so the edit has a continuous timecode. Kemrolls can be useful for a
multi-camera edit if some of the sources are not continuous recordings. To align
kemrolls, do the following.
TASK
1. In the Sync Group options window, select Sync to > Timecode.
2. If you have several kemrolls in a sync group, select Align Kemrolls.
Any black common to all the kemrolls is removed. This avoids the need to
play or search through black sections when you edit.
Live Editing
Lightworks can play four or more separate sources together in real time, called
concurrent playing. If you lock them together as a sync group, you can cut
between the sources as they run to create an edit on-the-fly, in a similar way to
live vision mixing. Lightworks calls this live editing.
• "Strategies for Live Editing" on page 150
• "About the Console Cut Buttons" on page 150
• "Starting and Stopping Live Editing" on page 151
• "Viewing an Edit Created by Live Editing" on page 152
• "Changing an Edit During Live Editing" on page 152
• "Resuming Live Editing" on page 153
• "Adding Edits to Sync Groups" on page 154
• "Resuming Live Editing" on page 153
• "Live Editing to an Audio Track" on page 155
• "Undo and Redo When Live Editing" on page 157
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LIVE EDITING
Strategies for Live Editing
The live editing feature makes editing from multiple sources quick and simple.
It is worth taking some time to consider how you can best use this feature to
produce the desired end result. This depends on the nature of the production,
how many camera sources it uses, and how it is divided up. The following
examples illustrate two scenarios.
Example 1: A studio drama, clip as a series of scenes each lasting a few minutes.
1) Use live editing to cut each short scene separately.
2) Disable live editing and then use the Timeline to trim the edit of each
scene.
3) Join the scene edits together into the final show.
Example 2: A four camera concert consisting of long ISO camera recordings.
1) Use live editing to create a single edit.
2) Correct mistakes immediately after they are made by running back and
changing the edit during live editing.
Picking up after stopping during a live editing session involves some
complicated steps and it might be simpler to create a separate new edit to
resume live editing. You can add this to the end of the original edit later.
About the Console Cut Buttons
When you are live editing, the top four buttons on the console - Mark, Unmark,
Swap, and Cue - function as Cut buttons.
When live editing is enabled and the viewers are playing, pressing one of the
console Cut buttons cuts to the source it represents and adds it to the edit at that
point, in a similar way to live vision mixing.
When live editing is enabled, you cannot use the top four buttons on the console
for their normal editing functions, even when the sources are not playing.
During live editing, you can see each cut on the video output the record viewer
is assigned to.
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LIVE EDITING
Starting and Stopping Live Editing
To start live editing, do the following.
TASK
1. Lock the source clips, edits, or subclips together using a sync group.
2. Display the viewers in the sync group.
3. Open a new edit and put it into Record mode.
The console buttons now operate as Cut buttons.
4. Click one of the source viewers.
NOTE: The audio from the selected source is monitored throughout the live editing
session, irrespective of cuts you make. You do not hear audio edits as they are
made, only when you play back the completed edit.
5. Start playing the sources by pressing the console Play button.
6. At the source In point you want, press the console Cut button for the first clip.
The edit is created.
NOTE: To make the selected clip the first one in an edit, press its console Cut button
as soon as it plays.
7. Press a console Cut button again.
The clip is added to the edit as an open-ended replace.
8. Cut to any other source by pressing its console Cut button.
9. To edit in slow motion, move the console lever.
10. To monitor live edits, connect monitors to the appropriate video outputs (if
you have and I/O card installed).
The four individual sources display as they play. The monitor connected to
the video output the record viewer is attached to displays each cut as it
is made.
11. To stop the edit, do one of the following:
• Press the console Stop button.
• Move the console lever to the Stop position for more than five seconds.
NOTE: The record viewer on the graphics screen does not play during live editing.
It either remains empty or displays the first frame of the clip you cut to.
The top row of console buttons continue operation as Cut buttons if you play
or shuttle any of the sources in the sync group. If you press any of the console
Cut buttons, the edit just created is overwritten.
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LIVE EDITING
Viewing an Edit Created by Live Editing
To view an edit you created by live editing, do the following.
TASK
1. Stop live editing by pressing the console Stop button.
2. Click the record viewer to make it active.
The record viewer displays the first frame of the edit you just created.
3. Press the console Play button.
The edit plays as usual.
Changing an Edit During Live Editing
If you need to change a cut while you are live editing, you need to correct it as
soon as possible. You cannot amend a cut point without overwriting all the
following clips, because every cut to another source during live editing is an
open-ended replace edit. The source clip is laid down to its end, overwriting any
later events in the edit.
To change an edit while live editing, do the following.
TASK
1. Press the console Play Reverse button or the Lever to go back to a point before
the cut was made.
NOTE: Do not press the console Stop button.
NOTE: When you are live editing with Alt+E enabled, a monitor connected to the
switched output shows the last source you cut to. It does not show the contents of
the edit you created and does not reflect the true content of the edit when you go
back before the last cut.
2. Press the console Play button or the Lever to resume playing.
3. Press a console Cut button to select the new cut point and source.
The edit is not changed until you press another console Cut button.
4. Continue live editing.
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LIVE EDITING
Resuming Live Editing
You can resume live editing if the following conditions are met:
• Live editing is still enabled
• The sync group containing the sources is still open
To resume live editing, do the following.
TASK
1. Park the record viewer containing the edit at the pick-up point you want.
2. Press the space bar or Ctrl+M.
All members of the sync group jump to match the current frame of the edit.
NOTE: The edit does not need to be a member of the sync group.
3. Click one of the sources.
You hear the audio from this source.
5. Press the appropriate console Cut button at the In point you want.
Any cuts you now make are added to the edit after the point where you
parked the record viewer. This gives only an approximate pick up because the
new clips only added to the selected pick-up point when you press a console
Cut button.
6. Correct the pick-up point by doing the following:
a At the end of the live editing session, press the console Stop button.
The record viewer is parked at the first frame after the point the pick up
took place.
b Trim with the original source timecode display and the tear-off
timecode feature to position the pick-up point on the correct frame.
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LIVE EDITING
Adding Edits to Sync Groups
Edits can be members of a Sync Group.

NOTE: An edit in a Sync Group cannot be the current record viewer - you cannot play it
in the Sync Group and add cuts to it at the same time.
• "Syncing and Editing by Lock-Frame" on page 154
• "Syncing and Editing by Timecode" on page 154
Syncing and Editing by Lock-Frame
This is the most straightforward method and works with the Sync Group synced
to timecode or lock-frame.
Do the following.
TASK
1. Display the edit as a viewer or a tile.
2. Display the Sync Group the edit was made from
3. Make sure the Sync Group is ‘Open’ and ‘Normal’ so the tiles are visible.
4. Click the Cogs icon, and select Sync to > Lock-frame.
5. Use the match frame feature (press Ctrl+M) to park the edit and members of
the Sync Group on the same frame.
6. Display the edit in a tile and drop it into the Sync Group.
The edit is now locked to the other members of the Sync Group at that
lock-frame.
Syncing and Editing by Timecode
This method involves changing the timecode of the edit to match the sources. It
is only applicable if the Sync Group the edit was created from was synced to
timecode.
Do the following.
TASK
1. Display the edit as a viewer.
2. Display the Sync Group the edit was made from.
3. Make sure the Sync Group is Open.
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LIVE EDITING
4. Use the Display Viewers command on the Sync Group menu, or display one of
the tiles as a viewer.
5. Click the edit.
6. Use the match-frame feature (press Ctrl+M) to park the edit and the viewers
that are members of the Sync Group on the same frame.
7. Display the Viewer Labels dialog box for the edit.
8. Click the Modify button
9. Tear off the source timecode from one of the source viewers.
10. Drop the timecode strip into the current timecode field on the Viewer Labels
dialog box (or read it from the source viewer and type it in by hand).
11. Close the Viewer Labels dialog box.
The edit timecode has now been changed to match the source clips
12. Display the edit viewer in a tile and drop it into the Sync Group.
The edit is now locked by timecode to the other members of the Sync Group.
Live Editing Picture Only
Before starting live editing, deselect any audio channel(s) on the record viewer.
NOTE: The audio for the viewer highlighted at the start of the live editing session is the
audio that is monitored.
Live Editing to an Audio Track

• "Audio and Three Other Sources" on page 155
• "Four Picture Sources with a Separate Audio Track" on page 156
Audio and Three Other Sources
To live edit picture to a soundtrack, do the following.
TASK
1. Create an audio-only edit of the audio track, and then make that edit a
member of the Sync Group.
The edit is one of the sources that runs. This means that only three sources
are available to cut to.
2. Display the audio-only edit in a viewer.
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LIVE EDITING
3. Click the Rec button on the viewer.

4. Deselect the audio channels and select the video channel, using the Channel
Selector buttons.
5. Click the record viewer to make it active
The edit in the record viewer is played (and its audio is monitored).
7. Press the console Cut buttons to cut picture only onto the audio track.
NOTE: Because it is a member of the Sync Group, the record viewer attempts to
play and tries to show any live edits as they are made. It is likely that there will be
some delay in updating the picture in the record viewer. Refer to the video output
to see each edit as it is made.
Four Picture Sources with a Separate Audio Track
To run four picture sources with a separate audio track, do the following.
NOTE: This method has the advantage that four picture sources can then be run together
with the audio.
TASK
1. Edit the audio onto one of the picture sources in the correct sync relationship.
2. Make the edit containing the picture and audio a member of the Sync Group.
3. Make this one of the four source viewers that are run during live editing.
4. Check that the audio channels for the edit are selected.
5. Deselect the audio channels on all the other source viewers.
6. Ensure the viewer containing the audio is highlighted when starting to live
edit, so that its audio is monitored.
7. Start live editing. Make sure the viewer with the audio is the first one that is cut
to. This lays the audio down to the end of the edit. Any cuts made to the other
sources do not overwrite this if the other source viewer audio channels are
deselected.
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LIVE EDITING
Undo and Redo When Live Editing
An edit created using the live editing feature has not been edited in the same way
as other edits created on the Lightworks system. The Undo and Redo buttons
cannot be used to undo and redo the cuts made when live editing.
However, once an edit created by live editing is modified (using the console or
Timeline, in the normal way), Undo and Redo work for the subsequent edits
as usual.
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LIVE EDITING
158
Chapter 12: Playing Out your Edit
After you complete an edit, you can record it onto an external VTR or disk
recorder. This process is called Playout.
NOTE: If you want to export your edit to another Lightworks system or to an audio
workstation for audio finishing, you might be able to do this as a digital format exchange.
See "Chapter 21: Exporting and Importing" on page 253.
For successful playout, you need to correctly configure the appropriate
connections for video output, audio output, timecode, and machine control.
You then need to connect the outputs from the system to the inputs of the
external machine.
For information about playout, see the following topics:
• Playout Options
• Performing Controlled Playback
• Playing out an Edit
• Making an Audio-Only Version of an Edit
• Synchronizing with No Video Input
• Enabling Burned-In Timecode
Playout Options
You can play out any clip, subclip, or edit on the Lightworks system for
recording onto an external record machine (VTR or disk recorder). Edits that
you play out using any of the following methods can contain real-time effects
from multiple video tracks as well as rendered effects.
You can play out a clip or edit in two ways:
• Simple Playback. You play the clip or edit in a viewer, as usual, and
manually put the VTR into record. Lightworks does not control the
destination machine and timecode is not output.
• Controlled Playback. You use the playout viewer to allow Lightworks to
control an external VTR. You can use any of the following types of
controlled playout:
CHAPTER 12: PLAYING OUT YOUR EDIT
PERFORMING CONTROLLED PLAYBACK
– Insert Edit (prestriped) Playout. This makes an insert edit onto a

prestriped tape.
– Assemble Edit. This makes an assemble edit with timecode gener-
ated by Lightworks.
– Crash Record. This makes a playout to tape with timecode starting
at zero.
Performing Controlled Playback
For controlled playback, do the following.
TASK
1. Click the Playout Tool icon on the Toolbar.
The playout viewer opens.

The playout menu opens.
160
3. Select a Playout type as described in the following table.
Playout Type Option Description
Insert-edit (pre-striped) Select this option for a prestriped playout. Performs an insert edit on the recorder,
overwriting the tracks on the destination that you select using the track Selector buttons on
the right side of the playout viewer. The selected section is inserted on the prestriped tape at
a position corresponding to the edit time of that section.
Conditions specific to prestriped playout include the following:
• The recorder must be capable of executing an auto-edit.
• The tape used must be prestriped with timecode of the correct standard.
Assemble-edit Select this option for a timecode generation. Performs an assemble edit (all selected tracks
plus timecode) on the external record device. The external record device must be manually
set to record the playout.
For assemble edit playouts with the video track selected, the timecode standard for the
playout automatically matches the TV standard of the current project, as follows:
• PAL 1080i, 1080p(sf)24: 25-frame timecode
• PAL 24, 1080p(sf)24: 25-frame timecode
• NTSC 1080i: 30-frame non-drop-frame timecode
• NTSC Drop: 30-frame drop-frame timecode
• NTSC 24, 1080p(sf) 23.98, 1080p(sf)24: 30-frame timecode
• NTSC Drop 24: 30 drop-frame timecode
4. Click Set preroll time in seconds.

The Set Preroll Time in Seconds dialog box opens with a default of
10 seconds.
5. Type a time and click Do It.
NOTE: The preroll time must be long enough for Lightworks to synchronize to the
destination device. Lightworks does not recommend using values under 10 seconds.
6. Click Set postroll time in seconds.
NOTE: For assemble edits, this option is Set post-record time in seconds.
The Set Postroll Time in Seconds dialog box opens with a default of 0 seconds.
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7. Type a time and click Do It.

8. Select a start timecode for playout by doing the following:
NOTE: The timecode associated with each video frame, for either timecode
generation playout or for prestriped playout, is the same as the edit (record)
timecode of that frame.
a Click the Viewer Labels button (the black triangle next to the viewer
timecode).
b Select Enable Modifications.
c Click Edit Play T/C.
d Type a timecode and then press Enter.
e Deselect Enable Modifications.
The timecode associated with each frame of the edit shifts.
9. To select machine control of the record (destination) device, click the Standby
button as follows:
NOTE: For prestriped playout, you must use machine control. For timecode
generation playouts, you can use machine control if you want, but you do not need
to.
• Standby Off - the console controls the edit in the playout viewer.
• Standby On - the console (or transport controls in the playout viewer)
controls the device, if it is set up with serial control
10. To stop playout before completion, click the Stop button in the playout
viewer.
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PLAYING OUT AN EDIT
Playing out an Edit
To play out an edit, do the following.
TASK
1. Click the Playout Tool icon on the Toolbar.
The playout viewer opens.
2. Minimize edits, clips, and subclips to tiles.

3. Drag the tile over the playout viewer and right-left click.
The edit appears in the viewer.
4. Click the Device button and select the device you want.
NOTE: If the Device option reads No Device, click it to add a new device.
5. Click the Device Connections button and set the video output.
6. Assign audio outputs by doing the following:
a Click the Cogs icon, and select Audio Mixer Panel.
The Audio Mix window opens.
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PLAYING OUT AN EDIT
b Select the audio outputs you want.

7. Select a Playout type as described Step 4 in "Performing Controlled Playback"
on page 160.
8. Click the track buttons for the video and audio tracks you want.
9. Adjust the edit start time by clicking the timecode area, selecting Modify,
typing the new timecode, and pressing Enter.
10. Load a tape into the destination VTR or audio recorder.
NOTE: For prestriped playouts, the tape must be prestriped with timecode of the
correct standard.
11. Select Standby Off, and then mark and park the section for the edit you want
to play out.
NOTE: If you do not mark a section, you are prompted for verification for the
playout to default to the whole edit.
12. Click the Start button.
If you selected a timecode- generated playout, the recording starts at the
preset position. If you selected a prestriped playout, the tape cues to the edit
timecode and recording starts.
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MAKING AN AUDIO-ONLY VERSION OF AN EDIT
Making an Audio-Only Version of an Edit
You can make an audio-only version of an edit.

Do the following.
TASK
1. Click the Copy button on the viewer.
A message box opens asking if you want to make a copy of the edit.
2. Click All.
A copy of the edit is made.
3. Click the Record button on a viewer, and then click the Timeline button.
4. Click all the Audio buttons on the left edge of the Timeline so they become
gray, and leave the Video button selected.
5. Press the Stop and left Jump buttons on the console.
The red current-frame marker jumps to the first frame of the edit.
6. Press Mark.
7. Press the Stop and right Jump buttons on the console.
The red current-frame marker jumps to the last frame of the edit.
8. Press Remove.
The picture is removed from the edit, leaving black. You can use this version
of the edit to play out sound without picture.
Synchronizing with No Video Input
If the recording device does not have video input, the external recorder can’t use
the system video output as its sync reference. If the recorder can lock to the
system timecode produced by timecode generation playout, you can use this for
synchronization.
The synchronized playout mode can control the Tascam DA88 if the DA88 is
running version 3.0.1 or later and is fitted with the SY88 synchronizer card
version 3.06 or later.
Set the DA88 switches by doing the following.
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ENABLING BURNED-IN TIMECODE
TASK
1. Select Switch S3#7 > 1.
Preset track arming is disabled.
NOTE: You must assign tracks and arm manually.
2. Select Switch S3#6 > 1.
Rapid Fast Forward, Rewind, and Cueing is enabled.
Enabling Burned-In Timecode
Burned-in timecode (BITC) lets you display any combination of available labels
and text on viewers. You can save these combinations and later apply them to
any other viewer as follows:
• Any clip labels and clip text can be displayed on clip viewers.
• Any clip labels, clip text, and edit labels can be displayed for each track of
an edit viewer.
• You can also change the font, color, and transparency of a BITC label.
To enable BITC, do the following.
TASK
1. Right-click a viewer or click the Edit menu.
The Edit menu opens.
2. Select BITC Panel.
The BITC Overlay dialog box opens.
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3. Select the track you want to display labels from.

4. Select Overlay Enabled.
BITC labels are displayed on the viewer.
5. In each of the tabs, select the labels you want to display.
The labels appear in the middle of the viewer. If you selected many labels,
they appear under each other.
6. Move a label off the stack by clicking it and dragging to a new location.
7. Resize a label by clicking the border and dragging it to a new size.
NOTE: You can move and resize labels only while the BITC Overlay window
is open.
8. Change the font by selecting a new one from the Font list.
9. Select a font style by selecting Bold or Italic.
10. To save the layout, do the following:
a Click the Cogs icon.
The Overlay Options dialog box opens.
b Select Save layout as, and then type a name and press Enter.
The overlay is saved to the BITC Overlay window.
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168
Chapter 13: Edit Decision Lists
The edits on Lightworks are stored on the system in a proprietary edit decision
list (EDL) format. When your edit reaches the stage where an EDL is required,
the system can translate this internal EDL to one of several standard formats.
You can then export the EDL to a CD or via a network
• Requirements for a Correct EDL
• EDL Export
• Re-editing after an Online
• EDL Import
Requirements for a Correct EDL
When you translate the internal EDL to a standard EDL format, the system
refers to the logs of the clips used in the edit to obtain the reel ID and timecode
information. In order to produce a correct EDL, the following conditions must
be met:
• Logs for all clips (and subclips) used in the edit must be present in the
same project as the edit.
• Source timecode must be correctly logged for every clip used.
• The correct source tape reel ID must be logged for every clip used.
• Any special conditions applying to the EDL format must be adhered to.
Also see the following topics:
• "Reel ID Truncation" on page 170
• "EDLs for NTSC Projects" on page 170
CHAPTER 13: EDIT DECISION LISTS
EDL EXPORT
Reel ID Truncation
Certain EDL formats only support three-digit reel IDs. In these cases, the reel
ID is truncated during the EDL-generation process by removing the least
significant digit. For example, the reel ID of 1001 is truncated to 001 in a CMX
340 EDL. For this reason, Lightworks recommends that you type all reel
numbers as 3 digits, for example, 003 instead of 3.
NOTE: You need to take the limitations of the EDL format into account when you assign
reel IDs during shooting or recording.
EDLs for NTSC Projects
In an NTSC project, the edit timecode type (drop or non-drop) is determined

by the project TV standard at the time the edit was created. It is not determined
by the timecode standard of the source clips. An edit can intercut both drop and
non-drop source clips. Any EDLs generated use a record timecode type that
matches the edit viewer timecode TV standard, and source timecodes that
match the timecode standard of the source clips.
EDL Export
EDL generation for export involves the following process

• Selecting EDL in the Export tool. See "Selecting EDL Options" on page
170.
• Selecting EDL options. See "EDL Options" on page 172.
Selecting EDL Options
To select EDL options, do the following.
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EDL EXPORT
TASK
1. Click the Export icon on the Toolbar and drag it onto the edit.
The Export dialog box opens.
2. Select Format > EDL.

The Format area expands.
3. Select the options you want.

4. Click Advanced Options > Change.
The EDL Generation dialog box opens.
The name of the edit appears at the top of the dialog box.
5. Select options as described in the tables in "EDL Options" on page 172.
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EDL EXPORT
6. Close the EDL Generation Options dialog box, and then click Start.
The EDL is exported.
EDL Options
The following tables describe EDL options in the EDL Generation dialog box:
• EDL Export Options
• EDL Common Options
• EDL Default Options
• EDL Dump Reel Options
• EDL Comments Options
• EDL Audio Options
• EDL Optimise Options
EDL Export Option Description
Type Displays a list of available EDL types.
Resolution Displays available resolutions.
Sort Mode Displays possible sort modes. The way events in the EDL are sorted can affect the efficiency
of the online conform. Because B-, C-, D-, and E-Mode EDLs cannot be rippled by the edit
controller, Lightworks recommends always generating an A-Mode EDL along with any other
mode you need.
NOTE: Definitions of EDL sort modes can vary for different equipment.
The Lightworks sort modes are the following:
• A-Mode: Ascending record-in times (that, edit order). The only mode than can be altered
in the online.
• B-Mode: Ascending reel number; for each reel, ascending source-in times. More efficient
for short edits.
• C-Mode: Ascending reel number; for each reel, ascending record-in times. More efficient
for long edits.
• D-Mode: The same as B-Mode, except dissolves and wipes are at the end of the list.
• E-Mode: The same as C-Mode, except dissolves and wipes are at the end of the list.
Because the B- and C-Mode EDLs are in reel-number order, they tend to be used more for
autoconforming.
Track Mapping Lets you select and deselect tracks.
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EDL EXPORT
EDL Export Option Description
Advanced Options Opens the EDL Generation Options dialog box. See the following tables.
EDL Common Option Description
Make dump reel Lets you make a dump reel to use in the online. If your edit includes dissolves or wipes
between two clips from the same source reel, you might need to make a dump reel. Left-click
the Yes/No button to select whether you want a dump reel.
If you select Yes for Make Dump Reel, the system creates a separate EDL for the dump reel.
By default the dump reel appears as reel ID 900 in the main EDL
Merge Channels Lets you merge video and audio cuts in an edit that are simultaneous (that is, vertical cuts
within the same timecode).
Keep audio crossfades Lets you prevent audio dissolves from being included in the EDL. Select No if your edit
controller is unable to deal with dissolves on audio tracks.
Source T/C type for Select Primary TC. Select Prefer Audio TC if your audio clips have original audio timecode
Audio-only EDL in addition to primary timecode.
When logging clips, you can the Viewer Labels dialog box to enter a separate original audio
timecode and Reel ID.
Original audio timecode and original audio reel ID can also be read from LTC or VITC
using an appropriate label mapping set.
Record-side T/C type for Depending on the Project Standard, this command allows you to select:
Audio-only EDL • 24 or 25 frame timecode for PAL 24 projects.
• 24 or 30 frame timecode for NTSC 24 projects.
For PAL and NTSC projects, this setting is 25 and 30 frame timecode respectively, and
cannot be changed.
Use Print Timecode Lets you decide whether to include print timecode or the original timecode.
Skip black events Controls whether black in an edit is listed as an event in the EDL.
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EDL EXPORT
EDL Common Option Description
Remove All Comments Lets you create an EDL without any comments in it. Overrides all other options that include
comments in the EDL, for example, varispeed, track mapping, clip name, and so on.
Force Clean List By default, EDLs produced by the Lightworks system use various shortcuts or optimizations
to minimise the time spent autoconforming the edit.
For example, if you have a 20-second clip with video and audio, and in the middle of this clip
there is a 2-second cutaway, the system makes one event that records the 20-second clip
(video and audio) followed by one event that goes back and records the 2-second cutaway
over the 20-second clip.
Optimization means that you can’t reorder the EDL once it has been generated, as if the
2-second clip were recorded before the 20-second clip then the 2-second clip would be
overwritten. If you want to reorder the EDL after it has been generated, select Force Clean
List > Yes. This produces an EDL without shortcuts.
If you select Force Clean List > No, the EDL includes as many shortcuts as possible. A
comment is inserted at the end of the EDL if the list is dirty. This is to enable an online editor
to ascertain whether the list can be manipulated in the online suite.
EDL Default Option Description
Lift CMX3000 Channels Changes the way A3 and A4 are represented in CMX3600 format.
Usually, the text indicating A3 and A4 is placed following the event. Select Yes to represent
A3 and A4 in the same way as A1 and A2.
NOTE: If the EDL also lists A1 and A2, this option does not work.
Default Reelid For an edit containing a clip with no reel ID, specified the reel ID to be placed in the EDL.
Default is 000.
Pad Reelid with Zeroes Causes any short reel IDs to be made up to the full length with zeroes. Some edit controllers
do not accept an EDL that contains reel IDs that are not of a specific length. These
controllers also tend to be those that do not accept letters in reel IDs. For example, a reel ID
of 1 becomes 001 if the EDL format chosen specifies three characters for reel IDs.
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EDL EXPORT
EDL Default Option Description
Default Filename Specifies the location to which EDLs are written when Default is selected as the output path.
The default filename must be specified as a valid path and must be acceptable to the online
controller that is to be used.
Start Reel for Alpha > Num Specifies the number at which the numeric reel IDs should start. Some edit controllers
cannot deal with alphanumeric reel IDs (those containing letters). If an EDL is being
generated for a controller that must have numeric reel IDs, any alphanumeric reel IDs used
are translated to numeric reel IDs.
For example, with Start Reel for Alpha->Num set to 200, the following translations are made
to reels originally named “Graphics” and “Captions”: “Graphics” becomes “200”. “Captions”
becomes “201”.
A list of mappings made are included, as a comment, at the start of the EDL.
For varispeed events, the comment in the EDL refers to the original alphanumeric reel ID,
not the mapped one. A varispeed of the reel “Graphics” would have a comment of the form:
COMMENT: <<Speed change>> Reel “Graphics” speed is 012.5 fps (50%)
Override Alph > Num Overrides any alphanumeric to numeric mapping normally required by the selected EDL
Mapping format. The default setting is No
Wipe-code mapping Changes mapping of dissolves.
Use base-zero for missing Creates a 24p timecode from the clip’s primary timecode; used when the source clip does not
24f T/C have a 24p timecode.
NOTE: Use only in special circumstances. If you are unsure, contact EditShare Lightworks
Technical Support.
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EDL EXPORT
EDL Dump Reel Option Description
Make dump reel Specifies whether a dump reel is created, if needed, for the EDL (same option as on the
Common tab).
If your edit includes dissolves or wipes between two clips from the same source reel, you
might need to make a Dump Reel to use in the online.
Dump Reelid Specifies the reel ID given to events in the main EDL that reference the dump reel.
Dump Reel Filename Determines the filename used for the EDL. Initially a default name is displayed.
Dump Reel Handle Handle (in seconds) for the source material listed in the dump reel.
EDL Comments Option Description
Remove All Comments Lets you create an EDL without any comments (same option as in the Common tab).
Include Effects as Adds descriptions of effects used in an edit.

Comments
Use Clip Name List Follows each event with a comment line specifying the name of the current clip.
List All Reels Used Puts a list of all reels used in the edit at the top of the EDL.
Comments for Dissolves Follows each dissolve event by a descriptive comment.
Comments for Audio Inserts a comment describing audio track mapping after the relevant event in the EDL. Use
Source where, for example, a clip with one video and two audio tracks is inserted into an edit, with
audio track 1 of the clip being put into audio track 4 of the edit.
Audio Source Comment Specified the text to be used for comments for audio source options.
Text
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EDL EXPORT
EDL Comments Option Description
Comments for Varispeed Determines whether each varispeed line in the EDL has a descriptive comment.
Text for Varispeed Specifies the text for the varispeed comment.
Comment
EDL Audio Option Description
Keep audio crossfades See Common tab options.
Source T/C type for For audio-only clips, select Primary TC (video timecode).
Audio-only EDL
Record-side T/C type for Edits timecode type.

Audio-only EDL
Comments for Audio If audio mapping is present, adds comments about audio source.
Source
Audio Source Comment Adds prefix for audio source comments.

Text
What source-reelID for Specifies if ReelID is used for clip name or original filename.
audio-only EDL
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EDL EXPORT
EDL Optimization Option Description
Merge channels See Common tab options.
Use Split Edits Includes split edits in the EDL where appropriate.
Combine Dissolves Similar to Merge channels, but for dissolves rather than straight cuts. For example, if a
dissolve on a video track has the same timecodes as an audio dissolve (crossfade) from the
same reel, the two events are merged.
Split Cut/Dissolve Pairs Inserts comments pertaining to the cut part of a cut/dissolve between the cut and dissolve
lines.
Generate Excalibur-style Creates non-standard Excalibur-compatible EDLs (with a zero-length cut before every
EDLs dissolve.
Skip black events Ignores black video sections.
Use Preread Lets dissolves and wipes between two sources on the same reel to be performed without a
dump reel by using the master record reel as one of the sources. Certain VTRs have extra
heads to allow (almost) simultaneous reads and writes to a given tape. Preread can be
performed only in a correctly configured digital edit suite.
NOTE: You have to decide what to call the master record reel. This might depend on the partic-
ular online suite. Consult your online editor. Enabling preread allows preread events to be
generated only in A-Mode. If you select Combine Dissolves > Yes, you can allow preread events
to be merged across tracks.
Recorder Reel ID Defaults to preread.
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RE-EDITING AFTER AN ONLINE
EDL Optimization Option Description
Force Clean List By default, EDLs produced by the Lightworks system use various shortcuts or optimizations
to minimise the time spent autoconforming the edit.
For example, if you have a 20-second clip with video and audio, and in the middle of this clip
there is a 2-second cutaway, the system makes one event that records the 20-second clip
(video and audio) followed by one event that goes back and records the 2-second cutaway
over the 20-second clip.
Optimization means that you can’t reorder the EDL once it has been generated, as if the
2-second clip were recorded before the 20-second clip then the 2-second clip would be
overwritten. If you want to reorder the EDL after it has been generated, select Force Clean
List > Yes. This produces an EDL without shortcuts.
If you select Force Clean List > No, the EDL includes as many shortcuts as possible. A
comment is inserted at the end of the EDL if the list is dirty. This is to enable an online editor
to ascertain whether the list can be manipulated in the online suite.
Re-editing after an Online
The print feature provides a video change list after an edit created on the system
is onlined. Often, small changes are required after the online, and the fastest way
of making them is to use the first online master as a source tape for the new
online. This method is particularly suitable when you work with digital
videotape. If you use this method, you can perform the offline re-edit on the
system using a print of the original edit as a source, as if it were the first online
edit master.
You can make a print of the original edit (that was used for the first online) and
give it the same timecode start and reel ID as the first online master. The
resulting EDL allows the first online master to be used as a source in the new
online.
To re-edit after an online, do the following.
TASK
1. Display the original edit that you want to re-edit.
NOTE: The edit must be exactly the same as the online edit. Any changes made at
the online stage are not present in the edit.
2. Select Make Print.
The print opens in a new tile and a filecard opens.
The print is designated by a flag icon in the upper-left corner of the viewer or
tile. It shares most of the characteristics of a subclip. For more information
about subclips, see "Subclips" on page 25.
By default the edit start time is 00:00:00:00 and a reel ID of PRINT.
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EDL IMPORT
3. (Option) Change the edit start time and reel ID to match the online master.
4. (Option) Select a setting for Use Print Timecode in the EDL Options Common
window as follows:
• No - Timecode and reel ID in the EDL are derived from the original clips,
if their logs are present in the project.
• Yes - Timecode and reel ID in the EDL are derived from the print.
EDL Import
You can import EDLs from edits made on other equipment and work with them
on the Lightworks system. There are certain requirements that must be met to
import an EDL successfully. These relate to the EDL itself and to the way the
system reads and interprets the information in the EDL during the import
process.
The EDL must meet the following requirements:
• EDL format supported by Lightworks.
• A-mode sorted and clean.
• Have no more than four audio tracks.
• In ASCII text file format.
• Project TV standard appropriate to the TV standard of the EDL.
• "Mapping Audio Tracks" on page 181
• "Project TV Standard When Importing NTSC EDLs" on page 181
• "Importing an EDL" on page 181
• "Changing Handles after EDL Import" on page 181
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EDL IMPORT
Mapping Audio Tracks
The system assumes events on audio track 2 of the EDL came from source audio
track 2. This means no mapping is assumed to have taken place
If the EDL contains audio mapping comments, these are read and interpreted
during the import process as audio mapping instructions.
If comments in the EDL state that events on track 2 came from source track 1
(that is, mapping has taken place), the dummy logs created for those events has
an audio track 1, not an audio track 2.
Because audio track mapping determines what audio tracks are added to any
dummy logs created, this in turn affects which audio tracks are recorded.
Project TV Standard When Importing NTSC EDLs
The NTSC timecode standard of the project should be set to match the standard
of the record events in the EDL to be imported, not the source events. If the
record events are in drop-frame timecode, the project TV standard should be set
to NTSC Drop at the time the EDL is imported. Source events in the EDL may
contain a mixture of drop and non-drop timecodes, and the import process
preserves these.
Importing an EDL
To import an EDL, you use the Import tool. See "Importing" on page 259.
Changing Handles after EDL Import
The import procedure creates dummy clips only for those events in the EDL for
which there is no existing clip in the project with the correct timecode range and
reel ID. If you import an EDL with one-second handles and then decide that you
actually need to have three-second handles, you must destroy the dummy clip
logs created by the first import procedure before changing the handle size and
importing again.
If you do not do this, when you import the EDL again, no new dummy clips are
be created, because the ones created during the first import procedure already
exist in the project. These are used in the imported edit and do not have the new
handles.
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EDL IMPORT
NOTE: The dummy clips created by the import process do not represent real clips and do
not behave like other clips without material (clips that have had their material deleted).
This means the dummy clips cannot be found by searches using the Searchcard.
Do the following.
TASK
1. Open the edit made from the imported EDL.
2. Select Bin of Clips.
The dummy clips are displayed.
3. Select Destroy Clips, Material Edits, and Subclip.
The dummy clips are destroyed.
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Chapter 14: Projects and Rooms
It is essential that a project is set up with the correct options for both the source
material and type of project you are working on. You select these options in the
tabs on the Project Card. You can also set editor preferences and key
assignments.
• Project Card Settings
• Selecting Tool Preferences
Project Card Settings
To select project settings in the Project card, see the following topics:
• "Opening the Project Card" on page 184
• "Selecting Project Details" on page 184
• "Selecting Video Options" on page 185
• "Selecting Stereoscopic 3D Options" on page 188
• "Selecting Audio Options" on page 189
• "Selecting Film Options" on page 191
• "Selecting Miscellaneous Settings" on page 192
• "Updating the Project Card" on page 194
CHAPTER 14: PROJECTS AND ROOMS
PROJECT CARD SETTINGS
Opening the Project Card
To open the Project Card, do the following.
TASK
• Click the project name in the top left corner of the screen.
The Project card opens to the Details tab.
The frame rate, creation date, and location display.
Selecting Project Details
Project details are displayed in the Details tab. You can change the project frame
rate and you can add comments.
NOTE: The Creation Date and Location fields are informational only. Creation Date is
the date the project was initially set up, and Location shows where the project is stored on
your system.
To display project details, do the following.
184
TASK
1. Open the Project card.
2. Select a frame rate family from the Frame Rate list.
NOTE: You can change the project frame rate only before you ingest material.
A frame rate family supports a range of compatible frame rates. The available
families are as follows:
• 24 fps. Supports 23.98, true 24 fps, and 48 fps material
• 25 fps. Supports 25 fps and 50 fps material
• 30 fps. Supports 29.97, true 30 fps, and 60 fps materia
All material subsequently ingested (recorded or imported) into the project
must be of a compatible frame rate.
3. (Option) Type comments describing the project in the Notes text box in the
lower half of the tab.
Selecting Video Options
Lightworks can scale video in real time to play out video in any compatible
format, regardless of the source material format. You can also select
letterboxing and aspect ratio options, and stereoscopic 3D options.
To select options on the Video tab, do the following.
TASK
1. Open the Project card and click the Video tab.
185
2. Select one of the following formats:
25 fps project 30 fps project 24 fps project

output output output
PAL 4:3 4:3

16:9 16:9
NTSC 4:3 4:3

16:9 16:9
720p 50 fps 59.94 50 fps

60 fps 59.94
60 fps
1080i 25 fps 29.97 fps 25 fps,

30 fps 29.97 fps
30 fps
1080p (sf) 25 fps 29.97 fps 23.98 fps

30 fps 24 fps
25 fps,
29.97 fps
30 fps
3. Select if you want full SD frames or not.

4. Select a precision level: 8 bit or 10 bit.
5. Select a display optimization: Fields or Frames.
6. Select an effects update interval : Fields or Frame.
7. Select Letterboxing > Configure.
NOTE: Source material with 4:3 and 16:9 aspect ratios can be contained together
in the same project or edit.
The Letterboxing & Aspect Ratio dialog box opens.
186
8. Select options as described in the following table.
Aspect Ration Conversion Full frame Full zoom Partial zoom
Displaying narrow as wide The entire image displays The 4:3 image is enlarged so A medium enlargement.
(4:3 as 16:9) with black bands on each it fills the width of the 16:9
side. frame. The top and bottom
of the 4:3 image are cut off.
Displaying wide as narrow The entire image displays The 16:9 image is enlarged A medium enlargement.
(16:9 as 4:3) with letterboxing at top so it fills the height of the 4:3
and bottom. frame. Both sides are cut off.
9. Select Stereo 3D > Configure.

The Stereo 3D dialog box opens.
NOTE: For details about configuring Stereo 3D, see "Selecting Stereoscopic 3D
Options" on page 188.
10. Click Do It.
187
Selecting Stereoscopic 3D Options
You select stereoscopic 3D options on the Video tab of the Project card.
NOTE: To import stereoscopic files, see "Importing Stereoscopic Media" on page 263.
To select stereoscopi 3D options, do the following.
TASK
1. Open the Project card and click the Video tab.
2. Select Stereo 3D > Configure.

The Stereo 3D dialog box opens.
3. For each of viewers, tiles, and output monitors, select an option.
188
NOTE: Output Monitors has the additional option, Interlace. If your system
includes an I/O card, an additional option, Left-Right Dual Stream, appears. It is
selected by default, and sends the left eye out through SDI 1 and the right eye out
through SDI 2.
4. Click Do It.
Selecting Audio Options
In the Audio tab, you select the sampling rate, track grouping, and soft-cut
duration.
NOTE: Normalisation appears in the dialog box but is disabled by default, because the
decibel rate is 48 kHz for all projects.
The audio rate is the sampling rate for digitizing incoming audio. When you
start a new project, you need to make sure the audio rate is set correctly before
you record any audio. The type of machines you use for audio input and output
determine the setting. If you set your project to a different rate from the audio
you are recording, Lightworks does a sample rate conversion.
Select audio options by doing the following.
TASK
1. Open the Project card and click the Audio tab.
2. Select an audio rate.

3. Select a delay for the audio monitor in fields (0-12).
4. Select a soft-cut duration (clips audio crossfade) in milliseconds (ms) for all
audio cuts.
5. To select normalisation, click Configure.
The Normalisation dialog box opens.
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6. Select a clip type option: For all clip types, Based on clip type, or disabled.
If you select Based on clip type, all clip types display.
7. Select a normalisation level for your selection and click Do It.

8. Click Track Grouping > Configure.
A dialog box opens.
9. (Option) Click “Automatically group audio tracks” to group all tracks.
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10. Deselect “Automatically group audio tracks” and select a setting for each kind
of track as follows:
• Related tracks. Groups all related tracks of ingested material.
• Only for stereo content. Groups all stereo tracks, such as CD imports, and
so on.
• Never. Does not group any tracks.
Selecting Film Options
Select film options by doing the following.
TASK
1. Open the Project card and click the Film tab.
2. Select the film speed from the camera as follows.
NOTE: This is usually set at the initial project setup.
• 24fps for PAL SD, 1080i25, 1080p(sf)24, 1080sf25, NTSC SD, NTSC 24, and
720p 59.94
• 30fps for NTSC HD, 1080i 29.97
3. Play viewers at is usually set according to project setup. You can change it only
for 24fps projects.
4. Select a sync film-set option as follows:
NOTE: This is usually set at the initial project setup.
• Straight film @25fps for PAL, 1080sf24, 1080p(sf)25
• Straight film @30fps for NTSC HD, 1080i 29.97
• Pulled-down @24fps for NTSC SD, 720p 59.97
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Selecting Miscellaneous Settings
To change miscellaneous settings, such as password and room decor, do

the following.
TASK
1. Open the Project card and click the Misc tab.
2. To change your password, click Password > Change.

The Set Project Password dialog box opens.
3. Type a new password and press Enter.

You are prompted to type the password again.
4. Type the password again, and press Enter.
A confirmation dialog box opens.
5. Close the confirmation dialog box.
6. To change the wallpaper for your project, select Room Decor > Change.
The Room Decor dialog box opens.
192
7. Navigate to the .bmp file you want and click OK. To revert to the default gray
background, navigate to the Images folder, select textdefault. bmp, and click
OK.
The Images folder is stored in the following locations:
• Windows 7: C:\Users\Public\Documents\Lightworks\Images
works\Images
8. To run hardware output tests, see
9. Click Do It.
Running Hardware Output Tests
You can test your hardware outputs by doing the following.
TASK
1. Open the Project card and click the Misc tab.
193
2. Select Hardware Output Tests > Run.

The Hardware Output Tests dialog box opens and a signal sounds.
3. Select the options you want, and then click the Close button.
Updating the Project Card
When you change formats or enter a room, the new audio information and
duration are not shown, and the database displays *Update* (see proj
card). You can update the Project card to display the correct audio
information and duration.
To update the information, do the following.
TASK
1. Open the Project card.
2. Click the Misc tab.
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EDITOR PREFERENCES
3. Select Project Database > Update.

Lightworks gathers the information and displays the update when it is ready.
NOTE: This process can take some time, depending on the size of the project.
Editor Preferences
You can select tool and key preferences in the Preferences dialog box. See the
following topics:
• "Selecting Tool Preferences" on page 195
• "Selecting Key Assignments" on page 196
Selecting Tool Preferences
To select tool preferences, do the following.
TASK
1. Click the fingerprint icon in the Toolbar.
2. To set your current arrangement of tools as the default, in the Tools area click
Set default position.
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EDITOR PREFERENCES
3. If you move tools elsewhere, send them back to the default arrangement by
clicking Tidy.
4. To copy the tool arrangement to any new room you create, select
Auto-generate tools in new rooms.
Selecting Key Assignments
You can assign keys or combinations of keys for tasks you do often, and you can
import your keyboard preferences from your Avid or Final Cut Pro editing
application.
You can also use a physical keyboard suited to your language or region, and
import the appropriate preferences for that keyboard.
Do the following.
TASK
1. Click the fingerprint icon in the Toolbar.
2. Click Change/view key assignments.

The Key Assignments window opens.
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EDITOR PREFERENCES
3. Assign individual keys or sequences of key presses by doing the following:

a Select the function you want in the Commands column.
b To sort the functions in alphabetical order, click a column heading.
c Click Assign Key.
The Choose Key dialog box opens.
d Press a key, or key combination, on the keyboard or one of the eight

User keys on the console. If the key is unassigned, click on Add Key.
4. To import key assignments from an external device, close the Key
Assignments window and click Import in the Preferences dialog box.
The Import Preferences dialog box opens.
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EDITOR PREFERENCES

• Select the preferences file you want.
• Click Places, and then navigate to the file you want
6. Click OK.
Your preferences are imported.
198
Chapter 15: Searching for Clips and Edits
You can search for clips, edits, and effects templates in several ways.
• Specifying Search Parameters
• Searching
Specifying Search Parameters
You can specify what you want to search for in several ways and in several
combinations.
Do the following.
TASK
1. Click the Search icon on the Toolbar.
The Search dialog box opens.
2. In the Logs tab, select which kinds of items you want to search for.
You can search in any combination. Any option you do not select is ignored
in the search. If you select Clips, you can also select if you want the search to
include clips with or without picture and sound.
3. Type text you want to search for into the text box next to any of the categories
such as Name, Reel, and so on.
CHAPTER 15: SEARCHING FOR CLIPS AND EDITS
SPECIFYING SEARCH PARAMETERS
4. To specify timecode, select Timecode, and then type the timecode into the
text box.
If you are searching for clips, the system looks for a match on primary
timecode. If you are searching for edits, the system looks for a match on edit
time. If the timecode you type lies anywhere within the start and end times for
a clip (or edit), that clip (or edit) is selected.
5. To specify date parameters, see "Searching by Date" on page 201.
6. To search in a particular location, select Location, click the location field, and
select the disk you want to search.
7. If you want to display the results in a bin, click Bin.
8. To match only whole words, select Match whole words only.
If you select this option, searching for ‘cat’ yields only other instances of ‘cat.’
If you deselect the option, searching for ‘cat’ would yield, for example,
‘alleycat,’ ‘cat23,’ ‘concatenate,’ and so on.
9. Click the Groups tab.
10. Select which of permanent bins, permanent databases, permanent racks, and
sync group bins you want to search for.
You can search in any combination. Any option you do not select is ignored
in the search.
11. Type the text you want to search for in the text box.
12. If you want to display the results as a list, click Display results as a list.
NOTE: You can display results as a database list and then use the Database Search
option to search within that database.
13. Click Search.
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SEARCHING
Searching by Date
You can search by date by doing the following.
TASK
1. Make sure you have selected at least one of Clips, Subclips, or Edits in the Logs
tab.
2. Select Creation Date.
Date information appears on the line.
3. Click the On field and select an option: On, Before, or After.
4. Click the day, month, and year fields, and select the date you want.
Searching
You can search for everything in a project, or you can search for specific clips,
subclips, or edits. You can also search for specific clips within an edit.
TASK
1. To perform a simple search of everything in the database, open the Search
dialog box, select one or more of Clips, Subclips, or Edits, select Bin or List, and
click Search.
All clips, subclips, edits, and templates in the Project are displayed.
2. For a more specific search, type or select parameters as described in
"Specifying Search Parameters" on page 199, and then click Search.
The clips or edits you are searching for are displayed as they are found.
3. To search for a specific clip or subclip within an edit, do the following:
a Click the References tab.
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SEARCHING
b Click the first field and select a category to search for.

c Click the second field and select one of the following: Equals, Contains,
Is Not, Doesn’t Contain.
d Type the text you want to search for in the text box.
e Select an option for what to do after the match is found.
NOTE: Selecting Edit of matches creates a new edit from the results of the
search and can be very useful to assistant editors.
f Click Search.
The results are displayed in the form you selected.
4. If, during a search, you see what you need and want to stop the search before
it has finished, press Esc or the Space bar.
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Chapter 16: Bins and Logging Databases
A bin is a table of clips and edits displayed as text rather than as pictures.
A Logging database is used for batch digitizing into the Lightworks system.
This chapter covers generic features for bins and Logging databases and
describes how you can use them to manage projects on the Lightworks system.
• Creating Bins
• Working with Bins
• Saving Bins
• Merging Bins
• Breaking down Recordings Using Autochop
• Updating Clip Logs after Recording Using Retrofit
Creating Bins
You can create a bin in several ways. Do any of the following.
TASK
• Click the Bin button at the top of the Project card (see "Opening the Project
Card" on page 184).
A bin is created with all the clips, edits, and subclips in the project. Clips are
listed whether they have material or not.
• In the Logs tab of the Search dialog box, select Display as Bin and then run the
search (see "Specifying Search Parameters" on page 199).
The results of the search are displayed as a bin.
• Click the Bin button at the top of the Edit menu.
A bin is created with all the clips used in the edit.
• Select Bin of Clip References in the Edit menu.
A bin of all edits in the Project that use that original clip.
CHAPTER 16: BINS AND LOGGING DATABASES
CREATING BINS
NOTE: You can pop out an edit from the bin by clicking it.
• To create a bin of all clips not used in an edit, see "Creating a Bin of Clips Not
Used" on page 204.
Creating a Bin of Clips Not Used
You can create a bin of all the clips not used in an edit. This can be useful when
you are archiving and deleting material from the system. You can create this bin
in two ways:
• Using the Clips Not Used command
• Using a bin of all clips in the project
Do the following.
TASK
1. To use the Clips Not Used command, do the following:
a In the Search dialog box, search for the edit by name and display the
results as a bin (see "Chapter 15: Searching for Clips and Edits" on page
199).
b In the Search dialog box, search for all clips and subclips (but not edits)
in the Project, and display the results as a bin.
c Position the bin containing the edit so its bottom left corner overlaps
the top right corner of the bin containing the clips.
d Open the menu in the bin containing the edit and select Clips Not Used.
A tile opens with an edit called “Clips Not Used” that contains all clips
not used in the original edit.
e Review the edit, and then click the Bin button on the Edit menu to
generate the bin of clips not used.
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WORKING WITH BINS
2. To use a bin of all clips in the project, do the following:

a Click the Bin button on the Edit menu to generate a bin of all clips used
in the edit.
b In the Search dialog box, search for all clips (but not edits) in the Project,
and display the results as a bin.
c Position the bin of all clips in the project so its bottom left corner
overlaps the top right corner of the bin containing the clips used in the
edit.
d Select Tag Duplicates in the menu of the bin of all clips in the project.
All clips in the project bin that appear in the bin of clips used are
tagged.
e Click the Invert Tags button in the bin.
Tags are removed from the tagged clips and placed on the other clips
in the bin. The tagged clips are now the clips not used in
your edit.
f Click the Show Tagged button in the bin of all clips in the project and
remove all untagged entries. The bin now contains only clips not used
in the edit.
Working with Bins
You can work with bins and bin fields in various ways. See the following topics:
• "Displaying Bins" on page 206
• "Changing the Order of Fields" on page 207
• "Saving Views" on page 207
• "Moving Around in a Bin" on page 207
• "Resizing a Bin" on page 208
• "Bin Duration Field" on page 208
• "Field Cut-and-Paste Shortcuts for Logging Databases" on page 209
• "Tagging Entries" on page 209
• "Popping out a Tile from a Bin" on page 210
• "Dropping a Tile into a Bin" on page 210
• "Naming a Bin" on page 210
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WORKING WITH BINS
• "Bin Permanence" on page 211

• "Auto Synchronising" on page 211
• "Searching Bins" on page 212
• "Searching and Replacing in Bins" on page 213
Displaying Bins
You can display bins and the items in them in different ways. You can store
several views within a project and customize them with all or only some of the
fields in the bin. Views can help you organize the bin information. Do any of the
following.
TASK
• Click the Cogs icon and select Bin of Clip References to display a bin of all edits
in the project that use the clip.
• Click the Bin button in a bin to display any tagged item.
• Click the Cogs icon, open the Columns list, and select a view from one of the
following.
• Film. Includes all the film labels, for example, Keykodes and Inkcodes.
• Minimum. Name, Reel, Start Time, End Time.
• Video. Includes all the fields on a clip log.
• Audio. Like Minimum but with tracks and Pulldown included.
• Project. The default view for the project, set in the Views window.
Bins produced by searches use the default view for the project if you have set
one. If you haven’t, bins and Logging databases initially open with the
following fields:
• Name Reel
• Start Time
• End Time
• Tracks
• Quality
• Scene
• Clip
• Who
• Description
• Notes
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WORKING WITH BINS
• Click the Cogs icon, open the Columns list, and select Customise.
The Bin Views window opens, listing all fields available, with the ones in the
current view tagged.
Select the Display box to display the fields you want.
Changing the Order of Fields
To change the order of fields, do the following.
TASK
1. Shift-click the name of the field and drag it up or down the list.
2. Repeat Step 1 for each field until list is in the order you want.
3. Click the Use button to change the bin view.
4. (Option) Select the Set as Default option.
The current selection of fields is stored as default. The next time you generate
a bin, it uses the default view.
Saving Views
To save views, do the following.
TASK
1. Click Save in the Bin Views window.
2. Type a name for the view, and then click OK.
The named view is saved and added to the list of views displayed when you
click the Views button in the bin.
Moving Around in a Bin
You can use the keyboard to move around in a bin. Do any of the following.
TASK
• Click the Left Arrow to move to the previous field.
• Click the Right Arrow to move to the next field.
• Click the Up Arrow to move to the previous row.
• Click the Down Arrow to move to the next row.
• Click Tab to move to the next field.
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WORKING WITH BINS
• Click Shift+Tab to move to the previous field.

• Click PG UP to scroll up.
• Click PG DN to scroll down.
• Click Ctrl+PG UP to go to the first row in the bin.
• Click Ctrl+PG DN to go to the last row in the bin.
Resizing a Bin
You can resize a bin.

NOTE: If you make it smaller, you might not be able to see all of the columns and fields
on the screen at the same time.
Do the following.
TASK
1. Click any edge of the bin and drag it.
2. To view obscured entries, press the scroll buttons or click the scroll bar and
drag it.
The selected entry remains constant until it moves out of the display
window, then the top or bottom item is selected.
Bin Duration Field
The duration field shows the duration of each clip or edit entry in the bin. For
NTSC Projects, duration fields are always drop-frame, so that they are accurate
for time, even in non-drop-frame Projects.
For Logging databases, you can use the duration column to calculate in-points,
out-points or durations. For example, to calculate an Out-point, type the
In-point and the duration.
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WORKING WITH BINS
Field Cut-and-Paste Shortcuts for Logging Databases
A series of keyboard shortcuts allow you to cut and paste the contents of fields
within Logging databases. These keystrokes are listed at the end of the key
assignment list.
You can use the following shortcuts for Logging databases:
• Alt+H - Stores current row
• Alt+Y - Pastes current row
• Alt+T - Deleted current row
• Alt+D - Duplicates current row
• Alt+B - Inserts a blank row before the current row
You can paste the stored rows or fields to other Logging databases. You cannot
paste a stored row from a Logging database to a bin. Records from Logging
databases do not represent valid bin entries.
Tagging Entries
Tagging an entry selects it for an operation, for example, recording or deleting.

To tag entries, do the following.
TASK
1. Click next to an individual entry.
2. To tag all entries, click the Tag button at the top of the column. Click it again
to untag all entries.
3. To reverse the tags on all entries, press Ctrl and click the Tag button.
All entries that were tagged are not tagged and all entries that were not
tagged are now tagged.
4. In Logging databases only, click the Show Tagged button to show only entries
that are tagged. Click it again to show all entries.
5. In Logging databases only, to remove tagged entries, click the Remove
Tagged button.
The entries are removed from the Logging database.
NOTE: The actual material, logs, or edits represented by those entries are not
removed.
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WORKING WITH BINS
Popping out a Tile from a Bin
You can pop a tile out from a bin by doing the following.
TASK
1. Place the mouse over any field of the entry for the clip or edit you want to
display.
2. Right-left click the item.
The clip or edit is displayed in a tile.
NOTE: You cannot pop out a tile from a Logging database.
Dropping a Tile into a Bin
You can create a new entry in a bin corresponding to a clip or an edit by

dropping a tile into the bin. Do the following.
TASK
• Drag the tile over the bin.
A new entry is created and the tile disappears.
NOTE: You cannot drop a tile into a Logging database. A new entry is not created
if the clip or edit is already in the bin.
Naming a Bin
You can name or rename a bin by doing the following.
TASK
1. Click the name bar.
2. Type a new name, and then press Enter.
This also makes a transient bin permanent.
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WORKING WITH BINS
Bin Permanence
A bin can be Permanent or Transient.

Transient is the normal state of a newly generated bin. If you delete or delete a
transient bin, you can only get it back on the screen by generating it again. A
transient bin has a blue name label.
If you close a permanent bin, you can get it back on the screen by searching for
it using the Search dialog box. A permanent bin has a green name label.
Bins are automatically made permanent when you rename them.
You can switch the status of a bin between permanent and transient by clicking
on the Bin menu command Bin Permanence.
Auto Synchronising
The Auto Synchronise feature syncs separate audio and video together based on
the labels selection. This feature can be useful in workflows where the sound is
being imported separately from the video, and they need to be synced together.
You can choose how to display the results as a sync or as an edit.
To use Auto Synchronise, do the following.
TASK
1. In the Bin menu, select Auto Synchronise.
The Synchronise dialog box opens.
2. Select options, and then click Do It.

A Syncing Bin progress box opens, showing the attempted sync. When the
process finishes, two bins open — one containing the unsynced material and
one containing the synced material.
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WORKING WITH BINS
3. Work with the synced material.
Searching Bins
To search a bin, do the following.
TASK
1. Click the Cogs icon and select the search option you want.
The Bin Search window opens, with a list of the fields currently displayed in
the bin, with a text entry to the right of each field name.
2. Select the text entry you want, and then type text.
3. Press the Backspace and Delete keys if you need to edit the text within a single
field. To clear text, click the Clear button.
4. To move between fields, click the mouse.
NOTE: For bins, do not press Enter. Pressing Enter starts the search.
5. To match only whole words, select Match whole words only.
If you select this option, searching for ‘cat’ yields only other instances of ‘cat.’
If you deselect the option, searching for ‘cat’ would yield, for example,
‘alleycat,’ ‘cat23,’ ‘concatenate,’ and so on.
6. To start the search, click the Do It button or (bins only) press Enter.
The system displays and tags all records in the bin that match the text.
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SAVING BINS
Searching and Replacing in Bins
You can search for entries and automatically replace them. This changes the log
for the clip. You can also search for timecode and replace it. Do the following
TASK
1. Display the clips you want to modify in the bin.
2. Click the Cogs icon and select Search and Replace.
The Bin Search window opens.
Any read-only fields are unavailable.
3. For the field you want to replace, type the text to be replaced in the Search For
column and type the text you want to replace it with in the Replace With
column.
4. To append text to the beginning of an entry, leave the Search For column
blank and type the text in the Replace With column.
5. For timecode, type a question mark (?) for any digit you do not want to
replace.
For example, to round all timecodes down to the nearest whole second, type
??:??:??:00 in the Replace With column.
6. Click the Do It button or (bins only) press Enter.
The system searches for any text that matches the text in the Search For
column and replaces it with the text from the Replace With column. Any
entries in the bin that are modified are tagged.
Saving Bins
A bin remains in the room when you leave it and is still on the screen when you
re-enter the same room. A Logging database closes when you leave the room
and is not there when you re-enter. You need to explicitly save Logging
databases.
You can also save a bin for export. If you want to print the bin, you need to
export it first. Exported bins need legal filenames. A legal filename cannot
include the following: spaces, periods, slashes, brackets, asterisks, question
marks, and so on.
Do the following.
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MERGING BINS
TASK
1. For Logging databases, click the Save button in the Record window.
2. To save a bin for export, do the following:
a Click the Cogs icon and select Save to Text File.
The Save dialog box opens.
b Make sure the name in the Name of Bin text box is a legal filename.
c Select a destination.
d Select a format.
NOTE: You can load a CSV-formatted file into Microsoft Excel for printing.
e Click the Do It button.
Merging Bins
You can merge two bins or two Logging databases, adding any entries in the
source bin to the destination bin (leaving the source unchanged). For
information about merging Logging databases, see "Merging Logging
Databases" on page 234.
To merge bins, do the following.
TASK
1. Click the destination bin and drag it over the source bin so its bottom
lower-left corner overlaps the top-right corner of the source bin.
2. In the source bin, tag the records you want to add to the destination bin.
3. In the destination bin menu, select Merge Bins.
The tagged records in the source bin are added to the destination bin.
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BREAKING DOWN RECORDINGS USING AUTOCHOP
Breaking down Recordings Using Autochop
The Autochop feature enables one clip (for example, a recording of a whole
tape) to be broken down into a number of smaller clips based on a Logging
database. It automatically chops the long recording into a series of shorter
sections. Autochop can create many new smaller clips from a single recording.
The Logging database does not need to have been generated on the system. This
characteristic can be useful where rushes have been logged elsewhere, for
example, at the telecine during the transfer of film to videotape, or even on
another computer (using a separate logging program) independently of the
recording onto the system.
Autochop works by finding matching reel ID and timecode values for the clips
in the Bin and as well as the entries in the Logging database. If these entries do
not correspond, the Autochop operation is not successful. Make sure that the
reel ID is identical for both the recording and Logging database entries; for
example, reel “002” is not treated as a match for reel “2.”
To use the Autochop feature, do the following.
TASK
1. Display a Logging database.
2. Tag the entries you want to use.
3. Place the clips you want to Autochop in a single bin.
4. Click the Logging database and drag it over the bin so the lower-left corners
overlap.
NOTE: If the database is behind the bin, you can bring it to the front by right-left
clicking the Logging database.
5. Select Autochop from the Logging database menu.
Autochop runs through all the clips in the bin and creates smaller clips of any
parts of the original clips that correspond to Logging database entries. These
smaller clips are displayed in a new Bin with corresponding clip names from
the Logging database used for Autochop. A progress dialog box is displayed.
The file autochop.log contains details of the Autochop operation.
The file is saved in the following locations:
• Windows 7: C:\Users\Public\Documents\Lightworks\Logs
works\Logs
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UPDATING CLIP LOGS AFTER RECORDING USING RETROFIT
The smaller clips created can then be used as sources for editing as normal.
NOTE: Smaller clips do not behave exactly like clips. Take care not to delete the
original clip from which they were created, as this deletes the picture and sound
from the smaller clips, as well.
Updating Clip Logs after Recording Using Retrofit
The Retrofit feature enables a Logging database to be used to update

information on the logs for clips after they have been recorded. Retrofit does not
create any new clips. It only modifies the log information for existing clips.
The Retrofit feature uses a Logging database to enter information into the
system after the clips have been recorded. Retrofit requires you to specify the
criteria to use when trying to match a clip to a given Logging database entry.
When a match occurs, the information from the Logging database entry is
applied to the clip log. If a clip is matched by more than one Logging database
entry, it is not modified, as Retrofit is unable to determine which entry to use.
The Logging database used does not need to have been generated on the system.
This feature can be useful where rushes have been logged on another computer
using a separate logging program.
To retrofit, do the following.
TASK
1. Generate a bin of the clips you want to update.
2. Display the Logging database containing the information you want to add to
the logs for the clips.
3. Tag the entries in the Logging database you want to use.
4. Click the Logging database and drag it over the bin so the lower-left corners
overlap.
5. Select Retrofit from the Logging database menu.
The Retrofit Options dialog box opens.
216
6. Select label options for the clip as follows:

• Set all. Changes the selection for all fields at once.
• Add New. Adds new labels if these are present in the Logging database
but not in the clip.
• Add/Overwrite. Adds new labels if none exist and overwrites existing
labels with the new information in the Logging database, even if the clip
already contains this data.
• Ignore. Makes no changes to the label.
7. Select text options as follows:

• Set all. Changes the selection for all fields at once.
• Add New. Adds new text.
• Add/Overwrite. Adds new text fields if none exist and overwrites
existing text with the new information in the Logging database.
• Ignore. Makes no changes to the text.
8. Click Do It.
A new bin is created that contains any subclips created or clips with
modified logs.
217
218
Chapter 17: Advanced Recording
This chapter describes batch recording using a Logging database to control
digitizing. It also describes how to record video and audio with no timecode or
with gaps in timecode.
Timecode is recorded in Lightworks using the 9-pin serial port or through the
1394 FireWire connection.
• Recording from Tapes with Breaks in Timecode
• Record from Tapes with Gaps in Timecode
• Record from a Source with No Timecode
• Correcting Timecode Errors
• Entering Labels Manually
• Advanced Recording Options
• Recording from a Logging Database
Recording from Tapes with Breaks in Timecode
Missing labels occur if a source tape has discontinuous timecode, gaps in the
timecode, or no timecode at all. For the primary timecode or any other label
specified as a compulsory label, recording normally stops when a missing label
is detected.
If a source tape has continuous timecode, Lightworks can record it as a single
clip. However, if the system detects breaks in the primary timecode, it stops the
current recording at the break and starts a new recording after the break.
The following topics describe how you can set up the system to cope with gaps
or breaks in the timecode:
• "Stop Record if Label is Missing" on page 220
• "Stop Record if Label is Missing" on page 220
CHAPTER 17: ADVANCED RECORDING
RECORDING FROM TAPES WITH BREAKS IN TIMECODE
Stop Record if Label is Missing
The setting of the Record tool menu command Stop Record if Label Missing
determines the behavior of the system if any of the labels defined as
‘compulsory’ in the label-mapping set being used for the recording is missing.
You can use this command to allow a recording to be made if the primary
timecode is missing. Do the following.
TASK
1. Click the Cogs icon in the Record tool.
The Record dialog box opens.
2. To allow recordings even if one or more of the active labels is missing, in the
Video Recording list select Stop Record if Label Missing > No.
3. To stop recording if any of the active compulsory labels is missing, select Stop
Record if Label Missing > Yes.
Stop Record if Label Break
Lightworks can look for breaks in the record control label that you define in the
label-mapping set used for the recording. If a source tape contains several clips,
each with its own section of timecode, timecode-break detection can help break
the source tape into separate clips. Continuation recordings made after a
timecode break have the text “(cont)” appended to the original clip name. For
example, if the original recording is named “David,” the name after the
timecode break is “David (cont).”
NOTE: It takes one to two seconds to stop one recording and start the next. If the clips on
the tape are very close and the first few frames are essential, you might need to stop the
tape and manually cue the tape to the start of the next clip before you click the
Record button.
You can also choose to ignore any breaks in the record-control label if you are
recording from a source with no timecode or with poor-quality timecode.
220
RECORD FROM TAPES WITH GAPS IN TIMECODE
To use the Stop Record if Label Break command, do the following.
TASK
The Record menu opens.
2. To stop recording at breaks in the record-control label, select Stop Record if

Label Break > Yes.
When the system detects a break in timecode, recording stops. The VTR
prerolls back from that point and then plays forward. It attempts to start
recording after the point at which the timecode break was detected. If no
timecode is found immediately after the break, the recording quits with a
warning message.
3. To ignore breaks in timecode, select Stop Record if Label Break > No.
The Record tool displays an Ignoring Label Break message.
NOTE: You can’t generate a valid EDL from clips without a timecode reference. If
there is some way of referencing timecode after recording, you might be able to use
these clips to generate a valid EDL.
Record from Tapes with Gaps in Timecode
When you record from a video tape that consists of a number of clips (video
with time-code) interspersed with gaps of blank tape (containing no timecode),
you might want to change the behavior of the system, so that recordings
automatically pass over any gaps in timecode and recommence when a valid
timecode is received.
To record from tapes with gaps in timecode, do the following.
221
RECORD FROM TAPES WITH GAPS IN TIMECODE
TASK
The Record menu opens.
2. To stop recording at breaks in the record-control label, select Stop Record if

Label Break > Yes.
When a break in timecode is detected, the recording of the current clip ends
(and the tile is added to the Recordings Bin, if displayed). The Record tool still
indicates “Record” and the tape in the VTR plays for the selected timeout
period. If, within this time, a valid timecode is received, recording restarts.
When a valid timecode is detected again, the VTR is not prerolled, because
attempting to preroll back over a blank tape generally results in the VTR
positioning the tape back to the previous clip. If no timecode is detected
during the timeout interval, the recording quits.
222
RECORD FROM A SOURCE WITH NO TIMECODE
Record from a Source with No Timecode
To record source material with no timecode, you need to use one of the standard
label-mapping sets to give recordings a timecode based on time-of-day (TOFD)
or duration. Do the following.
TASK
1. In the Record tool, click the Device configuration icon.
The Device Configuration dialog box opens.
2. Click the Labels tab.
3. Click the Source column and the Type column and select a label-mapping
pair.
NOTE: The available labels depend on your project frame rate.
4. To temporarily record source material without timecode, select Stop Record if
Label Missing > No and Stop Record if Label Break > No.
NOTE: You cannot generate a valid EDL from clips without a timecode reference.
223
CORRECTING TIMECODE ERRORS
Correcting Timecode Errors
All decks are slightly different and it is good practice before doing any recording
to record some footage in with a BITC burn and check that the timecode on the
BITC matches that on the viewer timecode label. Certain decks can be a frame
or more out when comparing these timecodes. If they are, you can correct the
offset.
Do the following.
TASK
1. Record footage with BITC.
2. If the BITC timecode does not match the viewer label timecode, type the
correction in the Error column.
NOTE: You can adjust with positive numbers, for example, 1, 2, 3, and so on, or
with negative numbers, for example, -1, -2, -3, and so on, depending on the nature
of the error.
3. Press Enter.
The corrected number appears in red.
Entering Labels Manually

You can enter labels manually by doing the following.
TASK
1. Open the Labels tab.
2. Create the labels you want.
NOTE: A reference to the original label is required, such as a burn-in window in
the video.
224
ADVANCED RECORDING OPTIONS
Advanced Recording Options
You can use the advanced recording options described in the following topics:
• "Setting Analog Audio Input Levels" on page 225
• "Choosing a Record Destination" on page 226
Setting Analog Audio Input Levels
Audio levels might vary from clip to clip or from tape to tape. This can be
annoying if the levels are too high or too low. You can set the incoming audio
levels at the time of ingest in Record tool by doing the following.
TASK
1. Start recording.

• Type negative or positive decibel (dB) values in the Audio Level text box.
• Right-click an audio level slider and drag it to the value you want.
Recorded audio is captured at this setting until you change it.
225
ADVANCED RECORDING OPTIONS
Choosing a Record Destination
You can select a record destination. On a production with a very large amount
of material, you might want to store each episode or reel on a separate disk array
or specified group of volumes.
NOTE: You need to make sure there is enough storage space remaining on a volume for
the recording you are about to make. If you fill a volume during recording, the recording
automatically stops, but the material recorded so far is kept.
Recordings are always made to the volume that has the most free space unless
you manually select a different disk volume.
To choose a record destination, do the following.
TASK
1. Click the Destination list in the Record tool.
2. Select the destination volume you want.
226
RECORDING FROM A LOGGING DATABASE
Recording from a Logging Database
"Chapter 3: Recording" on page 39 describes how to record pictures and sound

into the system by manually controlling the start and end point for each clip at
the time of the recording. This method is fine if you have only a small amount
of material to record, especially if it is end-to-end on one reel. For more complex
recording sessions, it can be faster to record automatically from a Logging
database.
A Logging database is a list of start and end timecodes for each section you want
to record, combined with logging information such as source tape reel ID, clip
name, and description.
Using a Logging database to control recording can save time, because you do
not need to supervise each individual recording.
The following topics discuss all aspects of Logging databases:
• "Creating a Logging Database" on page 228
• "Loading an Existing Logging Database" on page 230
• "Adding and Modifying Logging Database Entries" on page 231
• "Setting Default Values for Logging Database Fields" on page 232
• "Checking the Logging Database" on page 233
• "Saving a Logging Database" on page 234
• "Deleting a Logging Database" on page 234
• "Merging Logging Databases" on page 234
• "Printing a Logging Database" on page 235
• "Editing Records" on page 237
• "Sorting a Logging Database" on page 238
• "Selecting Entries to Record by Tagging" on page 238
227
Creating a Logging Database

• "Creating a Logging Database from an Edit" on page 228
• "Creating a Consolidate to Logging Database" on page 229
• "Generating a Logging Database from a Search" on page 230
• "Creating a Logging Database on Another Computer" on page 230
Creating a Logging Database from an Edit
To create a Logging database from an edit, do the following.
TASK
1. In the edit, click the Bin button.
A bin is created and displayed.
2. Tag the clips you want to include.
3. Click the Cogs icon and select Make Logging Database.
The Make Logging Database dialog box opens.
4. Type a name in the Name of Database text box.

5. Select a destination.
6. Type a handle size in seconds.
7. Select if you want to ignore used source clip tracks.
8. Select Picture, Sound or both.
9. Click Do It.
228
Creating a Consolidate to Logging Database
You can generate a Consolidate to Logging database from an edit using the
Record icon.
This method creates a different kind of Logging database. Rather than creating
a database off all the clips in their entire length, this method creates a database
purely based on the portion of the clip you have used. This is useful for doing an
online conform, as you make a database of just the bits you have used.
Do the following.
TASK
1. Drag the Record Tool icon over the edit viewer and right-left click with the
mouse.
The Consolidate Edit to Logging Database dialog box opens.
2. Type a name in the Name of Database text box.

3. Select a destination.
EditShare recommends the following locations:
• The Lists folder C:\LWLISTS, if you want to show the Logging database
with another project, in the following locations:
Windows 7: C:\Users\Public\Documents\Lightworks\Lists
Windows XP: C:\Documents and Settings\All Users\Documents\Light-
works\Lists
• The current Project folder in the following locations:
Windows 7: C:\Users\Public\Documents\Lightworks\Projects
Windows XP: C:\Documents and Settings\All Users\Documents\Light-
works\Projects
4. Type a handle size in seconds.
5. Click Do It.
229
Generating a Logging Database from a Search
The results of a search can be displayed as a database. Do the following.
TASK
1. Create a search (see "Chapter 15: Searching for Clips and Edits" on page 199).
2. Click the Cogs icon, and select Make Logging Database.
The Logging database is generated.
Creating a Logging Database on Another Computer
You can create a Logging database in other programs and on other computers.
For example, you can use a logging program like Phoenix Logger. Alternatively
you can create a Logging database by loading a telecine database.
Loading an Existing Logging Database
To load an existing Logging database, do the following.
TASK
1. Click the Record Tool on the Toolbar.
2. Select Recording Type > Database.
The Recording Type area changes.
3. Click the Load button

The Load Logging Database dialog box opens, displaying a list of Logging
databases in the current Project.
4. Select the Logging database you want to load, or click the drive letter at the
top of the dialog box to navigate to a Logging database on another drive or
computer.
5. Click Do It.
The Logging database opens on the graphics screen.
230
Adding and Modifying Logging Database Entries
To add and modify Logging database entries, do the following. To delete entries,
see "Deleting Entries" on page 232.
TASK
1. Start a new row by doing one of the following:
• Press the Down Arrow.
• Click in the next row.
2. Click any field and start typing.

NOTE: Timecode separators (:) are added automatically. You do not need to
type them.
3. To include timecode from a connected source device, see "Including
Timecodes" on page 231.
4. Click Save.
Including Timecodes
To include timecodes from a connected device, do the following.
TASK
1. Click the Device button in the Record tool, and select the source device.
2. Click the Standby button.
3. If the VTR is set up for machine control, control it with the console.
If the reel ID for the tape in the VTR is not known to the system, a dialog box
opens asking you to type a reel ID.
4. Type the reel ID and press Enter.
5. Shuttle or play the tape to the start of the first piece of source material you
want to record.
6. Click the Start Time field for the entry you want to modify.
7. Press the Mark button on the console.
The timecode of the frame the device is displaying is entered into the Start
Time field. The reel ID is also entered. The cursor jumps to the End Time field.
8. Shuttle or play the tape to the end of the section you want to record.
9. Press the Mark button.
The current timecode is entered into the End Time field. The recording is now
defined in the Logging database by an In and an Out timecode.
231
Deleting Entries
To delete entries from a Logging database, do the following.
TASK
1. Tag each entry you want to delete.
2. Click the Remove Tagged button.
A message box opens asking you to confirm the deletion.
3. Click Yes.
4. Click the Save button in the Logging database.
Setting Default Values for Logging Database Fields
If a large number of clips in the Logging database are going to have repeated
values for certain fields, you can set up defaults which are automatically entered
during recording.
If the value of a field is not specified in a Logging database, the value in the
Defaults dialog box entry applies. If the value of a field is not specified in the
Defaults dialog box, any system defaults are applied to the recording.
• "Setting Default Values" on page 232
• "Timecode Default Values" on page 233
Setting Default Values
To set default values, do the following.
TASK
1. Open the Logging database menu, and click the Defaults button.
The Defaults dialog box opens, listing all the fields for which you can enter
default values. The available options depend on the format you selected in the
Video tab of the Project card.
2. Set the default values you want in the Defaults dialog box.
NOTE: Initial values for the label standards for Primary Timecode, Original
Audio Timecode, Film Gauge, and Camera TC are taken from the format you
selected in the Video tab of the Project card.
232
3. Click the Set button.

The entries are stored. Any default entries you entered in the Defaults dialog
box appear gray in the Logging database.
NOTE: You can overwrite default entries by typing into the Logging database.
4. To set these defaults as the standard for any new Logging database you
create, click the Set Project Default button.
Timecode Default Values
NTSC timecode can be in drop-frame or non-drop-frame format. You can set

the format to use for an entire Logging database, using the Defaults dialog box
settings.
NOTE: PAL and NTSC non-drop-frame timecodes use a colon (:) as the separator
between digits. NTSC drop-frame timecodes use a semi-colon (;).
You can record from a Logging database containing drop-frame timecodes in a
non-drop NTSC Project and vice-versa. If the source tape contains timecodes of
a different type from those in the Logging database (for example recording a
non-drop tape from a drop-frame Logging database), a warning message is
displayed after the recording has finished, regardless of the format you selected
in the Video tab of the Project card.
Checking the Logging Database
Before any recordings are made from the Logging database, the system
automatically checks it for errors. The only compulsory fields are reel, start
timecode and end timecode. Timecode fields are checked for correct formatting
and consistency of TV Standard.
The system also checks that the start time is before the end time for each entry.
Overlapping timecodes between different entries are not treated as errors. Any
values in the tracks field are checked for valid track selection. A valid selection
is any combination of V,A1 to A4.
To check the Logging database manually, do the following.
TASK
• Click the Check button in the Logging database window.
Any fields containing an error are highlighted and an error message is
displayed at the bottom of the Logging Database dialog box
233
Saving a Logging Database
Logging databases are not automatically backed up by the program. To save any
work on a Logging database you must actively save it. If you exit the room
without saving, you are prompted to save the logging database.
CAUTION: If you leave the room without saving the Logging database, any changes you
made to it are lost.
To save the Logging database, do the following.
TASK
1. Click the Save button.
If it is a new database, the Save Logging Database Directory Browser opens.
• Type a legal filename in the Name text box.
• Select the name of an existing Logging database from the list.
3. Click the Do It button or press Enter.

If you attempt to overwrite an existing database, a confirmation message
box opens.
Deleting a Logging Database
To delete a Logging database, do the following.
TASK
1. Click the Delete button in the Record dialog box Database tab.
The Delete Logging Database Directory Browser opens.
2. Select the Logging database you want to delete.
3. Click the Do It button or press Enter.
Merging Logging Databases
You can combine several separate Logging databases into a single Logging
database. For example, you might have one Logging database per videotape and
want to combine them. The source Logging databases remain unchanged by the
merge operation.
To merge Logging databases, do the following.
234
TASK
1. Click the Merge button
The Merge Databases window opens.
2. Click the Choose button.
A Directory Browser opens listing the Logging databases saved in the current
project.
3. Click each Logging database you want to merge.
4. Click the Remove button to remove a database from the list.
5. Click OK.
The selected Logging databases are added to the list in the Merge Databases
window.
6. Click the Merge button.
A Directory Browser opens.
7. Select a destination and type a filename for the merged Logging database.
NOTE: The merge operation treats each entry as separate and does not attempt to
remove duplicate entries.
Printing a Logging Database
You can save a Logging database file (.ODB) to an external device or to the Lists
folder:
• Windows 7: C:\Users\Public\Documents\Lightworks\Lists
• Windows XP: C:\Documents and Settings\All
Users\Documents\Lightworks\Lists
You can then import it using third-party software for printing.
You can’t print a Logging database directly from within the Lightworks
program. However, to save the logging database in CSV (Comma Separated
Variables) format for printing out using Microsoft Excel, do the following.
TASK
1. Select Save Database for Export in the Logging Database menu.
The Export Database dialog box opens.
2. Type a name for the file, select a path, and select CSV format.
3. Click Do It.
The CSV file is saved to disk.
235
Moving Around a Logging Database
You can use the keyboard to move around the Logging database as described in
the following table.
Keyboard Command Action
Left Arrow Moves left to the previous field
Right Arrow Moves right to the next field.
Up Arrow Moves up to the previous row.
Down Arrow Moves down to the next row.
Tab Moves right to the next field.
Shift+Tab Moves left to the previous field.
Page Up Scrolls up one page.
Page Down Scrolls down one page.
Ctrl+Page Up Goes to the first entry in the Logging database.
Ctrl+Page Down Goes to the last entry in the Logging database.
On the right side of the Logging database is a scroll bar for moving through the
Logging database. The triangle buttons allow you to move one record at a time,
the diamond buttons page up and down. The scroll bar shows which part of the
Logging database is currently displayed. You can drag the scroll bar using the
mouse.
When you use the scroll bars to move through a Logging database, the
highlighted entry remains constant until it moves out of the display window.
The top or bottom item is highlighted depending on the direction of travel.
You can also resize the view of the Logging database by clicking it near any edge
and dragging it, and you can change which fields are displayed in the Logging
database in which order.
236
Editing Records
To change text in a field, do the following.
TASK
1. Click the field you want to edit. A cursor appears at the start of the text.
2. Using the arrow keys, place the cursor where you want to make the change.
3. Type new text or delete text with the Delete key.
4. To overwrite all the text in the field, press Ins again. All text is selected and
typing overwrites all text.
5. Press Enter or move to another field.
The changes are kept.
6. Use any of the key combinations in the following table to cut and paste text.
Keyboard Command Action
Shift+Page Up Copies current field contents for whole page above current record.
Shift+Page Down Copies current field contents for whole page below current record.
Shift+Up Arrow Copies current field contents into field above.
Shift+ Down Arrow Copies current field contents into field above.
Alt+B Inserts blank row before the current row.
Alt+D Duplicates current row.
Alt+W Copies contents of current field into store.
Alt+F Pastes stored database field (if there is one) into current field.
Alt+H Copies current row into store.
Alt+I Inserts default field values into current row.
Alt+U Undoes the effect of Alt+I (if cursor is still on same row in the
Logging database).
Alt+Y Pastes stored row (if there is one) before current row.
Alt+T Deletes the current row.
Ctrl+Delete Delete the current entry (includes Timecode fields).
237
7. Click the Save button on the Logging Database dialog box.
Sorting a Logging Database
Logging databases are automatically sorted by start timecode in order to

minimize cueing time during recording.
It can sometimes be useful to sort the Logging database into a different order.
To sort by any field in the Logging database, do the following.
TASK
• Left-click the field header button for that field.
Selecting Entries to Record by Tagging
You need to tag each entry you want to record. Do the following.
TASK
1. Click the left-most column for an entry.
A check mark appears in the column.
2. To tag or untag the entire Logging database, click the blue button at the top
of the column.
3. To hide untagged entries, click the Show Tagged button at the bottom of the
Logging database. To display all entries again, click Show All.
238
Chapter 18: Redigitizing and Filling an Edit
The Find Material to Fill Edit feature lets you automatically replace all instances
of clips in an edit. You use this feature to do the following:
• Replacing low-quality pictures with high-quality pictures.
• Replacing deleted material in an edit with pictures and/or sound.
• Replacing certain clips (or the contents of an entire reel) with a newer
recording.
NOTE: For example, this might be due to the original clips being recorded at an
inappropriate level, or because only certain clips need replacing.
• Reconstructing subclips where material has been deleted from the original
clips.
• Recreating an edit imported from an EDL made on another system.
When you recreate an edit imported from another product, Lightworks suggests
that you generate a Logging database (see "Creating a Consolidate to Logging
Database" on page 229) of the edit at the same time as the EDL. You can then
import this Logging database into the system and use it to record the required
clips with their original clip names and other Filecard information. If the EDL
is imported after the recordings from the Logging database have been
completed, the edit created by the import process is filled with those clips.
• Conditions for Filling an Edit
• Changing Picture Edit Quality
• Recording New Material for an Edit
• Filling an Edit
• Replacing Deleted Material in an Edit
CHAPTER 18: REDIGITIZING AND FILLING AN EDIT
CONDITIONS FOR FILLING AN EDIT
Conditions for Filling an Edit
The Find Material to Fill Edit operation can use any of the following labels for
matching the original and the redigitized clips:
• Primary Timecode
• Original Audio T/C
• 24P Timecode
• Ink Code
• Camera Timecode
• Film Keykode
The following conditions must be met for the procedure to work correctly:
• The logs for all clips and edits to be filled must be present in the project.
This includes logs for the original clips and the clips that replace them (the
redigitized clips). It is not necessary to delete the material from the
existing clips first.
• Each new clip must have exactly the same reel ID as the original clip it
replaces.
NOTE: “005” is not the same as “5” for these purposes.
Changing Picture Edit Quality
Projects can be offlined at a low picture quality (for example, Standard Def) on
the system. Once the edit is finalized, the material used in the edit can be
redigitized at the highest picture quality (HD).
240
RECORDING NEW MATERIAL FOR AN EDIT
Recording New Material for an Edit
When filling an edit, you are usually recording new material to replace the
existing (or deleted) material. The choices you have are the following:
• Redigitize the required material manually.
• Create a Logging database of clips used in the edit.
This Logging database can then be used to record the entire original clips
• Create a Consolidated Logging database of just the sections of clips used
in the edit (with handles).
This Logging database can then be used to record just the sections used in
the edit. See "Chapter 20: Consolidating" on page 249.
In each case, the Find Material to Fill Edit command must be used to replace the
material in the edit with the new recordings.
Filling an Edit
Provided the conditions for filling an edit have been met, the edit can be filled
once the new material has been recorded onto the system.
TASK
1. Open the Edit Commands menu and select Find Material to Fill Edit.
The Fill dialog box opens.
2. Select the criteria you want the system to use for selecting the replacement
material, as described in the following table.
241
FILLING AN EDIT
Option Choices
Which labels/reels for match • Primary T/C

• 24frame Medium
• Original Audio T/C
• Ink Code
• Camera T/C
• Film Keykode
• Original audio filename
NOTE: Any picture material replaced must have the same label and reel ID as the original.
Make Copy and Fill That • Yes. A copy of the edit or subclip is created and displayed as a tile when the process is
completed. The new edit has exactly the same events as the original edit but is filled with
the material specified. The original edit remains unchanged by this operation.
• No. The original edit or subclip is filled.
Allow Patching of Events Patching of events means allowing an event which originally referred to only one piece of
material to be filled with two or more separate pieces. This is useful when the new material
does not exist as a single piece.
• No. Events are only filled if the clip matches the other requirements and runs from the
source-in timecode (or before) to the source-out timecode (or after).
• Yes. If any part of the clip exists that matches the other criteria selected, this is used. Other
sections of the event retain the clip already there.
Use Material From • Whole project

• Bin Name
Replace Existing Material If the edit being filled already contains some material, this option specifies whether this
material should be replaced.
• Never. No existing material is replaced, even if other options could be matched. Only
missing material is filled in.
• If Possible. If both the original and new material match the other options, the new mate-
rial is preferred and replaces the old.
• If Better. Replaces the old material with new material if it is better quality/compres-
sion/bitrate. For example, if you have MPEG I-Frame 10 Mbps and want to replace it all
with the material that is MPEG I-Frame 50 Mbps.
Quality Versus Space When filling an edit with material of a different quality, this option chooses the quality of
material replaced.
• Best Quality. Always uses the best quality material.
• Least Space. Always uses the clip that takes the smallest amount of disk space (the lowest
picture quality.
242
REPLACING DELETED MATERIAL IN AN EDIT
3. Click Do It.
A message box opens showing the progress of the find-and-fill operation for
the video and audio tracks.
Replacing Deleted Material in an Edit

CAUTION: Before you delete anything, make a project backup using the Import/Export
tool. Do not use the Destroy Clips, Material, and Edits command to delete material
that is to be filled. This destroys the log, as well.
The Find Material to Fill Edit command only replaces clips which have logs. If
you decide to delete any existing material in the edit before filling it, ensure that
only the material is deleted, not the logs.
243
REPLACING DELETED MATERIAL IN AN EDIT
244
Chapter 19: Working with Subclips
Clips recorded onto the system often need further preparation, for example,
syncing picture and sound or breaking down long recordings. The products of
these processes are called subclips. They are logs that do not have their own
material files — they refer to the material files of their original clips.
A subclip behaves like a clip for editing purposes and like an edit for project
management purposes.
When working with subclips, you should not delete their original clips, as the
subclip refers to the original material and to the original log.
The following operations produce subclips:
• Breaking down a clip into parts (clips)
• Making a sync on an edit
• Making a print on an edit
• Using the Auto Synchronize Bin command
• Attributes and Behaviors of Subclips
• Moving or Copying Subclips Between Projects
• Exporting and Importing Subclips
• Deleting Subclips
• Undoing and Redoing Subclips
• Tracing Subclips
CHAPTER 19: WORKING WITH SUBCLIPS
ATTRIBUTES AND BEHAVIORS OF SUBCLIPS
Attributes and Behaviors of Subclips
Subclips have attributes and behaviors as described in the following table.
Attribute or Behavior Description
Name A subclip has the same name as its parent clip or edit, with a word appended (in brackets)
that shows how the subclip was made:
• Breaking down a clip = “(subclip)”
• Make Sync = “(sync)”
• Make Print = “(print)”
After its creation, you can rename a subclip in the same way as a clip or edit.
Timeline Color A single color is used for all tracks in the subclip.
Flag Icon The flag icon in the upper-left corner of the viewer for tile for a subclip is beige. The flag
icon for a print is yellow.
Subclip Timecode and Reel • Print or Sync. The default timecode and reel ID for each track of the subclip (V, A1 and
ID A2 only) are the same as for the original clips. It is possible to change these details for the
subclip in the same way as for a clip: by modifying the appropriate fields on the Viewer
Labels dialog box.
• Print. The default start timecode is 00:00:00:00. You can change this by modifying the Edit
Timecode field on the Viewer Labels dialog box.
Fixing Sync using the This feature works with subclips as if they were clips.
Timeline menu
Pop Out Original When applied to a subclip, this command produces the original clip for whichever video or
audio track is the first active track. When applied to an edit made of subclips, this command
pops out the subclip.
Find Material to Edit This feature does not trace subclips through to original clips unless actually replacing
material.
Consolidate When applied to a subclip, this command creates a genuine original clip (with log and
material) from a subclip.
Databases and Logging Subclips behave like clips and are included in any Logging database created using the Create
databases Logging database menu command.
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MOVING OR COPYING SUBCLIPS BETWEEN PROJECTS
Moving or Copying Subclips Between Projects
When applied to a subclip, moving or copying a subclip to another project is the

same as moving or copying an edit to another project.
For EDLs to be correct in the new project, you need to transfer the original clip
for the subclip, as well.
To access the original clip for a subclip, use the Pop-Out Original Tile button on
the subclip viewer or Timeline.
Exporting and Importing Subclips

CAUTION: Subclips behave like edits when you are archiving or unarchiving.
If you want to transfer material files relating to a subclip, export the original clip
from which the subclip was made with the subclip itself.
When a subclip is exported (archived) or imported (unarchived), no material
files are transferred. This behavior is necessary because several subclips could be
made from the same original clip.
To access the original clip for a subclip, use Pop-Out Original Tile on the subclip
viewer or Timeline.
Deleting Subclips
If a subclip is deleted, the original clip (log and material) remains on the system.
Deleting a subclip is like deleting an edit, since a subclip does not actually have
material of its own.
CAUTION: If you delete the material for the original clip, the picture and sound for the
subclip are lost.
CAUTION: If you delete the log of the original clip, the edits that use the subclip might
not have correct EDLs. They are correct, however, if you set Use Subclip Codes to Yes.
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UNDOING AND REDOING SUBCLIPS
Undoing and Redoing Subclips
Undo and Redo have no effect when applied to a subclip. An edit made of
subclips behaves in the same way as an edit made of clip.
Tracing Subclips
This feature allows you to trace back from subclips to their original clips. Where
an edit is made of subclips, the Trace command produces a version of the edit
with the original clips as sources instead of the subclips.
The edit has the word “(trace)” appended to the name. This feature can be
regarded as an undo for subclips.
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Chapter 20: Consolidating
The Consolidate feature creates new clips by copying just the parts of clips used
in an edit. The main applications of Consolidate are the following:
• To free up hard disk space
• To copy an edit to a removable disk
In order to use Consolidate effectively, it is important to be aware of how clips
and edits are defined on the system. See "Clips, Subclips, and Edits" on page 24.
In addition, the following information is specifically relevant to the Consolidate
process:
• An edit needs both logs and material. When you view the edit on the
system, it plays pictures and sound from the material files of the original
clips. The edit obtains timecodes, reel IDs and other label info from the log
files of the original clips.
• You can’t delete only part of a clip. A single recording on the system may
contain several takes from the original tape which may be treated as
separate clips by the editor. However, as far as the system is concerned, the
separate takes are all part of the one clip. It is not possible to keep only one
take and delete the others if the takes are all part of one single clip on the
system.
• Consolidating an Edit to Free Hard Disk Space
• Consolidating a Subclip to Free Hard Disk Space
• Using Consolidate to Copy an Edit to Another Drive
CHAPTER 20: CONSOLIDATING
CONSOLIDATING AN EDIT TO FREE HARD DISK SPACE
Consolidating an Edit to Free Hard Disk Space
If you use all the available material hard disk storage, you have to delete some
material before you can record any more.
If there are clips that have not been used at all they can be deleted from the hard
disk without affecting your edit. You do not need to consolidate in order to do
this. It is best to delete material only and keep the clip logs. If there are clips that
have been used in the edit, these clips cannot be deleted without affecting the
edit. Even if the edit only contains a few frames from a clip, if you delete the
original clip the edit cannot play those frames - it has a 'white hole' in it.
In this situation, consolidating the edit allows you to keep a copy of the edit and
to free up hard disk space.
The procedure has two stages:
1) Consolidating the edit.
The consolidate operation creates new clips, by copying sections of
existing clips - just the sections used in the edit - and a new edit which has
exactly the same in- and out-points as the original edit, but uses the new
clips. The new edit and new clips are completely self-sufficient - they do
not refer to the original edit or clips at all.
2) Deleting the original clips.
Because the consolidated edit and clips are self-sufficient, the original clips
can be deleted to free up disk space.
Consolidating an Edit
To consolidate an edit, do the following.
TASK
1. Display the Edit menu for the edit you want to consolidate.
2. Click Consolidate.
The Consolidate dialog box opens.
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CONSOLIDATING AN EDIT TO FREE HARD DISK SPACE
3. Type a handle size (in seconds).

The consolidate operation copies extra material (handles) at the start and
end of each clip. These handles allow you to do some trimming to cuts later.
4. Determine which tracks to consolidate by selecting picture and/or sound.
5. Decide whether you want unused source clip tracks to be consolidated or
ignored.
6. Navigate to a destination drive for the new material.
The Disk Selection button lists all the drives accessible via Windows
(including network drives).
The system calculates how much space is required for the new copies, and
how much is saved if you subsequently delete the original clips. The results
are displayed on the Consolidate dialog box. Make sure “MB available” is
greater than “MB required”.
7. If there is not enough room on the chosen drive for the entire edit, break it into
two or more parts. See "Copying an Edit" on page 68. You can consolidate the
parts to different drives, then assemble them afterwards.
8. Click Do It.
When the consolidate operation finishes, the new edit is displayed as a tile. It
has the same name as the original edit, with “(cons)” added to it.
The new clips created by the consolidate operation can be displayed using
the Database of Clips command on the Edit Menu for the new edit. The
original edit and clips remain unchanged by the consolidate operation.
The time taken by the consolidation process depends on the size of the edit
and the speed of the destination disk.
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CONSOLIDATING A SUBCLIP TO FREE HARD DISK SPACE
Consolidating a Subclip to Free Hard Disk Space
Consolidating a subclip allows you to free up hard disk space in the same way as
consolidating an edit. You can consolidate several subclips at once by joining
them together into an edit first.
TASK
1. To consolidate a subclip, select Consolidate in the subclip viewer menu.
2. Follow the procedure for consolidating an edit, as described in "Consolidating
an Edit" on page 250.
Using Consolidate to Copy an Edit to Another Drive
You can use Consolidate to save an edit to any of the disk drives connected to
the system, including removable media such as USB or FireWire. The new edit
and new clips created by the consolidate operation are stored on the removable
disk. If a zip disk is in the drive, it should appear in the list available disks.
This provides an alternative to using the Import/Export Tool to archive the edit.
If you use archiving, you have to copy the whole length of all the original clips
used in the edit. If you use consolidate, you copy just the sections of the clips
used in the edit.
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Chapter 21: Exporting and Importing
You can export several file types and formats from Lightworks, and can import
several file types and formats.
• Exporting
• Importing
Exporting
For information on exporting from Lightworks, see the following topics:

• "Export Formats" on page 253
• "Exporting Using the Export Tool" on page 254
• "Exporting Lightworks Archives" on page 256
• "Exporting OMF1 and OMF2" on page 256
• "Exporting an Edit or Clip" on page 257
• "Exporting Image Sequences" on page 258
• "Exporting DPX" on page 258
Export Formats
You can export edits, clips, and material to any local, removable, or network
drive recognized by Windows.
The following export formats are supported:
• AAF
• EDL
• Lightworks
• AVI
• MXF (with Op1a XDCAM and OpAtom P2 options)
• QuickTime movie
CHAPTER 21: EXPORTING AND IMPORTING
EXPORTING
• OMF (see "Exporting OMF1 and OMF2" on page 256)

• WAV
• Still images and sequences (see "Exporting Image Sequences" on page 258)
Exporting Using the Export Tool
To export a file, do the following.
TASK
1. Click the Export icon on the Toolbar.
The Export tool opens.
2. Click on your project name at the top right corner, and, from the pop-up menu
that displays, select Whole project.
3. Select Group and Logs options.
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EXPORTING
4. Select any of the following to export:

• Picture
• Sound
• Logs
5. (Option) Select the destination drive for the exported media.

NOTE: For information about exporting EDLs, see "Chapter 13: Edit Decision
Lists" on page 169.
6. (Option) Type a name for the exported file.
7. Click the Format list, and select a format for the export.
The rest of the available Format options change depending on your selection.
8. Select other options as appropriate.
9. Click Start.
Status boxes appear with the progress and the destination.
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EXPORTING
Exporting Lightworks Archives
You can export whole projects, the contents of whole bins and databases, or
single clips (logs and/or material), subclips or edits, from Lightworks. You can
export in the Lightworks format for backup purposes or for reimport into other
Lightworks systems.
NOTE: Lightworks-format exports are not interchangeable with any other applications
or systems.
Exporting in Lightworks format creates an ARCHIVE folder with a name
derived from the name of the backed-up object.
When you try to save a Lightworks backup over an existing backup, you are
presented with the following options:
• Update. Adds any new clips or edits to the currently saved archive.
• Overwrite. Overwrites the saved archive with the new version.
• Make New. Saves the backup as a new file, with a .1 suffix in the filename.
• Cancel. Cancels the operation.
Exporting OMF1 and OMF2
OMF (Open Media Framework) is a file format that allows sound and edit
decision data to be exchanged between applications and systems.
The Lightworks OMF export supports the following:
• Video and audio edit decisions
• Audio (but not video) material
Included within the OMF export are the following:
• Audio clips (with original timecodes and clip names)
• Audio level data (OMF2 only)
• Audio edit decisions (with crossfade information)
Options include the following:
• Version: 1 or 2
• Audio: Wav or AIFF
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EXPORTING
• Sample rate conversion: Keep original, 32KHz, 44.1KHz or 48KHz

Used when the destination system for the OMF file does not deal with
mixed sample rates
• Sample size: 16 bit or 24 bit
• Target: the application you want the export to work in.
• Remove Audio Clip Gain: Yes or No
To remove clip sound information from edits
Exporting an Edit or Clip
You can export a Lightworks edit/clip with or without audio depending on

which format you choose.
To export an edit or clip, do the following.
TASK
1. Right-click the Export icon from the Toolbar, drag it over the edit, and left-click
it.
The Export tool opens with the edit selected by default.
2. Select a format from the top right of the tool.

3. Select the variables you want.
4. Select an output path.
5. Select what you want to export: logs-only, picture, sound
NOTE: Logs are selected by default. To also export material, select picture or sound
or both.
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EXPORTING
NOTE: Exported picture and sound files always contain the whole clip, not just the
part referenced by an edit. If you want to archive only the sections of clip referenced
by an edit, you have to first consolidate the edit, and then archive the consolidated
edit.
6. Click Start.
Exporting Image Sequences
You can export images as JPEG, JPEG 2000, Photoshop, BMP, TGA
(compressed), PNG, or TIFF by doing the following.
TASK
1. Mark and park the region of the edit you want to export.
2. On the edit, click the white rectangle.
A message box opens asking if you want to make a copy of the whole edit or
just part of it (the marked/parked section).
3. Drag the Export icon over the edit or the part edit.
4. Right-click and select Format > Image Sequence.
5. Select a destination directory.
6. Select the format you want.
7. Click Do It.
A series of still images is produced, each named according to the edit name
with a number denoting its position in the sequence.
NOTE: To export a single frame, mark and park a single frame in the edit, and then
follow the preceding procedure.
Exporting DPX
You can export 8-bit and 10-bit DPX files. Do the following.
TASK
1. Set the Project card to 8 bit or 10 bit.
2. Open the Timeline, and click the Advanced button.
3. Click the Render button, and select DPX Export.
The export includes timecode and keycode.
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IMPORTING
4. To export the entire edit as a set of DPX sequences, select Clips Consolidated.
The clips are consolidated with the handle size you selected. The DPX images
receive the source film edgecode, if there is one, and a filename based on the
original clip name, with n attached where the clip-clips were not
amalgamated in the consolidation.
5. To export a subset of the clips, mark and park the clips you want, select
Marked Clips Consolidated.
The clip-clips are exported at a framerate equal to the project’s edit
framerate (not the project’s output-video framerate), and are assigned a
timecode equal to the original clip timecode at the project’s edit framerate.
NOTE: If you are exporting a rendered (flattened) section of the edit as a DPX
sequence, the sequence is exported with a timecode equal to the edit’s timecode at
the project edit framerate (not the source clip timecode).
Importing
For procedures about importing and information about supported file types
and formats, see the following topics:
• "Importing Using the Import Tool" on page 260
• "Importing Using Drag-and-Drop" on page 262
• "Supported Imports" on page 262
• "Importing Single Images" on page 264
• "Importing Lightworks Touch Archives" on page 264
• "Editing While Ingesting Geevs MDA material" on page 265
• "Encoding Imported Video" on page 266
• "Importing OMF" on page 267
• "About Importing RED Files" on page 268
• "Importing R3D Files" on page 269
• "NTSC Projects" on page 269
• "PAL Projects" on page 270
• "The Audio Speed Transfer Details Dialog Box" on page 271
• "Assigning Correct Timecode Type to Imported Files" on page 271
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IMPORTING
Importing Using the Import Tool
To import a file or a group of files, do the following:
TASK
1. Open the Toolbar, and click the Import icon.
The Select Files to Import dialog box opens.
2. Click on Places at the top-left corner of the dialog box.
3. Navigate to the directory containing the files you want to import, and then
press Enter.
4. Select the files you want to import, and click Do It.
The Import tool displays the file name, the selected content, the frame rate,
the file format, the file transfer rate, and the video encoding.
NOTE: You can perform a batch import by right-clicking on the Import icon of the
toolbar, and then selecting Batch Import. You can remove files from the list by
selecting them and clicking on Remove.
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IMPORTING
5. Make sure the frame rate of the file is compatible with the project frame rate.
NOTE: If the frame rate is not compatible, it displays in red. You cannot import it
into the project.
6. Click Import.
An Import message box reports progress as the files are imported. When the
import finishes, an Imports bin opens containing the files and the Import tool
closes.
7. Work with the files as you would with ingested material.
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IMPORTING
Importing Using Drag-and-Drop
To import using drag-and-drop, do the following.
TASK
1. Select the files you want to import in a Windows file browser.
2. Drag the files onto the Lightworks desktop.
The Batch Import panel opens.
3. Click Do It.
The import begins.
Supported Imports
You can import the formats and types of files described in the following table.
Import Description
Single Images See "Importing Single Images" on page 264.
Lightworks Touch Archives See "Importing Lightworks Touch Archives" on page 264.
Image Sequences In the same way that you can import single frames, you can simultaneously import a
sequence of images to form a single clip in Lightworks.
QuickTime You can import QuickTime files with audio, and you can keep them as QuickTime.
Video Video files (AVI, MOV, MXF, MPG, and MPEG) can be imported into Lightworks.
NOTE: Make sure that QuickTime v7, or later, is installed on the Lightworks system before
importing files. For more information on downloading QuickTime, refer to www.apple.com.
MXF P2 and XDCAM You can import MXF P2 and XDCAM files in SD and HD.
OMF See "Importing OMF" on page 267.
WAV The Lightworks system can import WAV files of from 1 to 16 tracks. Any WAV files
conforming to the RIFF standard and using PCM audio encoding can be imported. This
includes uncompressed Broadcast Wave Format (BWF) files.
RED R3D See "About Importing RED Files" on page 268 and "Importing R3D Files" on page 269.
NTSC Projects See "NTSC Projects" on page 269.
PAL Projects See "PAL Projects" on page 270.
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IMPORTING
Import Description
Apple ProRes You can import QuickTime files encoded with the Apple ProRes codec.
NOTE: This option is available for purchase.
EDL You can import EDLs.
Stereoscopic media All stereoscopic media must be of the same duration and contain the words “left” or “right”
in the otherwise identical filename in the same position, for example, clip001left.mxf and
clip001right.mxf. See "Importing Stereoscopic Media" on page 263.
Importing Stereoscopic Media
You can import stereoscopic media if it is named correctly. Lightworks imports

pairs of files as a single synced file.
NOTE: For information about selecting stereoscopic 3D options, see "Selecting
Stereoscopic 3D Options" on page 188.
To import stereoscopic media, do the following.
TASK
1. Make sure the pair of files you want to import has identical filenames with the
exception of “left” or “right” in the same position in the filename.
For example, clip001left.mxf and clip001right.mxf will import successfully. A
pair named clip001left.mxf and rightclip001.mxf will not import successfully.
2. Make sure the pair of files has identical durations.
A pair with different durations will not import successfully.
• Select the pair of files in your Windows filesystem and drag them onto
the Import tool.
• Search for the pair from within the Import tool.
4. Import the files.
LIghtworks syncs the the pair into a single file that appears in the bin named,
for example, clip001L. The Tracks column displays V1 LR, which is evidenc that
Lightworks successfully synced the two cameras and created a V track from
the pair of files.
5. Open the shot in the Timeline.
A single V track displays that contains V1 L and V1 R.
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IMPORTING
Importing Single Images
Importing a single image (BMP, JPG, PNG, TGA, and so on) produces a clip
with a single frame in the project. The original aspect ratio of the image is
maintained. You can add black borders to the top or sides of the image to make
it fit a standard viewer for the current resolution. Images larger than the
standard current resolution are reduced to fit a standard viewer.
You can key still images over background video, via the Image Key feature of the
effects tool. Unlike image import, image key does not convert the files to a piece
of video, but is referenced in its original state. This allows graphics files with an
alpha track to be keyed over a video background. It also gives the user more
control over which part of the image is seen, and where it is to be placed within
the viewer (for more information, see "Chapter 8: Editing Real-Time Effects" on
page 99).
Importing Lightworks Touch Archives
You can import Touch format ARCHIVE backups into Lightworks. Once the
import is completed, the imported objects are displayed in a database called
“Imports” or (for a project restore) a database with the same name as
the project.
When importing in Touch format, the same bins that were exported are
recreated and can be displayed using the search card (bins/databases).
For .ARCHIVE files, the names of all clips contained in the archive are shown
in the Name column. Where only a partial restore is required (for example a
single clip from a project backup), the display button lists the contents of the
folder and you can select the files you want to import.
NOTE: You can import archived material only into a project with the same frame rate as
the source project.
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IMPORTING
Importing DPX Sequences
You can import DPX sequences either natively or transcoded to RGB32 by

doing the following.
TASK
1. In the Import tool, click the Cogs icon (or right-click) and select Detect Image
Sequences > Yes.
2. Select multiple clips and follow the procedure in "Importing Using the Import
Tool" on page 260.
Editing While Ingesting Geevs MDA material
When you import MDA material from a Geevs server, you can edit the material
while it is ingesting. To edit while ingesting, do the following:
TASK
1. Start the import.
The ingesting MDA tile is displayed in a bin.
2. Open the MDA tile.
The white progress bar at the top of the viewer expands as the ingest
continues.
3. Mark and park a section of the viewer and insert it into a new edit viewer.
You are ready to being editing. The MDA continues to grow.
4. (Option) Mark and park another section, insert the section into your edit, and
continue this process until the ingest is finished.
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IMPORTING
Encoding Imported Video
You can select where to put the imported file and if you want to transcode it to
a new compression format. Do the following.
TASK
1. In the Import tool, select the file you want to import.
2. Click the Video Encoding button.
The Video Encoding dialog box opens. The middle area reflects the format,
compression, and size of the file you selected.
3. Select one of the following options:

• Create Link. Keeps the imported file in its original location and format so
you can work with the file natively.
• Copy Local. Copies the file to the material drive without transcoding.
• Transcode. Activates the Output Format area, letting you select a new
compression format.
4. Select a Compression rate and a file format, and then proceed with the import.
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IMPORTING
Importing OMF
Lightworks supports the sound and edit-decision parts of the OMF standard.
Any picture material contained in the OMF file is discarded on import into the
Lightworks.
NOTE: OMF files with more than 16 audio tracks cannot be imported.
When you import OMF files into the Lightworks, the audio sample rate of the
file must match the audio sample rate of the project.
Also consider the following:
• Composition information and media data. Although OMF interchange
files allow applications to store the media in separate files from the
composition information, media files must be embedded into the OMF
file (and not stored in an external file) when importing OMF’s into
Lightworks).
• OMF edit rate. When you import an OMF file into the Lightworks, the
edit rate of the file must match the edit rate of the project. For example, if
you are working in a 25fr project, the OMF edit rate must be 25.
• Source track mapping for OMF imported material. When the Lightworks
system imports the OMF source material, it assign the first referenced
audio track to A1, the second to A2, and so on. This happens even if the
audio tracks were A3 and A4 on the original source tape. This does not
affect the imported material as it is used in the imported composition (the
edit). If you want to redigitize the audio from the original tapes using the
imported information from the OMF composition, you need to manually
confirm that the correct audio tracks are being recorded. This can be done
by patching the source device so that audio tracks are all recorded as A1,
A2.
NOTE: The extra track mapping data is contained within the OMF format, but this
information is not used by Lightworks to create the audio material.
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IMPORTING
About Importing RED Files
You can import RED files into Lightworks.

NOTE: This option is available for purchase.
You can import RED R3D natively. You can choose full resolution or one of the
standard reduced resolution modes (½, ¼,⅛) to change the decode quality of
the imported R3D file. Currently R3D files with aspect ratios of 4:3 or 16:9 are
supported. No R3D export is available, but you can export EDLs or AAF files for
transferring edit decisions. The AAF carries file pointers to the material for
networked or shared storage operations.
There are some performance considerations when you use RED R3D files with
Lightworks systems. Depending on the workflow and formats required, older
systems might need a hardware upgrade.
NOTE: Working natively with sequences of R3D files is very demanding on disk storage,
CPU, and graphics card performance, particularly at the higher resolutions.
If you use Lightworks as an offline editor, you need to choose between working
with the 1/8 image size R3D files directly or importing to another format, for
example, DV 25. Editing performance is better with lower-resolution imported
material like DV 25, but the import time is significantly longer. You can set a
shortcut key to switch back and forth between resolutions, depending on your
workflow. See "Importing R3D Files" on page 269.
If the offline was made with 1/8 resolution Native R3D files, the conform can
change the resolution to either ½ or full (1). Otherwise, you need to use the Find
Material to Fill Edit process. If the project is to be played out to HD-SDI, ½
resolution might provide acceptable results, although full resolution provides
the best-quality final images. With the right hardware and with effects
prerendered, a playout to tape directly from ½ res material should be practical.
However, if full resolution R3D data is selected as source, this necessitates the
edit having to be rendered to an interim format, for example, uncompressed
AVI. You can then play the AVI out to tape.
For file-based operations, a conform (render) to DPX is also possible. However
you must provide adequate storage capacity and performance.
For the procedure to import RED files, see "Importing R3D Files" on page 269.
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IMPORTING
Importing R3D Files
To import R3D files, do the following.
TASK
1. Select the R3D file or files you want to import by doing one of the following:
• Click the Choose button in the Import tool and browse to the file you
want.
• Click the file you want and drag it onto the desktop.
2. Click Do It in the Import tool.

The file imports.
3. Press the keyboard shortcut you assigned in Step 1.
A dialog box opens with the following options:
• Full res premium
• Half res premium
• Half res good
• Quarter res good
• Eighth res good
4. Select a resolution.
The R3D file opens and plays in the resolution you selected.
NOTE: If your system performance allows it, you can select a higher resolution
when the edit is ready for playout.
NTSC Projects
Options for NTSC projects include the following:

• Prior to ingest, audio runs at a speed which syncs to:
– Video (no film generation) @ 30.0
Tells the system that the audio was recorded to sync with video.
– Video (no film generation) @ 29.97
Tells the system that the audio was recorded to sync with video.
– Straight-Transfer film @ 30.0
Tells the system that the audio was recorded to sync with film, and
therefore to slow it down to sync with NTSC rate on playback after
import.
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IMPORTING
– Straight-Transfer film @ 29.97

Tells the system that the audio was recorded to sync with film, and
therefore to slow it down to sync with NTSC rate on playback after
import.
– Pulled-down film @ 30.0
Tells the system that the audio was recorded to sync with NTSC
pulled-down transferred film, and therefore to leave the playback
rate as it was recorded.
– Pulled-down film @ 29.97
Tells the system that the audio was recorded to sync with NTSC
• What type of Primary Timecode should be assigned to the imported
audio:
– Audio
– Auto
– 30-frame Drop
– 30-frame Non-Drop
– 24 frame
PAL Projects
Options for PAL projects include the following:

• Prior to ingest, audio runs at a speed which syncs to:
– Video (no film generation)
Tells the system the audio was recorded to sync with video.
– Straight-transfer film @25.0
Tells the system the audio was recorded to sync with film, and there-
fore to slow it down to sync with PAL rate on playback.
– Pulled-down film @24.0
Tells the system the audio was recorded to sync with PAL
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IMPORTING
• What kind of Primary Timecode should be assigned to the imported

audio:
– Auto
– 25 frame
– 24 frame
The Audio Speed Transfer Details Dialog Box
Sometimes Lightworks must change the playback rate of imported audio files in
order for it to sync with picture. This might be necessary when you edit film
material in video projects. For example, when editing film clip at 24fps in an
NTSC video project, audio recorded on location runs at a speed which syncs
with the film projected at 24fps. But when this film is telecined to NTSC using
pulldown and digitized into Lightworks, its rate effectively becomes 23.98fps,
and the audio playback rate has to be slowed accordingly to sync with
the picture.
Playback rate change is achieved at import time on the Transfer details
dialog box.
Assigning Correct Timecode Type to Imported Files
Depending on the type of project you are working in, you might want to assign
specific types of timecodes to your imported files. This can be important where
the files are required for subsequent conforming from EDLs.
You select timecode type on the Audio Speed Transfer Details dialog box.
Options include the following:
• What kind of primary timecode should be assigned to the imported clips:
– In a 25-frame PAL project: Auto, 24 fr, 25 fr.
– In an NTSC project (29.97, 30, or 24 frame): 30fr drop (NTSC), 30fr
non-drop (NTSC), 24 fr.
The Auto option attempts to read from the header of the WAV file the kind of
timecode with which the audio was recorded. All other options override the file
header timecode information.
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IMPORTING
272
Chapter 22: Material Disk Management
You can connect material disks striped into volumes to the system and use them
for storing picture and sound material.
Using the Disk Manager tool, you can do the following with material disks:
• Give volumes alternative names
• Display the amount of free space on each volume
• Move or copy material between volumes
CAUTION: Any changes you make using the Disk Manager tool affect all projects on the
system. Exercise care when different projects have material volumes.
• Displaying the Disk Manager Tool
• Naming Material Disks
• Displaying Free Space
• Moving or Copying Material Between Volumes
Displaying the Disk Manager Tool
You use the Disk Manager tool to manage material disk volumes. To open the
tool, do the following.
TASK
1. Click the Disk Manager tool icon on the Toolbar.
The Disk Manager tool opens.
CHAPTER 22: MATERIAL DISK MANAGEMENT
NAMING MATERIAL DISKS
For details about using the tool, see the following topics:
• "Naming Material Disks" on page 274
• "Displaying Free Space" on page 275
• "Moving or Copying Material Between Volumes" on page 275
2. To use your system drive as a disk, select Allow system drive use.
The system drive appears.
Naming Material Disks
Physical material disks are striped into volumes (usually pairs). The Disk
Manager tool displays the volumes available, rather than physical disks that
make up those volumes, and treats each of these volumes as a distinct entity, as
if it were a separate disk. A name is assigned to each volume connected to the
system. The volume is referred to by this name in the Lightworks interface.
These names can be assigned in one of two ways:
• Automatically assigned volume name. The default name is based on the
name given (a drive letter) to a volume within Windows.
• User-defined volume name. You can rename the volume using the Disk
Manager tool at any time. This option provides a convenient means of
describing the contents of a volume. For example, if you have reserved one
volume for recording stock clips only, it could be given the name “Stocks.”
Lightworks strongly recommends adopting a systematic naming convention.
To rename a volume using the Disk Manager tool, do the following.
TASK
1. Click the volume name.
2. Type the name you want and press Enter.
The new name appears.
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DISPLAYING FREE SPACE
Displaying Free Space
For each volume displayed on the Disk Manager tool, the amount of used space
and free space is shown. A graphic display indicates the proportion of the used
volume space to free by a colored bar.
NOTE: This display shows only the proportion of the disk in use; comparisons between
disks are valid only if you are sure the disks are of equal capacity.
A text display indicates the amount of free volume space in MB or in minutes of
recording time. Changing the format/compression in the Record tool changes
the space remaining.
Moving or Copying Material Between Volumes
You can use the Disk Manager tool to move or copy material between volumes.
The Move operation copies material to the destination volume and then deletes
it from the source volume(s). The copy operation leaves the material on the
source volume.
To move or copy material between volumes, do the following.
TASK
1. Click the Move Material button.
The Move Material Between Disks dialog box open.
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MOVING OR COPYING MATERIAL BETWEEN VOLUMES
2. Click the Source list.

The list of sources opens, including the whole project, any tiles, viewers or
groups on the screen, and the material volumes.
3. Select a source for the move.

4. Click the Destination list and select a destination volume.
5. Click the Action list and select one of the following actions:
• Move
• Copy
6. Click Do It.
Picture and sound files are moved from their original volume(s) to the
destination volume(s). After the move operation, the picture and sound files
no longer exist on the original volume. Moving material between volumes can
take a long time. A bar graph indicator shows the progress of the operation.
7. Interrupt the move operation at any time by pressing Esc.
The move stops at the current file.
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Chapter 23: Deleting
Deletion is the process of removing clips, edits and subclips from the
Lightworks hard disks.
• Deletion Process and Considerations
• Deleting Subclips
• Finding the Clips, Subclips, and Edits to Delete
• Deciding Whether to Delete Material Only
• Deleting with Bin Menu Commands
Deletion Process and Considerations
The general process of deletion includes the following:

1) Decide which clips, subclips or edits to delete. Options include the
following:
• An individual clip, subclip or edit
• A group of clips, subclips and/or edits
• All the clips used in an edit
• All the clips not used in an edit
2) Display the clips, subclips and/or edits to be deleted in a Bin.
3) For clips (not subclips or edits) decide whether to:
• Delete picture and sound material only (but keep the logs)
• Delete picture only
• Delete sound only
• Delete both logs and material
4) Perform a Project backup (archive) if necessary.
5) Perform the deletion by displaying the menu for the Bin, clicking Destroy,
and then confirming the deletion.
CHAPTER 23: DELETING
DELETING SUBCLIPS
CAUTION: Never delete anything unless you are absolutely sure.

CAUTION: It is possible for one clip or edit to be on the graphic screen in more than one
place at the same time. This does not mean there is more than one copy of the clip on
the hard disks. If you delete the clip from the hard disk, it is deleted from all places on
or off the screen.
CAUTION: If you delete material for a clip used in more than one project, it goes black
in all projects.
CAUTION: If you delete the material for the original clip, the picture and sound for the
subclip are lost.
CAUTION: If you delete the log of the original clip, edits that use the subclip might not
have the correct EDLs.
Deleting Subclips
If a subclip is deleted, the original clip (log and material) remains untouched.
Deleting a subclip is like deleting an edit - since a subclip does not actually have
material of its own.
Finding the Clips, Subclips, and Edits to Delete
Clips, subclips and edits are deleted from the Lightworks system using the Bin
Menu. To delete clips or edits, you must first display them in a Bin.
The method you use to find clips, subclips, or edits to delete depends on what
you want to delete. See the following topics:
• "Finding an Individual Clip, Subclip, or Edit" on page 278
• "Finding All the Clips Used in an Edit" on page 279
Finding an Individual Clip, Subclip, or Edit
Use the Search dialog box to find the clip, subclip or edit and display it in a Bin,
then use the delete commands at the bottom of the Bin menu to perform
the deletion.
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DECIDING WHETHER TO DELETE MATERIAL ONLY
Finding All the Clips Used in an Edit
To find all the clips used in an edit, do the following.
TASK
1. Display the Edit menu.
2. Click the Bin button.
The bin opens showing all clips used in the edit.
Deciding Whether to Delete Material Only
Whenever you delete a clip, you must decide whether to delete material only or
to destroy both log and material.
A common reason for deleting clips is to free storage space in order to record
more pictures and sound into the Lightworks system. In this case you only need
to delete the material (not the logs) for the clips.
Deleting the logs for the clips does not free up any space on the material drives,
since logs are kept on the system disk in the Main Crate. Deleting edits does not
free up any space, either, since edits are also kept on this separate disk. In any
case, logs and edits do not occupy a significant amount of storage space, since
they do not contain any pictures and sound.
If you delete the material for a clip but keep the log, the clip still exists with
Filecard and label information, but it plays as black and silence. Any edits in
which the clip is used play black and silence in place of the deleted material.
The Bin and Database Menu commands offer the following range of options for
deletion:
• Delete Material (Picture and Sound) from Clips
• Delete Only Picture Material from Clips
• Delete Only Sound Material from Clips
• Destroy Clips, Material, Edits and Subclips
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DELETING WITH BIN MENU COMMANDS
Deleting with Bin Menu Commands
The various deletion commands include several options. The effect of each
deletion command depends on whether it is applied to a clip or an edit.
(Subclips behave in the same way as edits.)
• "Delete Material (Picture and Sound) from Clips" on page 280
• "Delete Only Picture Material from Clips" on page 280
• "Delete Only Sound Material from Clips" on page 280
• "Destroy Clips, Material, Edits, and Subclips" on page 281
Delete Material (Picture and Sound) from Clips
Clips: Deletes all the material (picture and sound) for the clips in the Bin. This
frees space on the hard disks. The logs for the clips remain untouched.
Edits: Any edits in the Bin are deleted by this command, and provided the clips
have not been deleted, still have valid timecode and reel information. However,
if any picture or sound from clips used in the edit has been deleted, that part of
the edit plays as black or silence.
Delete Only Picture Material from Clips
Edits: Deletes all pictures for the clips in the Bin. This frees space on the hard
disks. The sound material and logs for the clips remain untouched.
Clips: Any edits in the Bin are deleted by this command and, provided the clips
have not been deleted, still have valid timecode and reel information. However,
if any picture from clips used in the edit has been deleted, that part of the edit
plays as black.
Delete Only Sound Material from Clips
Clips: Deletes all sound for the clips in the Bin. This frees space on the hard
disks. The picture material and logs for the clips remain untouched
Edits: Any edits in the Bin are deleted by this command and provided the clips
have not been deleted still have valid timecode and reel information. However,
280
if any sound from clips used in the edit has been deleted, that part of the edit
plays as silence.
Destroy Clips, Material, Edits, and Subclips
CAUTION: This command totally destroys all clips, subclips, and edits in the bin.
Clips: Deletes the material (picture and sound) and logs for the clips in the Bin.
This frees space on the hard disks. Any edits using the deleted clips have black
holes in them and no longer have valid timecode and reel information.
Edits: Any edits in the Bin are deleted. (The clips used in the edit are not deleted
unless they are also included in the Bin).
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282
Chapter 24: Device Connections
You can add, modify, or delete devices through the Record tool or the Playout
tool.
NOTE: You can also add and modify device connections within a project.
• External Devices
• Adding a New Device
• Renaming a Device
• Deleting a Device
• Device Configuration Window
• Setting Up a VTR
External Devices
An external device is any source or destination for video, audio and RS-422
control that is physically connected to the Lightworks system. External devices
are defined for the entire Lightworks system – adding devices or changing
existing device set ups applies across the entire system.
Devices are either controllable devices used when recording into or playing out
from the Lightworks system or devices that the Lightworks system has no direct
control of, for example, live feeds / CD players.
When you record into the system, these devices can be any source of video
and/or audio and/or timecode coming into the system (for example, VTR or
disk recorder).
You must select a single device when you use the Record tool or the Playout tool.
You can configure as many devices as you want. You can use only one at any
given time, however.
CHAPTER 24: DEVICE CONNECTIONS
ADDING A NEW DEVICE
Adding a New Device
New devices are usually added when the Lightworks system is installed or when
you want to use a source not previously defined. Adding a new device (or
changing the connections for an existing device) makes that device available
throughout the system. You need to understand how to define a device correctly
so that the system can make appropriate use of it.
To add a new device, do the following.
TASK
1. Click the Record Tool icon (or the Playout Tool icon) in the Toolbar.
NOTE: This procedure adds a new device through the Record tool. You can also add
one through the Playout tool.
2. Click the Device list and select the device you want to record from.
The Add New Device dialog box opens.
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ADDING A NEW DEVICE
3. Type a name for the device in the Name text box.

Give the device a name appropriate to the source it represents, for example
“Digi-Beta.” The name can be up to 64 characters long, but the Device
Selection button can display only 14 characters. Longer names are truncated.
NOTE: You must give the device a name. If you don’t, the Do It button is not
available.
4. Select a device template from the Type list.
See Device Templates "Device Templates" on page 288.
5. Click the name of the template you want to use for the device.
6. Select if you want video output.
7. Select if you want control.
8. Select how many audio outputs you want.
9. Click Do It.
The device is created and the Device Configuration window is displayed with
some defaults for the new device, based on the chosen template.
10. If you do not want to change these settings, click the Close button.
The new device is added.
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RENAMING A DEVICE
Renaming a Device
You rename devices in the Record tool or the Playout tool. Do the following.
TASK
1. Open the Record tool or the Playout tool.
2. Click Change Device Definitions.
3. Select the device you want from the Device list.
4. Click the Cogs icon on the Device Configuration dialog box, and select
Rename Current.
5. Type a new name for the device, and then click Do It.
Deleting a Device
To delete a device, do the following.
TASK
1. Open the Record tool or the Playout tool.
2. In the Device Options section, click Delete Device.
All currently defined devices are displayed.
3. Select the device you want to delete.
A confirmation dialog box opens.
4. Click OK.
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DEVICE CONFIGURATION WINDOW
Device Configuration Window
You use the Device Configuration window to set the video, audio, timecode and
port connections for a device. To open the Device Configuration window, do
the following.
TASK
• Click the Device Configuration icon in the Record tool or the Playout tool.
The Device Configuration window opens.

• "Device Templates" on page 288
• "Custom Devices" on page 288
• "Selecting a Device" on page 288
• "Default Label Mapping for Devices" on page 291
287
Device Templates
Device templates take much of the effort out of setting up new devices. The
template allocates reasonable default values to the settings on the Device
Configuration window. There are templates for most of the common types of
device you are likely to connect to the system.
NOTE: The template chosen for the device might affect whether it is subsequently possible
to modify some of the device settings. For example, a device based on the DAT template
does not allow you to set video inputs and outputs. To reflect this, these settings are
unavailable in the Device Configuration window.
The Device Configuration window is initially set with some defaults for the new
device, based on the device template that corresponds to the device you select.
Custom Devices
If you want to create a custom device where all options and tracks are available,
select Type > Custom in the Add New Device dialog box (see "Adding a New
Device" on page 284). Custom devices do not have any media types selected
when they are first created.
Some devices (such as CD players) have no tape and, as nonrepeatable and
noncontrollable sources, you cannot use them for certain types of recording
(digitizing from a Logging database, for example).
Selecting a Device
The Device Configuration window displays the name of the device the Device
Configuration window is currently looking at.
To select a device, do the following.
TASK
1. In the Record tool or the Playout tool, click the displayed device name.
A list of all the devices currently defined is displayed.
2. Click the name of the device you want.
288
The Video area sets the input connections for video, based on the physical
connections between the device and the Lightworks system.
3. Click “Connected via” and select your video connection:
• 1394
• SDI
• No connection
4. In the Audio area, click 'Connected via' and select an Audio input type:
• AES/EBU Digital
• SDI Embedded
• 1394
• USB/Direct Sound
• No connection
5. Click the Routing button.

The Device Audio Routing dialog box opens. This allows track mapping from
the device outputs to the Lightworks system inputs. The original audio track
from the tape is stored with any clips recorded from that device. This allows
the Lightworks software to store accurate information regarding original
tracks when you create EDLs and Logging databases.
6. Set unconnected device tracks to None.
7. In the Control area, click “Connected via” and select a control type:
• 9-pin COM 1 Port
• 1394/FireWire
• None (makes the device a manual control type)
289
8. Select other control options:

• Auto Edit
• Fast cueing
• Control track
• Type D2/D3
• Preroll time
9. Click the Label s tab, and select label mapping to use when you record from
the device.
NOTE: You can change the default label mapping on any device regardless of the
template you used to create it. See "Default Label Mapping for Devices" on page
291.
10. Close the Device Configuration window.
Your preferences are saved.
290
Default Label Mapping for Devices
You can change the default label mapping on any device regardless of the
template you used to create it.
All devices, regardless of the template they were created from, can have their
default label mapping changed. This is normally defined as a sensible default for
the type of device.
For example, 9-pin is defined for VTRs and time-of-day timecode for live
devices.
The following Label Mapping sets are currently supported for use:
• 24-frame Duration T/C
• 24-frame T/C on 9-pin line
• 24-frame T/C on 1394
• 24-frame T/C on LTC
• 24-frame time-of-day T/C
All other label-mapping sets are currently not supported. For further
information regarding label mapping, contact Lightworks Customer Support.
291
SETTING UP A VTR
Setting Up a VTR
Several settings are specific to the type of VTR. You can change these from their
default values in the Device Configuration window.
Do the following
TASK
1. Attach the VTR device you want.
2. Click the Device Configuration icon, and then select VTR Setup.
3. In the Control area, select options as described in the following table.
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SETTING UP A VTR
Option Description
Auto Edit Does the VTR support Auto Edit commands? If not, record on/off commands are used.
Edit Delay The number of frames delay between the VTR receiving a record command and entering
record.
NOTE: You can find this value on the VTRs dial menu.
Fast Cueing Select if, when cueing, a device is capable of fast forwarding or rewinding until it gets near
the timecode in-point and then going into search to locate the exact In point.
Deselect for For Profile disk recorders.
Control Track If the device supports control track cueing, select the option. This means the system cues
the device to the Inpoint, then uses control track to preroll the tape (in case there is a break
in the timecode during the preroll time).
NOTE: Some older VTRs do not support this method of locating an in-point
When the Lightworks system is being controlled from a master controller device, it does not
support control track cueing.
Playout Type D2/D3 Select if the VTR supports four tracks of audio that can be independently edited according
to the Sony D2/D3 edit command protocol. This includes Digital Betacam VTRs.
NOTE: Certain types of VTR, even if they have four tracks of audio, might not
accept these edit commands.
4. Select other options as described in "Selecting a Device" on page 288.
5. Close the Device Configuration window.
Your preferences are saved.
293
SETTING UP A VTR
294
Chapter 25: Sharing Projects
If you have two or more Lightworks systems, you can share Media Spaces and
Project Spaces.
• Mapping Network Drives
• Managing Project Spaces
• Creating a Project Space
• Selecting the Shared Project Space
• Creating Additional Rooms
• Creating a User List
• File Ownership
Mapping Network Drives
You need to map the network drives on the Lightworks systems you want to
share.
To map network drives, do the following.
TASK
1. Open EditShare Connect on one Lightworks system.
NOTE: You can also use the Windows drive mapping facility.
2. Map a drive for the projects to the P drive letter (P:\).
3. Map a drive for the Media to the M drive letter (M:\).
4. Repeat Steps 1-3 on the other Lightworks system.
NOTE: Both machines must have the same drive letters mapped.
CHAPTER 25: SHARING PROJECTS
MANAGING PROJECT SPACES
Managing Project Spaces
You need to assign the network drives you created in "Mapping Network
Drives" on page 295 to the Project Space and Media Space location on all
Lightworks machines.
To manage project spaces, do the following.
TASK
1. Click the Cogs icon in the Projects Browser.
2. Select Manage Project Spaces from the Project Options list.
The Manage Project Spaces dialog box opens.
3. Click the Location list.

The Set Root for Network Projects dialog box opens.
4. Select the drive you created for the shared project (P:\) and click OK.
A message box opens to remind you to use the same location for all systems.
5. Click the Close box.
6. Click the Default Material Location list.
The Set Root for Network Projects dialog box opens.
7. Select the drive you created for the shared media (M:\) and click OK.
A message box opens to remind you to use the same location for all systems.
8. Click the Close box.
9. Repeat this procedure for every Lightworks system you want to share.
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CREATING A PROJECT SPACE
Creating a Project Space
You need to create a new Project Space. This is the folder where all the project
files are kept.
You need to do this only once on one of the Lightworks systems. After you
create the Project Space, you can select it on all the other Lightworks machines.
To create a new Project Space, do the following.
TASK
1. Click the Cogs icon in the Projects Browser.
2. Select Manage Project Spaces from the Project Options list.
The Manage Project Spaces dialog box opens.
3. Click New Project Space.
4. Type a name for the Project Space, and then click Do It.
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SELECTING THE SHARED PROJECT SPACE
Selecting the Shared Project Space
You select the Shared Project Space just like any other project.
To select the Shared Project Space, do the following.
TASK
1. In the Projects Browser, click the Local Projects list.
2. Select the new Shared Project Space you created.
3. Create a new project as you normally do. See "Setting up a Project" on page
21.
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CREATING ADDITIONAL ROOMS
Creating Additional Rooms
You need to create additional rooms so multiple users can enter the same
project.
To create additional rooms, do the following.
TASK
1. In the Projects Browser, click the Shared Project Space you created.
2. Click New Room, and create a new room for each user. For details, see
"Creating a New Room from the Projects Browser" on page 22.
NOTE: If a room is occupied by another user, that room is unavailable to other
users. An Occupied by User message displays in red. If you try to open an occupied
room, a message appears saying the room is occupied.
299
CREATING A USER LIST
Creating a User List
You need to create a list of the computer names of the Lightworks systems that
you connect to the shared environment.
EditShare recommends renaming each computer to the name of its user.
Instead of using a name like, for example, HP-Laptop, change it to the user’s
first name, for example, Max. You may use the computer name if you have
reason not to use user names. Make sure the names are unique.
To create a user list, do the following.
TASK
1. Assemble the list of computer names.
2. To rename a computer, do the following:
a Right-click My Computer and select Properties.
b Click Advanced System Settings, and then click the Computer Name tab.
c Click Change.
d Type the computer name you want, and then click OK, and OK again.
e Restart your system.
3. Open Notepad.
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FILE OWNERSHIP
4. Type each computer name, one per line, as shown in the following example:
• Max
• Edith
• Allan
5. Press Enter after the last name.
6. Save the file in the Project Space folder, naming it userlist.dat.
NOTE: Make sure .txt is not added to the end of the filename, for example,
userlist.dat.txt
File Ownership
Consider the following about file ownership in Shared Projects:

• When you create a new edit or sequence in a Shared Project, you have
ownership of it. This means that you have Read/Write access to it, and
other users have only Read access to it. Other users can open the edit or
sequence, play it, or make a copy of it, but they cannot make changes to it.
After a user makes a copy of an edit or sequence, that user has Read/Write
access to it. Any changes made to an edit or sequence are updated in all
rooms of the Shared Project.
In a Shared Project, a padlock icon appears on the right side of the edit
viewer.
• Shots and subclips do not have specific ownership. They are available on
a first come, first served basis. If user Max, for example, is already editing
the database information of a shot or subclip, user Allan cannot make any
changes to it until Max has finished.
• Bins are shared with all users in a Shared Project. If one user makes a bin
permanent, other users can search and find it. Bins are updated in all
rooms when any user makes a change, for example, by adding or removing
shots from a bin.
• Creater/owners of an edit or sequence can give permission to other users.
NOTE: You can only give permission to other users. You cannot take permsission
from another user.
To give permission to another user, do the following.
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FILE OWNERSHIP
TASK
1. As the creator/owner of an edit or sequence, click the padlock icon in the edit
viewer.
An Ownership dialog box opens.
2. Click the User list and select a user name to transfer ownership to.
The edit is automatically taken out of Rec mode.
3. To set the ownership to anyone, select NONE from the User list.
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Appendix A: Licensing
You can now view your software status, and you can also upgrade your software
to Lightworks Pro.
You can also specify the number of activations, the number of concurrent
(networked) users for each code, if any, and the duration of each code at the
time of purchase.
You can move a single-activation license from one system to another and you
can detach a license from the network for a specified period of time.
• "Viewing Software Status" on page 303
• "Upgrading to Lightworks Pro" on page 304
• "Activating a License" on page 304
• "Moving a Single Activation License" on page 305
• "Detaching a Network License" on page 306
Viewing Software Status
To view the status of your software, do the following:
TASK
• In the bottom left corner of the work area, click on the Lightworks version
number. The Software Status window opens, displaying version and status
information about the installed software.
APPENDIX A: LICENSING
UPGRADING TO LIGHTWORKS PRO
Upgrading to Lightworks Pro
Lightworks installs by default with the Free version (with the Shark appearing
in gray). The license for Lightworks Pro is available for purchase from the
Lightworks Shop at www.lwks.com/shop.
NOTE: Your system must be connected to the Internet before you activate your license for
Lightworks Pro. After you have activated the license, you san safely disconnect the
Lightworks system from the Internet connection.
On receiving an activation code for Lightworks Pro, you active the license (see
"Activating a License" on page 304).
Activating a License
To activate a license, do the following.
TASK
1. Navigate to www.lwks.com/shop and upgrade your membership to Full
status.
You receive an activation code.
2. Start Lightworks.
3. In the bottom left corner of the work area, click on the Lightworks version
number. The Software Status window opens.
.
304
MOVING A SINGLE ACTIVATION LICENSE
4. Click Activate new license.

The License Activation Code window opens.
5. Copy and paste or type the license activation code you obtained in Step 1, and
then press Enter.
An Activation Successful message opens. The version status updates from
Free to Full, and the Shark appears in red. The remaining days on the license
appears in red.
6. Close the Software Status window by clicking the Close box.
Moving a Single Activation License
You can move a single activation license from one Lightworks system to another
by doing the following.
TASK
1. Make sure both systems are connected to the same network, that you know
the name of both computers, and that detaching licenses has been enabled in
the Admin Control Centre (see the Sentinel documentation).
number.
The Software Status window opens.
3. Click Detach license.
You are prompted for the name of the computer you want to detach the
license from (the Host computer).
4. Type the Host computer name and press Enter.
You are prompted for the detached license duration. This is determined by
the Administrator.
5. Type the number of days and press Enter.
305
DETACHING A NETWORK LICENSE
Detaching a Network License
If you have a network of Lightworks systems, you need to activate your license
once on one Lightworks system (the Admin system) on the network. Thereafter
any Lightworks systems on that network automatically use a network license if
they find one available. When a user closes Lightworks, the network license
automatically returns to the Admin system.
You can detach a network license and remain licensed by doing the following.
TASK
1. Make sure and that detaching licenses has been enabled in the Admin Control
Centre (see the Sentinel documentation).
number.
The Software Status window opens.
3. Click Detach a license.
You are prompted for the name of the computer you want to detach the
license from (the Host computer).
4. Type the Host computer name and press Enter.
You are prompted for the detached license duration. This is determined by
the Administrator.
5. Type the number of days and press Enter.
6. To return a detached license, click Return a detached license.
306
Appendix B: Backups
In addition to regular backups, Lightworks makes automatic backups called
Milestones. Milestone backups are created for edits after every ten edit
operations (mods).
• "Automatic Backups" on page 307
• "Restoring from a Backup" on page 307
• "Changing the Milestone Default Values" on page 309
Automatic Backups
By default, the last ten milestones are stored for an edit. The milestones are
stored in Lightworks\Projects\Pxxxxxxx\Milestones\Exxxxx\.
The milestones are numbered from zero (0) through nine (9), but are not
necessarily in chronological order.
Restoring from a Backup
In case of emergency, you can restore from an automatic backup. To do this,

you need to copy a file from the backup folder to the project folder. If you have
not deleted the backed-up edit from the project folder, you need to move the
original file to another location before you copy in the backup file.
To restore from an automatic backup, do the following.
APPENDIX B: BACKUPS
RESTORING FROM A BACKUP
TASK
1. Do the following to note the Cookie number for the edit you want to restore:
a Open Lightworks.
b Make sure the Cookie column displays in Bin List view by clicking the bin
Cogs button and then selecting Columns > Custom > Customise,
selecting Cookie, and clicking OK.
The bin displays the Cookie column.
c Note the Cookie number for the edit you want to restore.
2. Browse to the backup location: Lightworks\Projects\Pxxxxxxx\Milestones\.
3. Open the folder that has the same Cookie number as your edit.
4. Open your project folder in Lightworks\Projects\Pxxxxxx and move the file
that matches your backup file to another location for safekeeping.
5. Copy the backup file (that ends in a number from 1-9) to your project folder in
Lightworks\Projects\Pxxxxxx.
6. Rename the filename extension to .ed5, for example, rename 123456.1 to
123456.ed5.
NOTE: If you did not move the original file to another location, a message box
opens when you try to rename the file saying that a file with the same name is
already present. Move the original file as described in Step 4, and then try the
renaming again.
308
APPENDIX B: BACKUPS
CHANGING THE MILESTONE DEFAULT VALUES
Changing the Milestone Default Values
You can change the number of milestones stored or the number of edit
operations per milestone by editing the Lightworks configuration file.
TASK
1. Open C:\Program Files\Lightworks\Lightworks\config.dat
2. Add the following lines below the line run_always 1:
• milestones_per_edit #
• mods_per_milestone #
where # is the number you want, and then save the file.
Both of these entries have a default of 10.
NOTE: If you increase these values to a number over 10, you may notice a
performance decrease.
309
APPENDIX B: BACKUPS
CHANGING THE MILESTONE DEFAULT VALUES
310
ABCDEFGHIJKLMNOPQRSTUVWXYZ
Index
Numerics merging 214

BITC
3D checking timecode errors with 224
selecting options for 188 enabling 166
BWF
A importing 262
Analog audio levels 225

Arranging bins and racks 30
C
Aspect ratio Clipboard
selecting 185 cutting and pasting with 66
Assistant Application Color correction
adding, changing, and removing 137 described 128
importing material rendered in 140 Color Correction RGB
using 139 described 129
Audio Color effects
assigning correct timecode to imported files 271 described 130
changing levels in the Timeline 81 Color tint
changing speed for import 271 described 130
displaying waveforms 80 Components
making audio-only version of edit 165 hardware 15
mapping tracks for EDL import 181 Console
moving vertically with key combinations 97 button combinations 33
moving with shift+drag 97 editing buttons 32
moving with the Clipboard 96 functions 31
replacing sound with atmos 95 using to control recording 45
resyncing sound with atmos 96 Consolidate
setting analog levels 225 edit to another drive 252
Audio information procedure 250
updating on Project card 194 subclip to free hard disk space 252
Audio signal to free hard disk space 250
generating to test output 193 Controlled playback
Auto synchronise 211 performing 160
Autochop Controlled playout
breaking down recordings using 215 described 159
Automatic search and replace Cues
in databases 213 jumping to 52
Cut-and-paste
B in a database 209
Cutting and pasting with clipboard 66
Bin
arranging 30
described 26
D
linking tile to viewer 49 Database
permanence 29 automatic search and replace in 213
working with 27 changing field order in 207
Bins
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ
creating 203 templates for 288

creating of shots not used 204 Discreet Combustion
displaying 206 applying with Assistant Application feature 137
dropping a tile into 210 Disk Manager tool
duration field in 208 displaying 273
logging, adding and modifying entries 231 moving or copying material between volumes 275
logging, checking 233 naming volumes with 274
logging, creating 228 viewing free space with 275
logging, deleting 234 Documentation 16
logging, deleting entries 232 DPX
logging, editing records in 237 exporting 258
logging, including timecode 231 DPX sequences
logging, loading an existing 230 importing 265
logging, merging 234 Drag-and-drop
logging, moving around in 236 importing with 262
logging, printing 235 Drop-frame
logging, saving 234 field in database 208
logging, setting default values for 232 Duration
logging, sorting 238 setting of effect 103
logging, tagging entries for recording 238 DVE effects 113
naming 210
permanent 211
popping a tile out from 210
E
resizing 208 Edit
saving for export 213 adding effects to 100
saving views in 207 adding to sync group 154
search in 212 changing during live editing 152
tagging entries in 209 changing picture quality 240
transient 211 changing start time 69
using keyboard shortcuts in 209 consolidate to another drive 252
using keyboard to move around in 207 consolidating to free hard disk space 250
Date deleting in 66
searching by 201 deleting picture material from 280
Deleting deleting sound material from 280
external device 286 described 25
finding shots, subclips, and edits 278 editing grouped tracks 77
general process 277 exporting 257
material from an edit 66 filling 240, 241
material from shots 280 finding to delete 278
material only, deciding to 279 fit-to-fill 69
picture material from shots 280 grouping tracks in 76
sound material from shots 280 making a copy of 68
subclips 247, 278 making an audio-only version of 165
Device making an empty cut in 68
adding new 284 marking a portion of a source shot in 57
components of system 15 marking entire shot in 58
custom 288 marking In and Out on 58
default label mapping for 291 playing out 163
deleting 286 recording new material for 241
displaying Configuration window 287 replacing deleted material in 243
external, defined 283 replacing entire shot in 63
renaming 286 replacing open-ended in 62
selecting 288 replacing picture-only or sound-only in 63
setting up VTR 292 replacing section in 63
312
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index
replacing source selection in 62 mosaic, described 119

starting a new 56 obscure (mosaic), described 121
swapping In and Out points in 59 obscure blur, described 120
tracing back subclips in 248 positioning 101
ungrouping tracks 77 posterize, described 122
using the clipboard in 66 push, described 111
viewing created by live editing 152 quad split screen, described 114
Edit of matches radical blur, described 122
creating 201 removing 103
Editing buttons on console 32 roll titles, described 123
EditShare setting duration of 103
Documentation 16 sharpen edges, described 122
Technical Support 17 sharpen, described 122
EDL simple 2D shape, described 117
changing handles after import 181 squeeze, described 111
exporting 170 static titles, described 123
importing 180 Stylize category 118
importing, mapping audio tracks 181 Title category 123
importing, procedure 181 trimming 107
importing, project TV standard for NTSC 181 trimming multi-track 108
re-editing after an online 179 trimming multi-track with keyframes 108
requirements for correct 169 trimming simple transition 107
EDL generation wipe, described 112
options for 172 working with keyframes 105
selecting options 170 Empty cut
Effect in edit 68
3D DVE, described 113 Errors
adding 100 checking timecode 224
applying to tracks 101 Export
applying with Assistant Application feature 137 DPX files 258
blend, described 109 saving a database for 213
box blur, described 118 Exporting
chroma key, described 124 edit or shot 257
color gradient matte, described 116, 116 EDL 170
color matte, described 116 image sequences 258
configuring 104 Lightworks archives 256
corner gradient, described 116 OMF 256
crawling titles, described 123 subclips 247
dissolve, described 110 using Import-Export tool 254
DVE category 113 External device
DVE, described 114 adding new 284
flip, described 114 custom 288
flop, described 114 default label mapping for 291
Gaussian blur, described 118 defined 283
glow, described 119 deleting 286
image key, described 124 displaying Device Configuration window 287
image, described 117 renaming 286
Key category 123 selecting 288
keyframing 105 setting up VTR 292
luma key, described 125 templates for 288
luma wipe, described 110
mask, described 115
masked blend, described 111
F
Matte category 115 Field
Mix 109
313
changing order in database 207 Key assignments

Find selecting 195
in database 212 Key effects 123
FireWire Keyboard
interface 15 using to move around in database 207
Fit-to-Fill 69 Keyboard shortcuts
Formats using to cut and paste in a database 209
Export 253 Keyframe
described 105
trimming multi-track effect with 108
G working with 105
Generating a Logging database 228
Greyscale L
described 131
Label
displaying 49
H entering manually 224
Hardware Left eye
testing outputs 193 specifying for 3D 188
HSV color correction Letterboxing
described 129 selecting options for 185
Lightworks archives
exporting 256
I Lightworks icon
Image sequences using to start 19
exporting 258 Live editing
importing 262 changing an edit during 152
Images described 149
importing single 264 picture only 155
Import resuming 153
DPX sequences 265 starting and stopping 151
RED files 268 strategies for 150
RED files, procedure 269 to an audio track 155
Import-Export tool undo and redo during 157
exporting with 254 using console cut buttons with 150
importing with 260 viewing an edit created by 152
Importing Logging database
image sequences 262 adding and modifying entries 231
Lightworks Touch archives 264 checking 233
NTSC 269 creating 228
OMF 267 deleting 234
PAL 270 editing records in 237
single images 264 including timecode 231, 232
subclips 247 loading an existing 230
using drag-and-drop 262 merging 234
using Import-Export tool 260 moving around in 236
video 262 printing 235
wav 262 saving 234
importing 268 setting default values for 232
sorting 238
tagging entries for recording 238
K updating with Retrofit feature 216
Kemroll Logging shot details 46
working with 149
314
M P
Machine control PAL
using for recording 45 importing 270
Mapping network drives Permanence of bins, and racks 29
for project sharing 295 Picture quality 240
Mark Playback
removing 59 controlled 160
Mask effects 115 Playback rate
Matches changing audio on import 271
creating an edit from a search for 201 Playing
Matching original and redigitized shots 240 a tile 47
Material in a viewer 48
deleting 279 two sources 141
Material disk volumes using sync groups 142
displaying free space on 275 Playout
managing with Disk Manager tool 273 an edit 163
moving or copying material between 275 controlled, procedure for 160
naming 274 options 159
Matte effects 115 Plug-in effects
Memory requirements 15 installing 133
Merging bins 214 using 134
Merging Logging databases 234 Pop Out Original
Mix effects 109 button in Edit view 78
Mouse Position indicator
controlling objects with 35 changing in the Timeline 73
Print
described 25
N Project
Name opening project card 184
changing for bins and racks 29 selecting audio options 189
changing material disk volume 274 selecting details 184
changing of external device 286 selecting editor preferences 195
Negative color selecting film options 191
described 131 selecting miscellaneous options 192
Network drives selecting video options 185
mapping for project sharing 295 setting up 21
Nodes Project card
audio, using to adjust levels 81 updating 194
Non-drop-frame Project sharing
field in database 208 mapping network drives prior to 295
NTSC
importing 269 R
R3D
O importing into Lightworks 268
OMF importing into Lightworks procedure 269
exporting 256 Rack
importing 267 arranging 30
Original described 28
popping out 78 permanence 29
Output test Record
running from Project card 193 basic 42
cueing source device to timecode 46
logging shot details during 46
315
preparing to 39 creating database of shots not used 204

using Autochop to break down 215 deleting material from 280
with machine control 45 deleting picture material from 280
without machine control 45 deleting sound material from 280
Recording described 24
creating a Logging database 228 displaying information about in a label 49
from source with no timecode 223 exporting 257
from tapes with gaps in timecode 221 finding to delete 278
setting destination 226 logging details about 46
stop if label has break 220 marking a portion of 57
stop if label is missing 220 marking entire 58
tagging Logging database entries for 238 marking In and Out on 58
RED files 268 source, marking a portion of 57
import procedure 269 swapping In and Out points on 59
Redigitizing Shot logs
for edit 241 updating with Retrofit 216
for higher picture quality 240 Simple playout
Redoing changes in the Timeline 93 described 159
Rendered material Source device
changing 136 cueing to timecode 51
Rendering Start time of edit
procedure 135 changing 69
Replace Stereo 3D
automatic in database 213 selecting options for 188
Replacing Stylize effects 118
backward in an edit 64 Subclip
entire shot in an edit 63 attributes and behaviors of 246
material in an edit 62 consolidating to free hard disk space 252
picture-only or sound-only in an edit 63 deleting 247, 278
record material in an edit 63 deleting sound material from 280
source material in an edit 62 described 25
Resizing bins and racks 30 exporting or importing 247
Retrofit filling 241
using to update Logging database 216 finding to delete 278
Right eye moving or copying between projects 247
specifying for 3D 188 tracing back 248
Room undoing and redoing 248
creating new 22 Sync
creating within a room 23 changing in Timeline 89
described 22 changing in Timeline by aligning marks 90
entering 21 changing in Timeline by playing 89
using an existing 24 combining methods 144
Rubberbanding audio levels 81 described 25
fixing in Timeline 90
fixing in Timeline using menu commands 91
S fixing in Timeline using sync commands 92
Search parameters selecting a method 143
specifying 199 separate audio and video together. 211
Searching Sync group
procedure for 201 adding edit to 154
Selective correction adding sources to 145
described 130 changing the lock frame 147
Shot displaying on screen 146
breaking down using Autochop 215 displaying the lock indicator 146
316
generating new 143 described 36

match-framing for 148 Touch archives
playing tiles and viewers 148 importing 264
removing a sources from 145 Track
Synced tiles applying effects to 101
displaying as viewers 147 editing grouped 77
System grouping 76
starting 19 selecting in Timeline 75
System specifications 15 ungrouping 77
Transience of bins and racks 29
Trimming
T monitoring pictures during 88
Tag Trimview
in a database 209 displaying pictures in 88
Technical Support 17 using to monitor pictures 88
Template Tri-tone
for external device 288 described 131
Testing hardware outputs 193 Two-tone
Tile described 132
described 26
dropping into a database 210 V
linking to viewer 49
playing 47 Video
popping out from a database 210 importing 262
Timecode monitoring during trimming 88
allow recording if gaps are present 221 monitoring with Trimview 88
allow recording if missing 220, 223 Video Input
assigning correct type to imported files 271 synchronizing without 165
break detection 220 Video tab
checking errors 224 Project card 185, 188
cueing to 46 View
deleting entries 232 saving in database 207
enabling burned-in 166 Viewer
including in Logging database 231 linking to tile 49
jumping to 51 playing material in 48
recording from tapes with 219 resizing 51
setting default values in Logging database 232 VTR
Timeline setting up 292
changing magnification of position indicator 73
changing sync by aligning marks 90
changing sync by playing 89
W
changing sync in 89 WAV
displaying 72 importing 262
displaying text on 74 Waveforms
fixing sync in 90 displaying 80
fixing sync using Timeline menu commands 91 Workflow
fixing sync using Timeline sync commands 92 editing 55
navigating 72
resizing 74
selecting tracks in 75
undoing and redoing changes 93
using shift and drag function 93, 93
Title effects 123
Toolbox
317
318

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EditShare Lightworks v11

EditShare is a registered trademark of EditShare in the US and other countries.

Tel: +44 (0) 20 7183 2255

Minimum system specifications are described in the EditShare Lightworks

Hardware components are as follows:

Keyboards for the following languages are available:

The following document is also available from EditShare:

To start the system, do the following.

Working with Projects

4. Click the Close button.

Creating a New Room from the Projects Browser

To create a new room, do the following.

2. Click New Room.

Creating a New Room from within a Project

2. Click New Room.

Using an Existing Room

To use an existing room, do the following.

Clips, Subclips, and Edits

See the following topics:

A clip is created by a single continuous recording of picture and or sound into

GRAPHICS SCREEN SYSTEM DRIVE MATERIAL DRIVE

Edit plays material

CLIP = LOG + Material

Subclip plays material

Bins and Racks

Working with Bins

• As a list with thumbnails

To work with bins, do the following.

The bin opens.

3. Click the closed bin and drag it onto the rack.

Naming Bins and Racks

Bin and Rack Permanence

A bin or rack can be transient or permanent.

Arranging Bins and Racks

Using the Console

See the following topics:

• "Console Functions" on page 31

The following table describes the console functions.

Console Control Function

Stop button Stops playback instantly.

Editing buttons See "Console Editing Buttons" on page 32.

Console Editing Buttons

Console Editing Button Description

Console Button Combinations

Console Editing Button Description

Stop+Play Forward Nudges the material forward one frame.

Stop+Play Backward Nudges the material backward one frame.

Stop+Jump Back Jumps to the start of the active clip or edit.

Stop+Jump Forward Jumps to the end of the active clip or edit.

Stop+Delete Performs a Redo on the currently selected edit.

Stop+Remove Performs an Undo on the currently selected edit.

Stop+Cue Deletes a cue. Park on a frame before you press Stop+Cue.

Using the On-Screen Console

The on-screen console appears at the bottom of the project window.

Button Icon Description

Play/Stop Plays forward. Changes to Stop icon during play.

Controlling Objects with the Mouse

Mouse Function Function Operation

• "About Bins" on page 26.

• "Racks" on page 28.