USER MANUAL

IPEdit
Version 7.92 - May 2021

IPDirector
USER MANUAL IPDirector 7.92 IPEdit

Disclaimer
This manual and the information contained herein are the sole property of EVS Broadcast
Equipment SA and/or its affiliates (EVS) and are provided “as is” without any expressed or
implied warranties, including, but not limited to, the implied warranties of merchantability
and fitness for a particular purpose. In particular, EVS makes no warranty regarding the
use or the consequences of use of this manual and the information contained herein.
Furthermore, EVS may not be held liable for any direct or indirect, incidental, punitive or
consequential loss, damage, cost or expense of any kind whatsoever and howsoever
resulting from the normal or abnormal use of this manual and the information contained
herein, even if advised of the possibility of such loss, damage, cost or expense.
While every effort has been made to ensure that the information contained in this manual
is accurate, up-to-date and reliable, EVS cannot be held liable for inaccuracies or errors
that may appear in this publication. The information in this manual is furnished for
informational purpose and use only and subject to change without notice.
This manual cancels and replaces any previous versions thereof.

Copyright
Copyright © 2003-2021 EVS Broadcast Equipment SA. All rights reserved.
This manual may not be reproduced, transcribed, stored (in a database or a retrieval
system), translated into any language, computer language, transmitted in any form or by
any means – electronically, mechanically, printed, photocopied, optically, manually or
otherwise – in whole or in part without the prior written consent of EVS.

Trademarks
All product and brand names are registered trademarks and trademarks of EVS or of their
respective owners.

Improvement Requests
Your comments will help us improve the quality of the user documentation. Please send
improvement requests, or report any error or inaccuracy on this user manual by e-mail to
[email protected].

Regional Contacts
You will find the full list of addresses and phone numbers on the following webpage:
http://www.evs.com/contact.

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

User Manuals on EVS Website

The latest version of the user manual, if any, and other user manuals on EVS products can
be found at the EVS download center, on the following webpage:
https://www.evs.com/en/download-area.

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USER MANUAL IPDirector 7.92 IPEdit

Table of Contents
TABLE OF CONTENTS III

WHAT'S NEW? IX

1. INTRODUCTION 1
1.1. Purpose 1
1.2. Main Features 1
1.3. Limitations 2
1.4. Opening IPEdit 2
1.5. User Interface 3
1.5.1. Overview of IPEdit 3
1.5.2. Activating a Pane in IPEdit 5

2. MANAGING CHANNELS 6
2.1. Assigning Player Channels to IPEdit 6
2.1.1. Principle 6
2.1.2. Automatic PGM Assignment 7
2.1.3. Display 7
2.1.4. How to Assign Player Channels Manually to IPEdit 7
2.2. Automatic Lock Timeline Function 8
2.2.1. Description 8
2.2.2. Display of Channels in Timeline Mode 8
2.2.3. Automatic Unlock 8
2.3. Controlling a Player with another Device 9
2.3.1. Controlling a Player with the ShuttlePRO 9
2.3.2. How to Control a Player Channel with the BEPlay 10

3. BROWSER 11
3.1. Introduction 11
3.2. Searching For Media in the Browser 12
3.2.1. General Search and Filtering Features 12
3.2.2. Multi Camera Timecode Filter 13

4. PLAYER 15
4.1. Overview of the Player Pane 15
4.1.1. Main Functions 15
4.1.2. Player Pane Outline 16
4.2. Video Display 17

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

4.2.1. Purpose 17
4.2.2. Prerequisites 17
4.2.3. Activation and Deactivation 17
4.2.4. How to Associate a Video Display with the Player 18
4.3. Display on the Timeline Engine 18
4.4. Loaded Media Information 19
4.4.1. Lock Button 19
4.4.2. Loaded Media Field 20
4.4.3. LSM ID Field 20
4.4.4. Timecode Field 21
4.4.5. Train Name Field 21
4.4.6. Remaining Time / Capacity Field 21
4.5. Transport and Creation Functions 23
4.5.1. Purpose 23
4.5.2. Transport Functions 24
4.5.3. Clip Creation Functions 29
4.6. Timeline Editing Buttons 32
4.6.1. Purpose 32
4.6.2. Insert Function 33
4.6.3. Overwrite Function 33
4.6.4. Marking the Media to be Added to the Timeline 33
4.6.5. Match Frame Replace 34
4.7. Player Track Selection 34
4.7.1. Purpose 34
4.7.2. Tracks Selected when the Media is Added to the Timeline 35
4.7.3. Possible Audio Configurations in the Player 35
4.7.4. Example 37
4.8. Audio Monitoring 37
4.8.1. Definition 37
4.8.2. How to Access the Audio Monitoring Parameters 38
4.8.3. Adjusting the Audio Level Output to the Headphones 39
4.8.4. Assigning the Audio Channels to the Headphones 40
4.8.5. Saving the Audio Monitoring Parameters in a Template 40
4.9. Loading Media onto the Player 41
4.9.1. General Information 41
4.9.2. How to Load Media from the Browser into the Player 42
4.9.3. Ways to Load Clips 42
4.9.4. Ways to Load Trains 43
4.9.5. Ways to Load Logs 43
4.9.6. Changing the Camera Angle 43

5. TIMELINE 45
5.1. Overview of the Timeline Elements 45
5.1.1. Timeline Pane Outline 45
5.1.2. Timeline Name and IDs 46

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5.1.3. Timeline Display 47

5.1.4. Edit Command Bar and General Editing Functions 51
5.1.5. Transition Effects Bar 55
5.1.6. Locator Buttons 56
5.1.7. Transport Command Bar and Transport-Related Functions 56
5.1.8. Timecode and Duration Fields 60
5.1.9. Timeline Track Selection Buttons 61
5.1.10. Locator/GPI Selection Buttons 63
5.1.11. Scale Bar and Move Bar 63
5.1.12. Audio Volume Automation, Swap & Mute Buttons 63
5.2. Timeline Management 64
5.2.1. Timeline Contextual Menu 64
5.2.2. Creating a New Timeline 66
5.2.3. Converting a Playlist Into a Timeline 70
5.2.4. Opening a Timeline 74
5.2.5. Copying and Moving a Timeline 75
5.2.6. Publishing a Timeline 78
5.2.7. Transferring Timelines 80
5.3. Timeline Editing 81
5.3.1. Overview of Editing Actions 81
5.3.2. Overview of Slow Motion Editing 82
5.3.3. A/V Material Available for Editing in the Timeline 83
5.3.4. Growing Clips in Timelines 83
5.3.5. Contextual Menu on the Timeline Element 84
5.4. Marking and Selecting Techniques 85
5.4.1. Moving the Nowline in the Timeline 85
5.4.2. Adding Mark IN and Mark OUT points 87
5.4.3. Selecting and Deselecting Timeline Elements 88
5.5. Placing Media in the Timeline 91
5.5.1. Applicable Principles 91
5.5.2. Editing Modes From the Player 93
Adding Media in Insert or Overwrite via the Keyboard, ShuttlePRO or
5.5.3.
Player Buttons 97
5.5.4. Adding Media in Insert or Overwrite Using Drag-and-Drop Actions 102
5.5.5. Adding Media Using the Match Frame Replace 104
5.5.6. Changing the Camera Angle of Timeline Elements 108
5.5.7. Appending a Timeline to the Open Timeline 110
5.6. Deleting Elements from the Timeline 111
5.6.1. Introduction 111
5.6.2. Lifting Timeline Elements or Parts of a Timeline 112
5.6.3. Extracting Timeline Elements or Parts of a Timeline 113
5.7. Moving Elements Within the Timeline 115
5.7.1. Introduction 115
5.7.2. Possible Element Selections and Move Types 116
5.7.3. How to Move Elements By Drag-and-Drop 117
5.7.4. How to Move Elements Using the Numeric Pad 118

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5.7.5. How to Move Elements Using the Arrows 118

5.8. Extending Timeline Elements 119
5.8.1. Introduction 119
5.8.2. Overview of the Extend Actions 122
5.8.3. Extending in Insert or Overwrite Mode 122
5.8.4. Extending OUT in Insert or Overwrite Mode 124
5.8.5. Extending In or OUT in Insert or Overwrite Mode 125
5.8.6. How to Extend IN or Extend IN Slow/Fast a Timeline Element 126
5.8.7. How to Extend OUT or Extend OUT Slow/Fast a Timeline Element 127
5.9. Trimming Elements in the Timeline 128
5.9.1. Introduction 128
5.9.2. Overview of Trim Modes and Trim Actions 130
5.9.3. Activating and Deactivating the Trim Modes 131
5.9.4. Possible Trim Actions 134
5.9.5. Trimming Timeline Elements 140
5.10. Slipping Elements in the Timeline 143
5.10.1. Overview 143
5.10.2. Activating and Deactivating the Slip Mode 145
5.10.3. How to Slip an Element Using the Mouse 147
5.10.4. How to Slip an Element Using the Keyboard 148
5.10.5. How to Slip an Element Using the ShuttlePRO 149
5.10.6. How to Slip an Element by Setting a New Timecode 150
5.11. Sliding Elements in the Timeline 151
5.11.1. Overview 151
5.11.2. Activating and Deactivating the Slide Mode 154
5.11.3. How to Slide an Element Using the Mouse 155
5.11.4. How to Slide an Element Using the Keyboard 156
5.11.5. How to Slide an Element Using the ShuttlePRO 157
5.12. Transition Effects 157
5.12.1. Introduction 157
5.12.2. Selection of Transitions and Tracks on Which to Apply the Effects 159
5.12.3. Effect Types 160
5.12.4. Effect Duration 161
5.12.5. Effect Positions 162
5.12.6. Add/ Modify Transition Effect Window 163
5.12.7. Transition Effect Settings 168
5.12.8. Adding Transition Effects 169
5.12.9. Modifying Transition Effects 174
5.12.10. Deleting Transition Effects 174
5.12.11. Editing Timeline Elements with Effects 175
5.13. Audio Swaps and Mutes 176
5.13.1. Introduction to the Swap/Mute Function 176
5.13.2. Overview of the Ways to Define Swaps and Mutes 177
5.13.3. Automatic Swap Definition 179
5.13.4. Automatic Mute Definition 181
5.13.5. Manual Swap Definition in the General Display Mode 182

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5.13.6. Manual Swap Definition in the Swap/Mute Zoom Mode 184

5.13.7. Swap/Mute Configuration Window 186
5.13.8. Adding Audio Swaps 190
5.13.9. Modifying Audio Swaps 193
5.13.10. Deleting Audio Swaps 194
5.14. Adjusting the Audio Volume on the Timeline 195
5.14.1. Introduction 195
5.14.2. Accessing and Leaving the Volume Automation Mode 195
5.14.3. Overview of the Possible Actions 195
5.14.4. Audio Volume Automation Panel 196
5.14.5. How to Change the Graphic Volume Range 198
Preliminary Actions Before Any Increase or Decrease on the Volume
5.14.6.
Automation Curve 198
5.14.7. Increasing or Decreasing the Global Volume of a Track 199
5.14.8. Increasing or Decreasing the Volume on Part of a Track 200
5.14.9. Modifying the Volume on a Given Position of a Track 202
5.14.10. Resetting the Volume 203
5.15. Consolidating a Part of a Timeline 204
5.15.1. 'Replace', 'Create Clip from Timeline' and 'Live to Tape' Functions 204
5.15.2. Process Overview 206
5.15.3. Assigning a Recorder Channel to IPEdit 209
5.15.4. Replace Settings 210
5.15.5. How To Render Part of a Timeline Using the Replace Function 217
How To Consolidate a Part of a Timeline Using the Clip Creation From
5.15.6.
Timeline Function 218
5.15.7. How to Use the Live to Tape Function 219
5.15.8. How To Cancel a Consolidation Process 221
5.16. Using Locators in IPEdit 222
5.16.1. General Information on Locators 222
5.16.2. Adding Locators 223
5.16.3. Activating the Locators 224
5.16.4. How to Select / Deselect Locators 224
5.16.5. How to Move a Locator Within the Timeline Element 224
5.16.6. How to Modify Locators 225
5.16.7. How to Delete a Locator 225
5.17. Using GPIs in IPEdit 225
5.17.1. General Information on GPIs 225
5.17.2. Replace GPIs 227
5.17.3. Video Transition Effect GPIs 227
5.17.4. Clip GPIs 227
5.18. Using Macro Commands in IPEdit 230
5.18.1. Overview 230
5.18.2. How to Define or Modify a Macro Command 231
5.18.3. Calling a Macro Command From the Timeline 232
5.19. IPEdit Settings 232
5.19.1. General 232

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5.19.2. Macro Commands 233

5.19.3. Replace Settings 233

6. EDIT WHILE PLAYOUT 234

6.1. Introduction 234
6.1.1. Purpose 234
6.1.2. Channel Assignment 234
6.1.3. Activating the Edit While Playout Mode 235
6.1.4. Using the BEPlay Remote in EWP Mode 235
6.2. User Interface 236
6.2.1. Overview of the User Interface in Edit While Playout Mode 236
6.2.2. Edit While Playout Control Panel 237
6.2.3. Timeline Display in Edit While Playout Mode 242
6.3. Edit While Playout Settings 243
6.4. Committing Actions in Edit While Playout Mode 243
6.4.1. Introduction 243
6.4.2. Committing the TLE 244
6.4.3. Overwrite the Edit Timeline with the On-Air Timeline 245
6.5. Edit While Playout Mode in a Master/Slave Configuration 245
6.5.1. Principles 245
6.5.2. Redundancy Status in IPEdit 246
6.5.3. Synchronizing the Timeline on the Slave IPEdit 247
6.6. Managing GPI in TLO 248

7. SUPPORTED KEYBOARDS 250

7.1. Introduction 250
7.2. Standard Keyboards 250
7.3. Shortcuts for Transport Controls on Specific Keyboards 250

8. SHUTTLEPRO KEYS 252

8.1. Quick Reference of ShuttlePRO in the Player Pane 252
8.2. Quick Reference of ShuttlePRO in the Timeline Pane 253

GLOSSARY 254

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What's New?
In the User Manual, the icon has been added next to the text to highlight
information on new and updated features.
The sections updated to reflect the new and modified features in IPEdit7.92 are listed
below.
Video Display
When no AVH card is present or in case the AVH card has not been configured, it is
possible to preview media on the Player with the Software Player. With an AVH card, you
can use either the Software Player or the configured player channel.
• See section "Principle" on page 6.
• See section "How to Associate a Video Display with the Player" on page 18.

NOTE
From version 6.55, the interface skin has slightly changed, so the color shade
of some user interface elements (such as title bar, buttons) may differ from the
screenshots included in the current manual.

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USER MANUAL IPDirector 7.92 IPEdit

1. Introduction

1.1. Purpose
IPEdit is a video editing solution fully integrated in the IPDirector framework that delivers
real-time performance through a new server-based architecture. It offers complete timeline
editing with no rendering process required.
Long form editing is available for quick program fixing, while short form editing can be used
for highlights creation.
Intuitive editing functions, like drag-and-drop and keyboard shortcuts, make it easy to do
video and audio transition effects, and the enhanced replace process lets you add video
graphics and voice-over.
Up to four audio tracks (a total of 16 audio channels) provide flexible audio editing,
including audio swap, mute, and volume automation. IPEdit also allows multiple channel
access over the entire media network.
The timeline engine is based on the server's field-proven reliability, and up to two
simultaneous timelines can be created per server. GPI Out allows for external device
automation, and the ability to play out while editing ensures a 'speed to air' workflow.

NOTE
The IPEdit module is a software option, which requires the license key 60 being
imported to XSecure.
For more information on the required license key, contact the Support or Sales
team.

1.2. Main Features

IPEdit's main features are:
• 1 video track, up to 16 audio channels in 4 audio tracks
• Video player preview on VGA, Timeline output on external video monitor
• Fast and intuitive editing functions (insert, overwrite, roll, trim, delete) with drag and
drop and keyboard shortcuts. Standard Qwerty and Azerty keyboards and specific
keyboards are supported.
• Replace mode for advanced graphics editing (GFX is superimposed externally by
using an external video mixer)
• Voice-over (done externally through an audio mixer)
• GPI Outputs can be linked to clips, transition effects and replace points on the timeline
• Intelligent Browser (automatic search by TC)
• On the fly multi-camera angle selection in timeline
• Video dissolve/wipe, Audio dissolve

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

• Clip/Track Audio volume automation

• Cue and play timeline on Control Panel and Remote D
• Local and distant clips and trains can be used (XNet).
• Undo / Redo on editing
• Minimum clip size = 3 frames
• 7 configurations available
• Slow motion in timeline
• Full VITC Support
• VITC Legacy/User clip support
• Edit to Air mode
• Master/Slave redundancy

1.3. Limitations
• No audio mix-down internally on the XT. It requires an external audio mixer for mix
down to stereo or other formats.
• No real-time edit redundancy.
• No simultaneous editing on a timeline panel and a Remote Panel.
• No software player support for timeline.
• IPEdit cannot work with nearline storage or with XL[2] server material.
• Frame-based editing only (even in Progressive format, no field editing).
• No server native flatten process of timeline (need replace).
• No support for playing timeline in playlist.

1.4. Opening IPEdit

To open IPEdit, click the IPEdit icon on the IPDirector Application bar.

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USER MANUAL IPDirector 7.92 IPEdit

1.5. User Interface

1.5.1. Overview of IPEdit

Illustration
The IPEdit window contains the areas highlighted on the screenshot below:

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

Area Description
The table below describes the various parts of the IPEdit window:

Area Description

1. Player The Player allows editors to load and browse existing media, i.e. clips,
record trains or logs, as well as create new clips based on the loaded
media.
See section "Player" on page 15.
The editors can also directly include the media loaded and selected on
the Player into a timeline. This is extensively described in "Placing
Media in the Timeline" on page 91.

2. Browser The Browser pane allows users to perform the following actions:
• Searching for media referenced in the IPDirector Database, just as
a normal Database Explorer. Several search methods are
available, as well as the use of saved filters.
• Adding the selected clip to the timeline. This is only possible if the
clip includes a hi-res clip element on a server.
Compared to the Database Explorer, the Browser pane has a filter tool
specific to the timeline, which is called Multi camera timecode
filtering. See section "Multi Camera Timecode Filter" on page 13.
However, the Browser does not have the Auto-Play, Assign and Print
modes.

3. Timeline The timeline allows editors to create, manipulate and organize the
video and audio media into elements to produce a final edit, ready for
playout.
The timeline in IPEdit provides the following editing features that will
be detailed in the Timeline chapter: insert, overwrite, cut, extend, trim,
slip, slide, delete, and move.
In addition, the timeline makes it possible to perform the following
actions:
• Add video and audio transition effects
• Replace partial video and audio tracks after having added audio or
video effects to them via external devices.
• Manipulate the audio channels by swapping, muting them or
modifying their audio level.
Use GPIs OUT to trigger some actions related to video or audio
elements, to video transitions, or to the Replace feature.

4. Status This area provides information such as:

Bar • the player channels making up the Timeline Engine,
• the recorder channel used in the different processes of replacing
timeline A/V material,
• the activation of the Edit While Playout (EWP) mode

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USER MANUAL IPDirector 7.92 IPEdit

1.5.2. Activating a Pane in IPEdit

The Player and Timeline panes need to be activated before editors can work on them. The
active pane is surrounded by a colored frame.
Do one of the following:
• To activate the Player or the Timeline, click anywhere inside the requested pane.

• To toggle between the Player and Timeline panes, press the key.

NOTE
The keyboard shortcut definition is based on the key position on the keyboard,
not on a dedicated letter. IPEdit automatically detects the keyboard used,
hence it supports default shortcuts on Qwerty and Azerty keyboards. The
following shortcuts are applicable to Qwerty keyboards. When working with
Azerty keyboards, the default shortcuts are located on the same keyboard
position, i.e. Q -> A, … Users can always edit the default keyboard shortcuts in
the Tools > Define Shortcuts window.

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

2. Managing Channels

2.1. Assigning Player Channels to IPEdit

2.1.1. Principle
The IPEdit module requires two player channels to work. This pair of player channels is
called the Timeline Engine. The Timeline Engine can be PGM1/PGM2 or PGM3/PGM4:
• PGM1 or PGM3 is the Timeline output channel (also called 'timeline PGM').
An external video monitor needs to be linked to PGM1 or PGM 3 for the user to
preview the timeline.

Warning
If PGM1 or PGM3 is set to 'Mix on one channel', there will be no preview when
the timeline is played.

• PGM2 or PGM4 is the Player output channel (also called 'player PGM'). It can be a
normal channel or a channel with the 'Mix on one channel' functionality.
In case no AVH card is present or if the AVH card has not been configured in the
Remote Installer, it is possible to preview media on the Player with the Software

Player by clicking SWP: .

When the IPDirector video board (AVH) has been associated with PGM2 or PGM4,

you can use either the Software Player or the player channel

to preview the media on the Player Video Display. See section "How to
Associate a Video Display with the Player" on page 18.

When PGM1/PGM2 are used as Timeline Engine, the LTC output of the server generates
a timecode based on the TC Track. This does not work with PGM3/PGM4.
With a 12-channels EVS server, the pairs of channels may differ, depending on the
Multicam configuration.
When two player channels are selected from IPEdit, the Timeline mode is automatically
activated. The Timeline mode can be activated from the Channel Explorer as well.

NOTE
A 32 audio channel PGM cannot be assigned to IPEdit.

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USER MANUAL IPDirector 7.92 IPEdit

2.1.2. Automatic PGM Assignment

If PGM1 or PGM2 is already defined as the default player channel in IPDirector, PGM1
and PGM2 are automatically assigned as the Timeline Engine when a user opens IPEdit.
If one of the PGM required by the Timeline Engine is locked by another IPDirector module,
an error message is displayed telling which channel is locked on which module.

2.1.3. Display
The player channels assigned to IPEdit are visible in the PGM Assignment Display field
in the lower left corner of the IPEdit main window:

No player channel assigned to IPEdit

Player channels (PGM1 & PGM2) assigned to IPEdit

NOTE
If one of the selected player channels is connected to an IN port of a
video router, itself associated to OUT ports, the name of the router
OUT port(s) is displayed after the player channel name.

2.1.4. How to Assign Player Channels

Manually to IPEdit
When no default player is defined in IPDirector or when you want to change the player
channels that have been assigned to IPEdit, you can (re)assign player channels to this
module.
To assign player channels to IPEdit, proceed as follows:
1. Right-click the Timeline Engine zone in the Status bar. This is in the lower left corner
of the IPEdit main window:

The available pairs of PGMs are displayed:

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

2. Select the pair of PGMs to be used as Timeline Engine in IPEdit:

◦ If one of the PGM requested for the Timeline Engine is locked by another
IPDirector module, an error message will prevent you from choosing these two
PGMs.
◦ If the requested PGMs are not used by another IPDirector module, the PGMs are
assigned to IPEdit and are displayed on a green background:

You can now load media to the Player and to the Timeline panes.

NOTE
To un-assign the player channels, double-click the PGM Assignment Display
field.

2.2. Automatic Lock Timeline Function

2.2.1. Description
When player channels are associated to IPEdit, the so-called Lock Timeline mode is
automatically activated in IPDirector. The Lock Timeline mode prevents you and other
users from using the players of the Timeline Engine in another mode than the timeline
mode, which means that:
• Other users will still have the possibility to use both PGMs in another instance of
IPEdit.
• You and other users will have the possibility to load a timeline in a Control Panel.
You and other users will NOT be allowed to use one of the assigned PGMs to play a clip in
the Control Panel, or to load a playlist in the Playlist Panel, or in any use other than the
timeline mode.

2.2.2. Display of Channels in Timeline Mode

The Lock Timeline status is visible in the Channel Explorer: the Timeline Mode icon
is displayed in front of the Timeline engine channels.
This Lock Timeline mode prevents you and other users from using the players of the
Timeline Engine in another mode than the timeline mode

2.2.3. Automatic Unlock

When you exit IPEdit or IPDirector whereas the timeline is NOT being played out, the
timeline lock is automatically removed.
When you exit IPEdit or IPDirector whereas the timeline is being played out, a message is
displayed and you can decide whether to exit IPEdit or not.

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USER MANUAL IPDirector 7.92 IPEdit

2.3. Controlling a Player with another

Device

2.3.1. Controlling a Player with the ShuttlePRO

Introduction
The ShuttlePRO device can control a player channel by means of the device keys. As
soon as the player channel is assigned to IPEdit and associated to the ShuttlePRO, users
will be able to perform actions on the panel by using the ShuttlePRO.
Refer to the ShuttlePRO section of the manual for more information on the controller.

How to Control a Player with the ShuttlePRO

To control a player channel with the ShuttlePRO, proceed as follows:
1. Press the Select Player key on the ShuttlePRO controller.

This calls up a list of players available to be controlled.

NOTE
The Software Player will be displayed in the list provided that it has
been assigned to a Control Panel or a Playlist Panel. However, it
cannot be assigned to IPEdit.

2. Use the jog dial to move through the list and highlight the required player channel.

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EVS Broadcast Equipment SA Issue 7.92.B - May 2021

3. Press the Select Player key again to assign the player and exit the menu.

2.3.2. How to Control a Player Channel with

the BEPlay
The BEPlay must be physically connected and recognized by the IPDirector hardware.
The channels must have been assigned to the remote Function buttons.
See the General Functions manual.
In Timeline mode, two players are associated to form the Timeline Engine. They can be
PGM1/PGM2 or PGM3/PGM4. Pressing the Function button assigned to the odd player
gives access to the IPEdit Timeline pane. Pressing the Function button assigned to the
even player gives access to the IPEdit Player pane.

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3. Browser

3.1. Introduction
The Browser pane allows users to perform the following actions:

Action Description

Searching for media referenced Several search methods are available, as well as the
in the IPDirector Database use of saved filters. However, the Auto-Play, Assign
and Print modes are not available in the Browser.
For full details, refer to the Database Explorer chapter.

Filtering material based on the See section "Searching For Media in the Browser" on
position of the loaded material page 12 for full details.
in the Player or in the timeline

Loading material onto the Useful to check the material content before adding it,
Player or part of it, to the timeline.
See section "Loading Media onto the Player" on page
41 for full details.

Adding material to the timeline Only possible if the clip includes a hi-res clip element
on a server. Lo-res clips or nearline files cannot be
directly added to an IPEdit timeline.
See section "Adding Media in Insert or Overwrite
Using Drag-and-Drop Actions" on page 102 for full
details.

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3.2. Searching For Media in the Browser

3.2.1. General Search and Filtering Features

The following search and filtering features are common to the Browser and the Database
Explorer. Refer to the user manual on the Database Explorer for more information on these
features:
• Filtering based on the branch selected in the tree view
• Free text searches on all columns.
• Searches on individual columns displayed in the grid.
• Searches based on keywords, which are performed via the Keywords column or in
combination with the keyword grid or dictionary, as in the previous versions.
• Filtering based on search criteria that have been saved as a filter and can be reused
and associated to other search criteria.

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3.2.2. Multi Camera Timecode Filter

Description

or
The Browser provides an additional filtering tool: the Multi camera timecode filter.
It allows the editor to search in the entire IPDirector database for the
• clips (including XT clips, files or growing clips),
• record trains
• logs
that contain the same date and timecode as the actual image displayed
◦ at the current position on the Player OR
◦ at the nowline position in the timeline

Filter Based on the Position in the Player

An editor is browsing a clip on the Player and would like to find another camera angle
which matches the position in the clip: The editor pauses the Player on the requested
frame and activates the Multi Camera Timecode filter in Player mode:

When he refreshes the view in the Browser, the grid will display only the material including
the same date and timecode as the position in the clip loaded on the Player.

Filter Based on the Nowline Position in the

Timeline
An editor is playing a timeline and would like to find another camera angle for a given
element: He places the nowline on the requested frame of that element and activates the
Multi Camera Timecode filter in Timeline mode:

When he refreshes the view in the Browser, the grid will display only the material including
the same date and timecode as the nowline position in the timeline.

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How to Use the Multi Camera Filter

To search in the database for A/V material including the same timecode as the one loaded
on the Player or Timeline, proceed as follows:
1. In the Browser, select the branch corresponding to the type of object you want to
search in.

2. Click the Multi Camera Timecode Filtering button to activate this filtering
mode.
3. If you want to search the database based on the TC of the clip loaded on the Player:

◦ In the Browser, click the Player button

◦ In the Player pane, position the nowline or click the Pause button on the
requested timecode in the loaded clip.
4. If you want to search the database based on the TC of an element present in the
timeline:

◦ In the Browser, click the Timeline button

◦ In the Timeline pane, position the nowline on the requested timecode of the
desired element.
In the Browser, the filter will automatically display the A/V material of the selected branch
that contains the same timecode as the timecode where the nowline is positioned on the
player or on the timeline.

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4. Player

4.1. Overview of the Player Pane

4.1.1. Main Functions

The purpose of the Player is to easily browse and select the media to be integrated into the
timeline. The Player pane allows editors to perform the following actions:
• Loading clips and record trains.
• Loading logs and jump to their corresponding record train or protect media.
• Browsing the loaded media.
• Defining mark IN and mark OUT points in order to:
◦ add the media between marks to the timeline
◦ save the media between marks as a new clip.
• Selecting the video and audio tracks to be added to the timeline.
• Configuring the AVH audio monitoring.
It is not possible to modify an existing clip in the Player. Editors need to edit their clip in
the Control Panel or create a new clip in the Player.

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4.1.2. Player Pane Outline

Illustration
The Player pane contains the areas highlighted on the screenshot below:

Area Description
The table below describes the various parts of the Player pane:

Area Description

1. Video This pane is used to view the loaded item. It can be displayed when
Display the user has selected a player channel connected to the input of the
Pane IPDirector Workstation video card.
See section "Video Display" on page 17 for a detailed description of
the Video Display.

2. Loaded This pane provides the information on the loaded media.

Media Pane See section "Loaded Media Information" on page 19.

3. Transport This pane provides a jog bar and transport functions to navigate
Functions within the loaded item and play it.
Pane See section "Transport Functions" on page 24.
For the PGM and SWP buttons, see section "Assigning Player
Channels to IPEdit" on page 6.

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Area Description

4. Clip This pane provides the functions to create new clips and to get the
Creation timecode information of a loaded item.
Pane See section "Clip Creation Functions" on page 29.

5. Timeline The Insert, Overwrite and Match Frame Replace buttons allow to
Editing perform some editing actions on the timeline, from the Player.
buttons See section "Timeline Editing Buttons" on page 32.

6. Track The Player Track Selection allows you to select the tracks to be
Selection taken into account when you play the loaded media and when you
add the media to a timeline.
The Track Selection area is displayed by clicking the Audio Track
Selection button. By default, the area is hidden.
See section "Player Track Selection" on page 34.

7. Audio The Audio Monitoring feature allows you to monitor and adjust the
Monitoring global audio level that is output when playing the media loaded on
the Player through headphones.
See section "Audio Monitoring" on page 37.

4.2. Video Display

4.2.1. Purpose
The video display makes it possible to view any media loaded on the Player that is
available on the XNet network.

4.2.2. Prerequisites
The video display needs to be connected to the server's PGM2 (or PGM4) SDI output to
be operational. See section "Assigning Player Channels to IPEdit" on page 6 for more
information.

4.2.3. Activation and Deactivation

When the video display is operational, you can activate or deactivate it by right-clicking
the Video Display area and selecting Show/Hide Video Display.

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4.2.4. How to Associate a Video Display with

the Player

Prerequisite
In all cases, the video display will only be available in the Player if the PGM2 or PGM4 of
the server is physically connected to the IPDirector workstation on which the AVH board
is installed.

Automatic Association
If the AVH board is associated with the player PGM in the Remote Installer, the video
display will automatically be displayed when the user selects the Timeline Engine. For
more information on the association between the player channel and the AVH board in the
Remote Installer, refer to the IPDirector Technical Reference manual.
In case no AVH card is present or the AVH card has not been configured in the Remote
Installer, a message is displayed over the Video Display area. In those cases, you can
use the Software Player as Player output channel.

How to Manually Associate a Video Display with the Player

in IPEdit
If administrators have not set up the automatic association between the player PGM and
the AVH board,
• Right-click the video display area in the Player and select AVH.

4.3. Display on the Timeline Engine

The video material display on the player channels of the timeline engine complies with the
following rules:
The 1st PGM (PGM1 or PGM3) of the timeline engine is associated to the Timeline pane
and will display:
• the material initially loaded on the PGM1 when you open IPEdit and before you load a
timeline for the first time.
• the timeline element where the nowline is positioned or the one that is currently being
played when a timeline is loaded.
• a black screen when an empty timeline is loaded.
The 2nd PGM (PGM2 or PGM4) of the timeline engine is associated to the Player pane and
will display:
• the material loaded on the Player when the focus is on Player pane.

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• a black screen or the next timeline element to be played when the focus is on the
Timeline pane and when a timeline is being played in positive speed.
You will see the previous clip if the timeline is being played in negative speed. The
display on the video preview (black or material) depends on the setting Video Preview
Display Option defined in the category IPEdit > General.

4.4. Loaded Media Information

4.4.1. Lock Button

Description

This button makes it possible to lock both player channels associated to IPEdit, i.e. to
prevent any operation from any other module or instance of IPDirector. This is a manual
lock process, which differs from the automatic lock timeline function.

Control from the Remote Panel

Users on the Remote Panel in LSM exclusive or parallel mode only retain the control on
the transport commands while a timeline is loaded on IPEdit, but no control on any editing
command.

Unlock Channels
You need to click again the Lock button to unlock the channels that you have locked.
When you unlock the PGM assigned to the IPEdit Player, it remains locked to the other
users. You or other users will have to unlock it in the Channel Explorer to make it fully
available again. Right-click and select Unlock to unlock the channel.

Automatic Lock Timeline Function

The Lock button available in the IPEdit Player is activated manually. When player
channels are associated to IPEdit, another lock mode is automatically activated in
IPDirector: This is the Lock Timeline mode.

Display
The Lock Timeline status is visible in the Channel Explorer: the Timeline Mode button
is displayed next to both PGMs assigned to IPEdit.

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Description
This Lock Timeline prevents you and other users from using the players of the Timeline
Engine in another mode than the timeline mode, which means that:
• Other users will still have the possibility to use both PGMs in another instance of
IPEdit.
• You and other users will be able to load a timeline in a Control Panel.
• You and other users will NOT be allowed to use one of the assigned PGMs to play a
clip in the Control Panel, or to load a playlist in the Playlist Panel, or in any use other
than the timeline mode.

4.4.2. Loaded Media Field

Description

This field displays the name, UmID or VarID of the clip, growing clip or record train that is
loaded on the channel (not the name of the clip element). When a loaded clip is protected,
it will be displayed on a blue background.
The value displayed in this field (name or ID) depends on the setting Default Clip ID
Display Mode in the Clips category.

Shortcut to the Previously Loaded Media

This field is also a drop-down list that contains the last 20 clips or trains that you have
loaded on the channel in the current session. The drop-down list displays the most
recently loaded clips at the top and it displays the loaded media only once in the list, even
if loaded several times by the user.

4.4.3. LSM ID Field

The field on the right of the Loaded Media field displays the LSM ID of the loaded element
or train. If the user wants to load a clip numerically from the XNet network, it is possible to
enter the LSM ID directly in this field.

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4.4.4. Timecode Field

Description

The Timecode field shows the current timecode of the media being controlled by the
panel:
• If a record train is loaded, the field shows the timecode of the record train.
• If a clip (XT clip, growing XT clip, protect media) is loaded, the field shows the current
timecode position of the clip.

Display Mode
The user can select the timecode information to be displayed. The following display
modes are available when right-clicking the Timecode field. IPEdit supports the various
types of timecodes.

For more information on the timecode display mode, refer to the Control Panel chapter.

4.4.5. Train Name Field

This is the name of the last loaded record train.

4.4.6. Remaining Time / Capacity Field

Description

The Duration field will have a different meaning and display color according to the activity
being performed on the channel.

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When a Clip is Loaded

The following table shows the possible colors and meanings of the Remaining Time /
Capacity field when a clip is loaded.
The Remaining Time / Capacity field value and color depends on:
• whether the clip is playing or paused
• the media position indicator
• the defined (mark) IN and (mark) OUT points:
◦ When no new mark IN and mark OUT have been defined after the clip has been
loaded, the values displayed are based on the original IN and OUT points of the
clip.
◦ When a new mark IN and/or mark OUT have been defined after the clip has been
loaded, the values displayed will be based on this new mark IN and/or mark OUT
point(s).

Play/Pause Position Indicator Timecode Value Color

Pause On or between IN Count down to the OUT point White

and OUT points

Pause Before IN point Count down to the IN point White

Pause After OUT point Duration from the OUT point Grey

Play On or between IN Count down to the OUT point Yellow

and OUT points

Play Before IN point Count down of the remaining time to White

the OUT point

Play After OUT point Count down of the remaining time to White
the end of guardband (Protect OUT
point)

When a Record Train is Loaded

The following table shows the possible colors and meanings of the Remaining Time /
Capacity field when a train is loaded.
The Remaining Time / Capacity field value and color depends on:
• whether the train is playing or paused
• whether an IN and/or OUT points are defined
• the media position indicator.

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Position
Play/Pause IN/OUT Point Timecode Value Color
Indicator

Play No IN, no On the head of Recording capacity Blue

OUT record train left on the train

Play/Pause No IN, no Before the head of Delay time from the Yellow
OUT record train head of record train

Play/Pause Only IN Before IN point Duration to IN point White

defined

Play/Pause Only IN After IN point Duration from IN point Yellow

defined

Play/Pause Only OUT Before OUT point Duration to OUT point Yellow
defined

Play/Pause Only OUT After OUT point Duration from OUT White
defined point

Play/Pause IN and OUT Before IN point Duration to IN point White

defined

Pause IN and OUT On or between IN Duration between IN Yellow

defined and OUT point and OUT points

Play IN and OUT Between IN and Countdown to OUT Yellow

defined OUT point point

Play/Pause IN and OUT After OUT point Duration from OUT White
defined point

4.5. Transport and Creation Functions

4.5.1. Purpose
As already mentioned, editors cannot update existing clips in IPEdit. However, they can
create a new clip based on a loaded clip on which a new mark IN and/or mark OUT has
been defined.

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4.5.2. Transport Functions

Jog Bar
The jog bar display differs according to the loaded element.

Clip
When a clip is loaded, the Jog bar is a graphical representation of its duration.

The blue sections represent the guardbands between the Protect IN and the IN point and
then between the OUT point and the Protect OUT point.
The gray section between the guardbands represents the clip length, between the IN point
and the OUT point.
The bullet indicator shows the current relative position in the clip.

Train
When a local train is loaded, the jog bar displays as follows:

The bullet indicator shows the current relative position in the train. It is at the extreme right
when the current position is on the head of train (E/E).

Recording Ingest
When an ingest being recorded is loaded, the bullet indicator cannot be moved further to
the right than the timecode position currently being recorded.

Clip being Created

When a clip is being created, the following indicators appear :

• A green position indicator is shown when the IN button has been clicked and
represents the temporary IN point position until the SAVE button is clicked.
• A red position indicator is shown when the OUT button has been clicked and
represents the temporary OUT point position until the SAVE button is clicked.

Transport Buttons and Shortcuts

The following table gives the meaning of each transport operation which can be used with
any loaded item. A button and/or a keyboard shortcut can be used to perform each action.
The ShuttlePRO device has buttons dedicated to most of these functions as well.

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User Interface
Operation ShuttlePRO key Description
Button

E to E Unloads the loaded media showing the last

record train or recording ingest loaded at its
current recording position. The left Timecode
field will be running to indicate the current
position.
Right-click on this button gives access to the
other recorders on the XNet network, which
allows selecting another camera angle.

Return to Returns to the same TC position in the record

Source + train as the one of the currently loaded clip, if
Media this material is still available.

Snap back Returns the media to the last point where the
to train + E/E mode was exited, effectively "snapping"
back to where the user left off in the record
media.

User
Keyboard
Operation Interface ShuttlePRO key Description
Shortcut
Button

Play Starts to play the loaded media

↔ at 100% for normal clips, at
33% for "SLSM clips 3x" or at
or
50% for "SLSM clips 2x".

Pause Stops the playout of the loaded

↔ media.
See section "Pause Button
or Contextual Menu" on page 27.
or

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User
Keyboard
Operation Interface ShuttlePRO key Description
Shortcut
Button

Fast Starts moving backwards

Rewind ↔ through the media at the preset
speed. Click several times to
change the speed.

Fast Starts moving forward through

Forward ↔ the media at preset speed.
Click several times to change
the speed.

Goto IN Jumps to the IN point of the

+ loaded clip.

Goto OUT Jumps to the OUT point of the

+ loaded clip.

Goto - Moves from the current

Previous or position to the previous frame
Frame (or field).

(field by field)

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User
Keyboard
Operation Interface ShuttlePRO key Description
Shortcut
Button

Goto Next - Moves from the current

Frame or position to the following frame
(or field).

(field by field)

Go 10 - - Moves 10 frames before the

Frames current position.
Backward or

Go 10 - - Moves 10 frames after the

Frames current position.
Forward or

Pause Button Contextual Menu

By default the pause is performed on a field. When you right-click the button, you can
choose either the Pause on frame or the Pause on field modes from the contextual
menu. The selected option will then be applied each time the user clicks the Pause button.

Timecode Fields Display

Information displayed in the Current Timecode field can be changed as follows:
1. Right-click the Timecode field.
A contextual menu with the following options is displayed:
◦ Timecode
◦ Timecode and Date
◦ Timecode and Date and TC Type
◦ Timecode and TC Type
2. Select one of the options.
3. When the TC type is displayed, right-clicking it in the TC Type field allows to shift
from one TC type to the other (LTC or user).
4. When the date is displayed, clicking it in the Timecode field opens a calendar for date
selection.

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Jumping to a Given Timecode

To jump to a given timecode within a loaded media:
• Click at one position on the Jog bar
• Enter a new timecode value in the Current Timecode field and press ENTER.

You can cancel the operation by pressing the Escape key instead of pressing
ENTER.

• Press or on the numeric pad when the focus is on the Player pane (Player
pane surrounded by a blue line to indicate it is active).
Enter a duration in the field which appeared to move the current timecode to the right or
to the left according to the entered duration:

To move the nowline...

Enter...and press

10 frames 10

10 seconds 1000

10 minutes 100000

10 hours 10000000

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4.5.3. Clip Creation Functions

Clip Creation Buttons and Shortcuts
The following table gives the meaning of each clip creationoperation. A button and/or a
keyboard shortcut can be used to perform each action. The ShuttlePRO device has
buttons dedicated to most of these functions as well.

NOTE
The GoTo IN and GoTo OUT functions are described in section
"Transport Buttons and Shortcuts" on page 24.

User Interface Keyboard

Operation ShuttlePRO key Description
Button Shortcut

Mark IN Sets a mark IN point at the

timecode shown in the Current
Timecode field and corresponding
or
to the bullet indicator position on
the jog bar.
Then, a green indicator represents
the mark IN point on the jog bar.

Mark OUT Sets a mark OUT point at the

timecode shown in the Current
Timecode field and corresponding
or
to the bullet indicator position on
the jog bar .
Then, a red indicator represents
the mark OUT point on the jog bar.

Clear IN Clears the mark IN point which

+ has just been set and not yet
saved.

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User Interface Keyboard

Operation ShuttlePRO key Description
Button Shortcut

Clear OUT Clears the mark OUT point which

+ has just been set and not yet
or saved.

Clear - - Clears the mark IN and the mark

Marks OUT points which have just been
set and not yet saved.

Save Clip - Saves the new clip after having

marked an IN point and an OUT
point.

Time Information Fields

The following time information is displayed depending on the loaded media.

1. IN field: timecode of the IN point

2. Duration field: time interval between the IN and OUT points, i.e. clip duration
3. OUT field: timecode of the OUT point
When a clip is loaded, all time information fields are filled.
When a growing clip is loaded, only the IN field is filled in. The Duration field and the OUT
field display --:--:--:--.
When a train is loaded, no time information is displayed. As soon as an IN point is marked,
the IN field is filled in; as soon as an OUT point is marked, the Duration and the OUT
information are displayed.

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How to Create a Clip

To create a clip from a train or to create a sub-clip from an existing clip, proceed as
follows:
1. Load the record train or the clip from which you want to create a new clip on the Player
pane.
2. Browse through media to select the point to be marked IN.
3. Create an IN point in one of the following ways:
◦ Use the clip creation function to set an IN point at the required timecode.
◦ Enter the timecode of the requested IN point in the IN field and press ENTER.
A green indicator represents the IN point on the jog bar. The IN point timecode is
displayed in the IN field.

4. Browse through media to select the point to be marked OUT.

5. Create an OUT point in one of the following ways:
◦ Use the clip creation function to set an OUT point at the required timecode
◦ Enter the timecode of the requested OUT point in the OUT field and press
ENTER.
A red indicator represents the OUT point on the jog bar. The OUT point timecode is
displayed in the OUT field.

The clip duration is displayed in the Duration field.

6. Click the SAVE button or the corresponding shortcut.
◦ If the Open Save Clip Window setting has not been selected in the Tools >
Settings > Clips > General category, the clip is saved according to the settings
defined in the Tools > Settings > Autoname category.
The procedure is finished.
◦ If the Open Save Clip Window setting has been selected, the Save Clip window
will open.
Proceed with next steps.
7. Enter a name for the clip in the Save Clip window and any desired information.
8. Click the Save button to save the clip.
The clip is saved in the database and listed in the Browser.

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Ganged Recorder Channels and Linked

Clips

Automatic Creation of Linked Clips

If a clip is created from a recorder channel ganged to other ones, clips will automatically be
created on all the ganged recorder channels, provided that the Create Clips on all
Synchronized Recorders setting has been selected under Tools > Settings > Clips >
General. These clips are called "linked clips".
The name of the clips created on all the ganged recorders will have the extension 00, 01,
02, etc. depending on the number of ganged recorders.

Automatic Creation of Sub-Clips from Linked Clips

If a sub-clip is created from a clip which is part of a group of linked clips, sub-clips will
automatically be created from all the linked clips, provided that the Create sub clips on
all ganged clips setting has been selected under Tools > Settings >Clips > General.

Allocation of the Same VarID to Linked Clips

When linked clips are created from ganged recorder channels belonging to different
servers, the same VarID will be allocated to all the linked clips provided that the Force
Same VarID on Ganged Channels setting has been selected under Tools > Settings >
Clips > General. This occurs would the VarID be automatically attributed by the system,
or would it be written in the VarID field of the Save Clip window by the user.

4.6. Timeline Editing Buttons

4.6.1. Purpose
The Insert and Overwrite buttons in the Player make it possible to add the media loaded
on the Player pane into the timeline loaded on the Timeline pane.
The Match Frame Replace button in the Player makes it possible to change the camera
angle of a timeline element in the Timeline pane.
This section only provides an overview on the Insert, Overwrite and Match Frame Replace
functions. The various ways to use these functions will be further explained in "Timeline"
on page 45.

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4.6.2. Insert Function

User Interface Button Keyboard Shortcut ShuttlePRO key

The Insert function adds the media in the timeline without overwriting any media already
included in the timeline. It inserts the media in the selected position and pushes further
right the existing elements of the timeline placed after this position.

4.6.3. Overwrite Function

User Interface Button Keyboard Shortcut ShuttlePRO key

The Overwrite function adds the media in the timeline, overwriting the media already
included in the timeline from the selected position. In other words, the media in the
timeline will be removed by the duration of the added media.

4.6.4. Marking the Media to be Added to the

Timeline
The portion of media added to the timeline depends on the IN and OUT points, or on
possible new mark IN and mark OUT points defined:
• If the user adds a clip element to the timeline without defining a new mark IN and new
mark OUT points to the clip loaded in the Player, the clip is added to the timeline from
its original IN point to its original OUT point.
• If the user adds a clip to the timeline after having defined a mark IN and/or a mark OUT
point to the clip loaded in the Player, the clip will be added to the timeline from the
mark IN point to the mark OUT point, if both are defined.

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If one of both Mark points has not been defined in the Player, the original IN or OUT
point of the clip will be taken into account.

NOTE
The guardbands of the clip remain available for further editing once the element
has been added to the timeline.

See section "Position Applied to the Timeline Element" on page 100 for full information on
how and where the media loaded and marked on the Player is added to a timeline.

4.6.5. Match Frame Replace

User Interface Button Keyboard Shortcut

The Match Frame Replace button allows you to replace timeline elements or parts of
them by matching the current position on the clip or train loaded on the Player to the
nowline position in the timeline. The system calculates automatically the mark IN and
mark OUT in the Player that will match the (part of the) timeline element(s) to be replaced.
See section "Adding Media Using the Match Frame Replace" on page 104 for detailed
information.

4.7. Player Track Selection

4.7.1. Purpose
The Player Track Selection allows you to select the tracks to be taken into account when
you play the loaded media and when you add the media to a timeline:
• Check boxes in front of the video track and of each audio mono channel allow the
selection of the channels individually. The video channel is named with v (video).
Each audio mono channel is named with a1 (audio), a2, etc.
• Check boxes for each audio track allow the selection of all audio mono channels of a
track at a go. Each audio track is named with G1 (group), G2, etc.
By default, the Track Selection area is hidden:

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The area is displayed by clicking the Audio Track Selection button.

4.7.2. Tracks Selected when the Media is

Added to the Timeline
When you use the Editing buttons in the Player, the keyboard shortcuts, or the
ShuttlePRO keys, the tracks added to the timeline are the combination of the track
selection in the Player and in the Timeline.
Consequently, you need to select both the tracks in the Player and in the Timeline panes
before you add the media loaded on the Player to the timeline. See section "Track
Selection Applied to the Timeline Element" on page 99 for detailed information on this.

4.7.3. Possible Audio Configurations in the

Player
In the Player, the number of audio tracks and channels available for selection will depend
on the audio configuration of the loaded media.
The possible audio configurations are listed below.

Clips with 4 audio mono channels

1 track of 4 mono channels

2 tracks of 2 mono channels

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Clips with 8 audio mono channels

1 track of 8 mono channels

2 tracks of 4 mono channels

4 tracks of 2 mono channels

1 track of 2 mono channels, 1 track of 6 mono channels

1 track of 6 mono channels, 1 track of 2 mono channels

Clips with 16 audio mono channels

1 track of 16 mono channels

2 tracks of 8 mono channels

4 tracks of respectively 2, 6, 2 and 6 mono channels

4 tracks of respectively 2, 2, 6 and 6 mono channels

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4.7.4. Example
The editor wants to add the clip loaded on the Player to the timeline using the Insert button
in the Player.
The clip contains 4 audio tracks of 2 mono channels. All the tracks are selected in the
timeline. The editor performs the following selection in the check boxes of the Player
Track Selection: 

In this case, the following will happen:

• The tracks selected on the Player will be added on the same position as in the source
clip: G1 onto G1 and a2 onto a2, a3 onto a3, etc.
• The channel a1 of the track G1 not selected in the Player will be muted in the timeline.
• As the channels of the track G3 and G4 remain unselected, a blank element will be
added to the timeline, instead of the track itself.
The following screenshot shows how the clip is inserted into the timeline:

4.8. Audio Monitoring

4.8.1. Definition
The Audio Monitoring feature allows you to monitor and adjust the global audio level that is
output when playing the media loaded on the Player through headphones.

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4.8.2. How to Access the Audio Monitoring

Parameters
To access the audio monitoring parameters, when media is loaded in the Player, click the

Audio Monitoring button .

This opens the Audio Output Channels window, in which you can define and modify the
Audio Monitoring parameters described below.

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4.8.3. Adjusting the Audio Level Output to the

Headphones

Where?
You can adjust the global audio level that will be output to the headphones in the Input
Gain area of the Audio Output Channels window:

How?
To adjust the audio level output to the headphones, move the slider up or down on the
scale to specify how many dBs you want to add to or remove from the initial audio level of
the media to be played.
The audio level gain or reduction is displayed in the field in the middle of the Input Gain
range.

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4.8.4. Assigning the Audio Channels to the

Headphones

Where?
You can select the audio channels you want to assign to the right and left headphones in
the Audio Channels area of the Audio Output Channels window.

How?
To assign the audio channels to the headphones, proceed as follows:
1. On the left line, click the cell corresponding to the channel you want to associate to the
left ear.
2. On the right line, click the cell corresponding to the channel you want to associate to
the right ear.

4.8.5. Saving the Audio Monitoring Parameters

in a Template
Where?
In the Templates area, you can save the values assigned to the Input Gain and Audio
Channels parameters in a template, and reload them later on when necessary.

How to Create a Template

To create a template of the audio monitoring parameters from the Audio Output Channels
window, proceed as follows:
1. Define the values for the Input Gain and Audio Channels parameters in the Audio
Output Channels window.
2. Type a name for the template in the Name field of the Template area.
3. Click Add.
When you click OK, the values defined in the template you have just created are applied.
If you want to apply different values, you need to modify them before leaving the window
or to load another existing template.

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How to Load a Template

To load an audio monitoring template from the Audio Output Channels window, proceed as
follows:
1. In the Template area, select the template that you want to load from the list of
available templates.

2. Click OK.
The values defined in the loaded template are applied.

How to Delete a Template

To delete an audio monitoring template from the Audio Output Channels window, proceed
as follows:
1. In the Template area, select the template that you want to delete from the list of
available templates.
2. Click Remove.
3. Click Yes to confirm that you want to delete the selected template.
The values defined in the loaded template are deleted.

4.9. Loading Media onto the Player

4.9.1. General Information

Prerequisite
To be able to load a clip, record train or log onto the Player, you first need to assign a pair
of player channels, i.e. a timeline engine, to IPEdit. This will automatically assign the
second player channel to the Player. See section "Assigning Player Channels to IPEdit"
on page 6 for more information.

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Loadable Media
The following media can be loaded to the Player:
• A clip that contains at least a hi-res clip element (local or distant) present on a server.
• A growing clip that contains at least a hi-res clip element (local or distant) which
material is partially available on a server.
• A hi-res record train (local or distant) present on a server.
• A log: When a log is dragged to the Player, this loads either the protect media clip or
the associated record train (if still available on the server).

Limitations
If the Player is being used or if the IPEdit panel is locked, the user will not be able to load
media into the Player.

4.9.2. How to Load Media from the Browser

into the Player
To load media from the Browser to the Player in IPEdit, proceed as follows
1. Select the media (clip, log or record train) in the grid of the Browser.
2. Load the media to the Player in one of the following ways:
◦ drag the media anywhere in the Player, and in the Video Display if available
◦ double-click on the media in the grid of the Browser
The media is loaded on the Player and ready to be browsed or played.

4.9.3. Ways to Load Clips

You can load clips or clip elements by dragging and dropping the clip from one of the
following locations to the Player:
• from the Browser in IPEdit (from a bin or from the Clips grid)
• from the Database Explorer (from a bin or from the Clips grid)
• from the History list of a Control Panel
• from the Last Created Clips of a Control Panel

NOTE
Growing clips are loaded into the Player with an IN point but no OUT point.

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4.9.4. Ways to Load Trains

You can load a record train by dragging and dropping the train from one of the following
locations to the Player:
• from the Browser in IPEdit (from the Clips grid)
• from the Database Explorer (from the Clips grid)
• from the Channel Explorer
• from the History list of a Control Panel

4.9.5. Ways to Load Logs

When a log is dragged to the Player, this loads either the protect media clip or the
associated record train (if still available on the server).
If no protect media or associated train exists, the log cannot be loaded to the Player.
You can load logs by dragging and dropping them from one of the following locations to the
Player:
• from the Browser in IPEdit (from the Logs grid)
• from the Database Explorer (from the Logs grid)
• from IPLogger

4.9.6. Changing the Camera Angle

Clip Loaded on the Player
When a clip is loaded on the Player and belongs to a group of linked clips, you can easily
load the linked clips as follows:

• Press to load the previous linked clip at the same TC.

• Press to load the next linked clip at the same TC.

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Record Train Loaded on the Player

When a record train is loaded on the Player, you can select another recorder on the XNet
network. This record train will be loaded on the same TC as the previously loaded record
train:

• Change on the fly by right-clicking the button and select the requested recorder
channel.

• Pause the record trains by clicking the button. Then, right-click the same
button and select the requested recorder channel.

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5. Timeline

5.1. Overview of the Timeline Elements

5.1.1. Timeline Pane Outline

Illustration
The Timeline pane contains the areas highlighted on the screenshot below:

Area Description
The table below describes the various parts of the Timeline pane:

Area See section...

1. Edit Command bar "Edit Command Bar and General Editing Functions"
on page 51.

2. Timeline Name and ID "Timeline Name and IDs" on page 46.

3. Timecode fields "Timecode and Duration Fields" on page 60.

4. Transition Effect bar "Transition Effects Bar" on page 55.

5. Locators buttons "Locator Buttons" on page 56.

6. Transport Command bar "Transport Command Bar and Transport-Related

Functions" on page 56.

7. Locator/GPI Selection "Locator/GPI Selection Buttons" on page 63.

buttons

8. Track Selection buttons "Timeline Track Selection Buttons" on page 61.

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Area See section...

9. Timeline Display "Timeline Display" on page 47.

10. Scale bar and Move bar "Scale Bar and Move Bar" on page 63.

11. Audio Level, Swap and "Audio Volume Automation, Swap & Mute Buttons"
Mute buttons on page 63.

5.1.2. Timeline Name and IDs

Timeline Name
Description

The Timeline Name field displays the name of the loaded timeline on the XNet network.

Characteristics
The Timeline Name field contains a maximum of 32 characters. It is not mandatory.

Contextual Menu from Field

Right-clicking this field gives access to a contextual menu. This menu allows the user to
manage the loaded timeline. See section "Timeline Management" on page 64 for more
information on the menu commands.

Modifying the Timeline Name

You can update the timeline name in the Properties window, which is accessible by right-
clicking the Timeline Name field and selecting Properties.

Timeline VarID

The VarID is a 32-character ID with variable length and format. It is automatically

assigned to new timelines. It is mainly used to ensure redundancy on the system. It can
be unique for a clip on the EVS video server level or on the XNet network level, depending
on the EVS server settings.

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LSM ID
Description

The LSM ID identifies the timeline position in the XNet network. The timeline can be
stored on bank 10 of any page of a server.
The timeline ID is made up as follows: <timeline number>/<server> where:
• The timeline number is between 1 and 99.
• The server number is between 1 and 29.

Example
Timeline ID: 31/02. This indicates that the timeline is stored on page 3, position 1 (of bank
10) on the server 02 of the XNet network.

5.1.3. Timeline Display

Description
The timeline display is the area where the timeline elements are displayed and where
users edit the timeline.

Main Objects in the Timeline Display

The timeline display contains some important objects highlighted on the following
screenshot and shortly described in the table below.

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Area See section...

1. Timecode Bar "Timecode Bar" on page 48.

2. Timeline Element "Timeline Element" on page 48.

3. Mark IN "Mark IN /OUT Points" on page 48.

4. Mark OUT "Mark IN /OUT Points" on page 48.

5. Nowline "Nowline" on page 48.

6. Lasso Selection Area "Lasso Selection Area" on page 50.

Timecode Bar
It displays a graduation of the timecode in the timeline. The timecode of the timeline track
starts with the timecode defined in the Control Track Initial Timecode setting. To
modify this setting, go to the menu Tools > Settings, in the category IPEdit > General.
The most precise graduation is a graduation by frame, i.e. from frame 0 to 24 in PAL and
from frame 0 to 29 in NTSC.

Nowline
The nowline is the blue vertical line that displays the current position on the timeline. It is
used to browse in the timeline or mark an insertion position.
In the following cases, the nowline in the timeline will act as a mark IN or mark OUT when
performing editing actions:

Mark IN or OUT defined? Nowline position? The nowline acts as a …

Mark IN defined After the mark IN Mark OUT

Mark OUT defined Before the mark OUT Mark IN

Mark IN /OUT Points

The mark IN point is a green vertical line on the timeline that displays the position of a
mark IN point.
The mark OUT point is a red vertical line on the timeline that displays the position of a
mark OUT point.
You will add mark IN and mark OUT points to help you place media in the timeline.

Timeline Element

Definition
The timeline element is the portion of media that is added to the timeline and displayed as
a block in the timeline.

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Information Displayed

The element display on a track contains the following information by default:

Position Information Displayed

Top left Clip name

Top right Element duration

Bottom left Element TC IN

Bottom right Element TC OUT

You can modify the information to be displayed on the timeline element.

Select the Tools > Settings menu, then select the category IPEdit > General in the tree
view. You can modify the information displayed on the timeline element in the Clip
Information Display setting.

Growing Clips

When a growing clip is inserted into the timeline, the growing clip icon, and the percentage
of material already recorded on the EVS server is specified on the timeline element.

Background Color
The background color of the timeline element indicates the clip status:

Color Display Meaning

Light blue Unselected audio element

Dark blue Selected audio element

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Color Display Meaning

Green Unselected video element

Greenish dark Selected video element

blue

timeline Unselected blank element

background color
(grey)

Grayish dark blue Selected blank element

Red Offline timeline element, i.e.:

• an element located on a server
that is not connected to the XNet
network.
• an element deleted from the
server.
• an element backed up, hence not
directly available on the XNet
network.
In addition, an OFFLINE indication is
displayed on the element.

White Element in slow motion

Grey Element in fast motion

Lasso Selection Area

With the lasso selection, you can select elements, or select transitions to perform slide or
slip actions. To select with the lasso, left-click the mouse in the Lasso Selection area and
drag it over the elements or transitions you want to select.
Several methods are used to select with the lasso, depending on what you need to select
and what for.
For more information, refer to the following sections:

Using the lasso to … See section...

select elements with the lasso "Selecting and Deselecting Timeline

Elements" on page 88.

select Transitions to Perform Trim Actions "Activating and Deactivating the Trim
Modes" on page 131.

select Transitions to Perform Slide Actions "Activating and Deactivating the Slide
Mode" on page 154.

select Transitions to Perform Slip Actions "Activating and Deactivating the Slip
Mode" on page 145.

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5.1.4. Edit Command Bar and General Editing

Functions
Introduction

The Edit Command bar provides access to the main editing functions. The command
buttons are enabled when a timeline is loaded. Other general editing functions are
available using keyboard shortcuts or ShuttlePRO keys.
This section provides an overview of the general editing commands accessible via the
buttons of the Edit Command bar, the keyboard shortcuts or the ShuttlePRO keys.

Overview of the Functions

These general editing functions are summarized in the following table. The names of the
editing functions related to a button in the user interface point to the related paragraph in
this section.
Shortcut keys to navigate in the timeline are defined in "Moving the Nowline in the
Timeline" on page 85.

User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Undo - Cancels the last editing

+ action performed in the
timeline and restores the
previous timeline state.
10 levels of undo are
available.

Redo - Reapplies the last

+ editing action that was
cancelled by an Undo
action. 10 levels of redo
are available.

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User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Insert/Overwrite - The Insert/Overwrite

Global Mode (Insert) Global Mode function
or or makes it possible to
toggle between the
Insert and Overwrite
(Overwrite)
mode.
(toggle The active mode will be
between taken into account only
modes) when media is dragged
to the timeline.
As the shortcut keys
provide a direct insertion
mode, the
Insert/Overwrite Global
mode defined in the
timeline will NOT be
taken into account when
you use the shortcut
keys.

Set Timeline Mark Places a mark IN on the

IN timeline at the current
or nowline position.

Set Timeline Mark Places a mark OUT on

OUT the timeline at the
or current nowline position.

Mark Current - Allows you to place a

Element Selection mark IN and mark OUT
based on the elements
(contiguous or non-
contiguous) selected in
the timeline.
See section "Mark
Current Element
Selection" on page 54.

Clear Mark IN - - Removes the mark IN

placed on a timeline.

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User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Clear Mark OUT - - Removes the mark OUT

placed on a timeline.

Clear Timeline - Removes the mark IN

Marks and/or mark OUT placed
on a timeline. As a
consequence, the three
timecode fields below
the Edit Command bar
are set back to --:--:--:--

Delete between - Deletes the timeline

Mark IN and Mark media between the mark
OUT IN and the mark OUT
points.
See section "Delete
Between Mark IN and
Mark OUT" on page 54.

Select Elements - - Allows you to select all

from Nowline the timeline elements
from the nowline to the
last timeline element.
The first element that is
selected is the one on
which the nowline is
positioned.

Select Elements to - - Allows you to select all

Nowline + the timeline elements
from the first timeline
element to the nowline.
The last element that is
selected is the one on
which the nowline is
positioned.

Add Edit at - Cuts the timeline

Nowline Position element at the nowline
position. This cut is
applied only to the
tracks selected in the
timeline track selection.

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User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Extend Makes it possible to

extend or shorten a
timeline element.
See section "Extending
Timeline Elements" on
page 119 for detailed
information.
The Extend button is
enabled when a mark IN
or mark OUT is defined
on the loaded timeline.
When the function is
applied, IPEdit only
takes into account the
tracks selected in the
timeline track selection.

Extend Slow/Fast - Makes it possible to

+ extend or shorten a
timeline element without
adding new material.
See section "Extend
Slow/Fast" on page 55.

Match Frame in - Allows you to search for

Player + the original source of a
frame/field marked with
the nowline in the
timeline and to load the
corresponding media in
the Player at the
timecode marked in the
timeline.

Mark Current Element Selection

The mark IN is placed on the IN point of the first element selected in the timeline.
The mark OUT is placed on the OUT point of the last element selected in the timeline.
The editing actions performed on the portion selected between the mark IN and mark OUT
will take into account the timeline track selection.

Delete Between Mark IN and Mark OUT

The Delete between Mark IN and Mark OUT function deletes the timeline media between
the mark IN and the mark OUT points taking into account the timeline track selection and
the Insert/Overwrite global mode that is active:
• If the Insert mode is enabled, IPEdit shifts the rest of the timeline to fill the gap of the
deleted tracks.

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• If the Overwrite mode is enabled, IPEdit leaves a blank at the position of the deleted
media on the selected tracks.

Extend Slow/Fast
The Extend Slow/Fast function makes it possible to extend or shorten a timeline element
without adding new material. This action will stretch the existing material of the element to
fit in the new length. The playout speed of the whole element will be adapted accordingly.
You will find detailed information on this feature in "Extending Timeline Elements" on page
119.
The Extend Slow/Fast button is enabled when a mark IN or mark OUT is defined on the
loaded timeline. When the function is applied, IPEdit only takes into account the tracks
selected in the timeline track selection.

5.1.5. Transition Effects Bar

Introduction

The buttons in the Transition Effects bar allow you to add and remove transition effects to
existing or future elements in the timeline. See section "Transition Effects" on page 157
for full information on how to handle transition effects.

Overview of the Functions

User
Operation Interface Description
Item

Add Opens the Add/Modify Transition Effects dialog box. In this

Transition window, you can define the transition effects to be applied
Effect to the transition next to the nowline or to the transitions
between the mark IN and mark OUT points.

Remove Deletes the transition effects defined on the transition next

Transition to the nowline or on the transitions between the mark IN
Effect and mark OUT points.

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User
Operation Interface Description
Item

Apply Video When the VFX check box  is selected, the last transition
Transition effects defined will be added to the video track of any new
Effect to element added to the timeline.
New
Elements

Apply Audio When the AFX check box  is selected, the last transition
Transition effects defined will be added to the audio track(s) of any
Effect to new element added to the timeline.
New
Elements

5.1.6. Locator Buttons

User
Operation Keyboard Shortcut Description
Interface Item

Go To Next Makes it possible to move

Locator + to the next locator defined
in the timeline.

Go To Makes it possible to move

Previous + to the previous locator
Locator defined in the timeline.

See section "Using Locators in IPEdit" on page 222 for more information on locators.

5.1.7. Transport Command Bar and Transport-

Related Functions
Introduction

The Transport Command bar provides access to the main transport functions. The
command buttons are enabled when a timeline is loaded. Other transport functions are
available using keyboard shortcuts or ShuttlePRO keys.
This section provides an overview of the general transport commands accessible via the
buttons of the Edit Command bar, the keyboard shortcuts or the ShuttlePRO keys.

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Overview of the Functions

These transport functions are summarized in the following table and point to the related
paragraph in this section.
Shortcut keys to navigate in the timeline are defined in the "Moving the Nowline in the
Timeline" on page 85.

User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Recue - Allows the user to recue

the timeline, i.e. to
automatically position
the nowline before the
first element of the
timeline.

Play Allows the user to play

or the timeline from the
actual nowline position.
The L keyboard
shortcut is only
dedicated to the Play
function whereas the
spacebar is also a
toggle key between
Pause and Play.

Pause Allows the user to

or pause at the nowline
position, while the
timeline is being played.
The K keyboard
shortcut is only
dedicated to the Pause
function whereas the
spacebar is also a
toggle key between
Pause and Play.

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User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Start Replace Starts the Replace

+ action. This function
replaces the selected
part of the timeline by
the same media to
which external video or
audio effects have been
added.
You will find detailed
information on the
Replace function in
section "Consolidating
a Part of a Timeline" on
page 204.

Create Clip - - Starts the consolidation

from process of the selected
Timeline portion of the timeline
into a single clip, and
the effects defined on
this material.
You will find detailed
information on the
Create Clip from
Timeline function in
section "Consolidating
a Part of a Timeline" on
page 204.

Live to Tape Starts the Live to Tape

+ process. This function
replaces the selected
part of the timeline by
the A/V material
recorded live.
You will find detailed
information on the Live
to Tape function in
section "Consolidating
a Part of a Timeline" on
page 204.

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User Interface Keyboard

Operation ShuttlePRO key Description
Item Shortcut

Audio - - Allows the user to

Monitoring monitor and adjust the
global audio level that is
output when playing the
timeline loaded in IPEdit
through headphones.
You will find detailed
information on the Audio
Monitoring function in
section "Audio
Monitoring" on page 37.

Fast Forward - Starts moving forward

through the timeline at
preset speed.
See section "Play
Forward (Multispeed)"
on page 59.

Fast Rewind - Starts moving

backwards through the
timeline at the preset
speed.
See section "Fast
Rewind (Multispeed)"
on page 60.

On Air - - Sets the first PGM of

the timeline engine in
On Air state.

Play Forward (Multispeed)

You can play forward the timeline as follows:
• at various speeds, by pressing the L keyboard shortcut several times:
◦ 1 click: + 100 %
◦ 2 clicks: + 150%
◦ 3 clicks: + 200 %
◦ 4 clicks: + 250%
◦ 5 clicks: + 300 %
• at 300%, by pressing the Fast Forward key on the ShuttlePRO.

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NOTE
If you press the L keyboard shortcut when the timeline is being rewinded at -
300%, for example, the play speed will increase by steps (according to the
speed levels defined on J and L) from -300% to +300% each time the key is
pressed.

Fast Rewind (Multispeed)

You can rewind the timeline as follows:
• at various speeds, by pressing several times the J keyboard shortcut:
◦ 1 click: -100 %
◦ 2 clicks: -150%
◦ 3 clicks: - 200 %
◦ 4 clicks: - 250%
◦ 5 clicks: - 300 %
• at 300%, by pressing the Fast Rewind key on the ShuttlePRO.

NOTE
If you press the J keyboard shortcut when the timeline is being played forward
at +300%, for example, the play speed will slow down by steps (according to
the speed levels defined on J and L) from +300% to -300% each time the key is
pressed.

5.1.8. Timecode and Duration Fields

The timecode fields displayed in the Timeline pane are highlighted on the following
screenshot and shortly described in the table below.

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Area Description

1. Nowline TC The Nowline TC field displays the timecode of the nowline position
on the timeline. If you want to position the nowline to a given TC of
the timeline, type this timecode in the Nowline TC field, press
ENTER.

2. Mark IN TC The Mark IN TC field displays the timecode of the mark IN position
on the timeline, if any mark IN point is defined.
If you want to position the mark IN point on a given TC of the
timeline, type this timecode in the Mark IN TC field and press
ENTER.

3. Duration The middle field displays the duration between the mark IN and
between mark OUT points defined on the timeline. It is not editable.
Mark IN and
Mark OUT

4. Mark OUT The Mark OUT TC field displays the timecode of the mark OUT
TC position on the timeline, if any mark OUT point is defined.
If you want to position the mark OUT point on a given TC of the
timeline, type this timecode in the Mark OUT TC field and press
ENTER.

5. Timeline The Timeline Duration field displays the effective duration of the
Duration timeline loaded, calculated from the start of the first element to the
end of the last element.

5.1.9. Timeline Track Selection Buttons

Purpose

The Timeline Track Selection buttons allow the editor to select the tracks that will be
taken into account in the editing actions the user will perform in the timeline or via drag-
and-drop actions.
Click the Track Selection button to activate or deactivate the track:
• When the button is blue, the track is active and will be taken into account in the
following editing actions.
• When the button is grey, the track is inactive and will NOT be taken into account in the
following editing actions.

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To (de)select multiple contiguous tracks, select the first one, then press SHIFT as you
click the last track.

Description
The Video Timeline Track Selection button is named with V (video). Each Audio
Timeline Track Selection button is named with G1 (group), G2, etc. The audio mono
channels are named with a1 (audio), a2, etc.
The Audio Timeline Track Selection buttons reflect the audio configuration of the
created timeline.
Examples are given hereafter:

represents an audio track of two mono channels.

represents an audio track of 8 mono channels.

represents an audio track of 16 mono channels.

Keyboard Shortcuts
The following keyboard shortcuts allow you to select and deselect the tracks directly from
the keyboard.

Button Keyboard Shortcut Description

Selects/unselects the video track.

Selects/unselects the G1 audio track.

Selects/unselects the G2 audio track.

Selects/unselects the G3 audio track.

Selects/unselects the G4 audio track.

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5.1.10. Locator/GPI Selection Buttons

The Locator Selection button allows the user to activate the locators, which means
they are displayed in their respective color. You need to click this button to be able to
select locators.

The GPI Selection button allows the user to activate the GPI, which means they
remain grey, but the related track is displayed on the GPI marker. You need to click this
button to be able to select GPIs.

5.1.11. Scale Bar and Move Bar

Scale Bar
or mouse wheel
The Scale bar makes it possible to zoom in and out on the timeline:
• To zoom in, drag the slider to the left or rotate the mouse wheel down.
• To zoom out, drag the slider to the right or rotate the mouse wheel up.

Move Bar
The Move bar makes it possible to move within the timeline when the whole timeline is not
displayed in the timeline pane at the defined scale.
• To move within the timeline, move the scroll box right or left.

5.1.12. Audio Volume Automation, Swap & Mute

Buttons
Volume Automation Mode

The Volume Automation Mode button displays the timeline in a mode that allows the
user to correct the volume of one or more mono channels of each audio track in a timeline
element.

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You will find detailed information on this mode in "Adjusting the Audio Volume on the
Timeline" on page 195.

Swap / Mute Zoom Mode

The Swap / Mute Zoom Mode button displays the timeline in a mode that allows the user
to zoom on an audio track in order to:
• swap or mute one or more mono channels of the selected track. You can also define
swaps and mutes from the general timeline display mode.
• view how the audio swaps and mutes have been defined on the individual mono
channels of an audio track.
You will find detailed information on audio swaps and mutes in "Audio Swaps and Mutes"
on page 176.

Mute Button

The Mute button allows the user to temporarily mute all the mono channels of a track on

the whole timeline. When the track is muted, the button is as follows

5.2. Timeline Management

5.2.1. Timeline Contextual Menu

You can manage a timeline via the Timeline contextual menu. To access it, right-click the
Timeline Name field in the Timeline pane.
The available commands are described hereafter.

Create Timeline
Opens the Create a Timeline window to create a new timeline and makes it directly
editable in the Timeline pane.
See section "Creating a New Timeline" on page 66.

Close Timeline
Closes the current timeline loaded in the Timeline pane.

Clear Timeline
Removes all elements of the current timeline loaded in the Timeline pane. The timeline
remains available in the Database Explorer or Browser as an empty timeline.

Reload Timeline
Reloads the timeline from the EVS server.

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Merge Blank Elements

Merges together the blank elements that are contiguous in the timeline.

Add Blank
Allows you to add a blank of the desired duration from the nowline on the selected tracks
in the active mode (Insert or Overwrite).

Find Blank Elements

Lists the blank elements inside the opened timeline, which allows the user to easily
localize and manage them.
From the Find Blank Element window which lists the blanks (track, TC IN, TC OUT and
Duration), you can double-click the row corresponding to a blank element to position the
nowline on the corresponding TC.

Copy/move Timeline
Opens the Copy Timeline window that allows you to create a copy of the timeline and all
timeline elements to another server.

Copy clips locally

Creates a copy of all distant elements of the selected timeline onto the local server.
Two options are available:
• Copy short: This copy will only include the media needed inside the timeline with
minimal guardbands created during copy.
• Copy long: This copy will include the complete original clips with their guardbands.

Publish
Opens the Publish window in which you can specify the user groups, or the individual
users, the selected item should be published to.
The item will be published to the selected groups, or to the individual users, provided that
they have the adequate rights.

Properties
Opens the Edit a Timeline window from which you can modify the timeline properties as
entered when the timeline was created. The audio configuration can however not be
modified.

IPEdit Settings
Opens the Settings window directly from the IPEdit user interface, instead of navigating to
the Tools > Settings menu.

Delete Timeline
Deletes the loaded timeline from the IPDirector database and from the server. This does
not delete the related clips.

Delete Timeline and Clips

Deletes the loaded timeline from the IPDirector database and from the server, as well as
the clips created by the timeline engine.

Send to
Provides a list of possible destinations to which the selected timeline can be sent.
Possible destinations are:
• the user's default bin
• any target destination visible on the GigE network that has been defined in the Remote
Installer (CleanEdit targets, Avid targets, Final Cut Pro targets, File targets, EVS
servers targets).
• any target that has been defined in the connected Xsquare.

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The Create New Target (X²) option gives access to the Xsquare interface to create or
delete an Xsquare target. It is available provided that the user has rights for target creation
in User Manager and in Xsquare.

Flatten to XT
This option is available if the user has the Restore to XT user right set to All or to a
Selection of servers.
Displays a list of high resolution EVS servers and pages available on the XNet network to
which the user can store a consolidated clip out of the selected timeline.
The flattened clip will have the same VarID as the original timeline. That is the reason why
the flattened clip cannot be stored on the same EVS server as the original timeline,
otherwise, this would result in a VarID conflict.

Backup to Nearline
Used for the storage or the backup of the selected timeline to the default nearline or to a
nearline directory.
Provides a list of possible nearline destinations to which the selected item can be sent as
file, that is to say any destination folder visible on the GigE network that has been defined
in the Remote Installer to allow transfer. The file format is defined in the Remote Installer.
Users can access the A/V material of nearline folders in IPDirector, or restore it on an
EVS server.

Export Timeline
Allows exporting the definition (EDL) of the selected timeline, in other words the timeline
structure and related information, in .xml format. This does not export the timeline
material.

Import Timeline
Allows importing the definition of the selected timeline (EDL), as long as the clips included
in the EDL are already present on the network.

5.2.2. Creating a New Timeline

How to Create a New Timeline
To create a new timeline in IPEdit, proceed as follows:
1. In the Timeline pane, right-click the Timeline Name field and select Create Timeline.
2. If a timeline is already opened, answer 'Yes' to the following message: "Are you sure
to close <timeline name>?"
The Create Timeline window opens.
3. Fill in at least the Timeline Name field and specify the following values, if requested:
◦ description, LSM ID, TC Track
◦ If you do not define the LSM ID and TC Track, they will be automatically assigned
when you click OK to create the timeline.
◦ keywords
◦ audio configuration
4. If requested, send the timeline to a bin or to the default archive by ticking the
requested destination in the Send to group box.

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5. If requested, make the timeline available to a group of users by ticking the requested
user groups in the Publish to group box. The user groups who are entitled to see the
timelines are displayed in the group box.
6. If requested, associate metadata to the timeline as follows:
◦ click the right rectangle on the Pane Display button to open the metadata pane.
◦ select the profile to associate to the timeline in the Current Profile field.
◦ select the requested values for each metadata field displayed below.
7. Click OK.
The timeline is created and visible in the Browser.

Fields in the Create Timeline Window

Timeline Information Pane

The left pane contains the following fields:

Name
User-defined name for the timeline. It can contain up to 32 alphanumeric characters.
It is mandatory.

Description
Description of the timeline in maximum 256 characters

LSM ID
ID identifying the timeline position in the XNet network. This numbering is based on the
numbering of the LSM operational mode.
The timeline can be stored on bank 10 of any page of a server.
The timeline ID is made up as follows:
<timeline position>/<server number> where:
• The timeline position is between 01 and 99.
• The server number is from 1 to 29.
If you enter a requested position that is already used, the application will display an error
message. You will have to enter a new position.

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If you do not enter an ID, an ID is automatically assigned by the system.

VarID
VarID is a 32-character ID with variable length and format. It is automatically assigned to
a new timeline. It is mainly used to ensure redundancy on the system. It can be unique for
a clip on the EVS server level or on the XNet network level, depending on EVS video
server settings.

TC Track
First TC value of the timeline.
If you do not enter a value for the TC Track in the Create a New Timeline window, the
default TC track assigned is 00:00:00:00.

Estimated Duration
Duration of the timeline estimated by the user. Based on this duration, IPEdit will calculate
the most appropriate display range. This value is the default timeline duration visible when
you zoom the created timeline.

Send To
Destinations where the timeline can be transferred to.
Select the check boxes corresponding to the requested destinations.

Publish To
User groups, or individual users, to which the timeline can be published, i.e. made
available.

TIP
• Select / clear the Groups checkbox or the Users checkbox at the top of the
lists to select / unselect all the groups or all the users at once.
• Use the Search field to search for a group or to search for a user from the
corresponding lists.

Audio Configuration
Audio configurations which can be used in the timeline.
According to the audio configuration of the EVS video server, the audio configurations
available for the timeline may differ. See section "Possible Audio Configurations in the
Player" on page 35 for the possible audio configurations.

Keywords
This area allows you to assign up to five keywords to a timeline to qualify its content.

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Metadata Pane
The Metadata pane contains the following fields:

Current Profile
Drop-down list from which the users with appropriate user rights can select the metadata
profile to be associated with the timeline.
For users who do not have the right to choose a metadata profile, the profile set as default
in the Metadata Profile Management window is automatically applied with its fields and
default values.
For users who have the right to choose a metadata profile, the default profile will be
displayed the first time each user create an item. Afterwards, each user who will have
chosen another metadata profile at timeline creation will get this new current profile at
creation of the next item.

Metadata Profile fields

Fields belonging to the metadata profile selected in the Current Profile field.
The users can modify the values of the Metadata Profile fields, if they have appropriate
user rights. The modifications will only apply to the given timeline and not impact the
default values of the profile.

Possible Timeline Audio Configurations

The audio configurations available at timeline creation from the Create Timeline window
vary according to the audio configuration of the EVS video server.

NOTE
IPEdit does not support 32-audio channels.

When the server is configured in 4 or 8 mono audio channels, the following audio
configurations will be available for the new timeline:
• 1 track of 4 mono channels
• 2 tracks of 2 mono channels
• 4 tracks of 1 mono channel
When the server is configured in 8 mono audio channels, the following audio
configurations will be available for the new timeline, in addition of those available with 4
mono audio channels:
• 1 track of 8 mono channels
• 2 tracks of 4 mono channels
• 4 tracks of 2 mono channels
• 1 track of 2 mono channels, 1 track of 6 mono channels
When the server is configured in 16 mono audio channels, only the following audio
configurations will be available for the new timeline:
• 1 track of 16 mono channels
• 2 tracks of 8 mono channels
• 4 tracks of respectively 2, 6, 2 and 6 mono channels

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• 4 tracks of respectively 2, 2, 6 and 6 mono channels

5.2.3. Converting a Playlist Into a Timeline

Principles
The conversion from playlist to timeline follows the below-mentioned principles:
• The conversion is only possible on the local server where the playlist is stored.
• The conversion cannot be cancelled.
• When a target LSM ID is specified but not available, the conversion will not be done
and an error message is displayed.
• If an error occurs during the conversion, it will be displayed in the global status bar of
IPDirector.

Conversion Methods
You can convert a playlist to a timeline from different modules;
• In IPEdit, by dragging a local playlist from the Browser to the Timeline pane.
• In the DB Explorer, by selecting the Convert to Timeline command from the
contextual menu in the Playlist grid.
• In the Playlist Panel, by selecting the Convert to Timeline command from the
Playlist contextual menu.
Performing one of these actions opens the Make Timeline Online window.

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Make a Timeline Online Window

The Make Timeline Online window opens in IPEdit when you drag an online playlist to the
Timeline pane, in order to convert the playlist to a timeline.

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The following table describes briefly how you can use the various fields in this window:

Field Description

Timeline Name Name of the timeline in maximum 32 characters.

By default, the original playlist name is taken over.

Timeline VarID ID for timeline identification on the network.

The VarID is not editable. The VarID of the original playlist is taken
over if the Delete Original Playlist check box is selected.
Otherwise, a new VarID is assigned to the new timeline.

Destination ID for timeline identification on the server and network.

LSM/ID By default, the Timeline ID is automatically assigned when IPEDIT
converts the timeline.

T/C Track First TC value of the timeline.

If you do not enter a value for the TC Track in the Make a Timeline
Online window, the default TC track assigned is 00:00:00:00.

Configuration Audio configuration of the timeline. The available configurations will

depend on the server audio configuration.

Destination XT EVS server on which the new timeline will be created. By default, it
is the server on which the original playlist is stored.

Send To Bin where the timeline can be transferred to.

Delete Original Check box to be ticked if you want to delete the original playlist
Playlist when it is converted to a timeline.

Conversion Results and Limitations

Preserved and Translated Features

The conversion process will preserve:
• all metadata (metadata profiles and fields, keywords, published groups, auxiliary clip)
• the element sequence
• the speed of video elements
• the video transition effects and types.
The video transitions are all translated to 'centered on cut' transitions.
• the audio transition effects and types.
• the swap/mute points
• the GPIs
• the audio level adjustment

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Unconverted Features
The conversion process will not preserve:
• the Hide tag
• the Start mode settings
• the Stop mode settings
• the Loop mode settings
• the record train delay

Element Conversion to Blank Elements

The following playlist elements will be converted to blank elements:
• virtual elements
• delay elements
• freeze elements
In case of virtual elements, the element will therefore never be available in the timeline,
even when it is restored on the server.

Audio Channel Assignment

The possible audio configurations are listed below.

Server with 4 audio mono channels

• 1 track of 4 mono channels
• 2 tracks of 2 mono channels

Server with 8 audio mono channels

• 1 track of 8 mono channels
• 2 tracks of 4 mono channels
• 4 tracks of 2 mono channels
• 1 track of 2 mono channels, 1 track of 6 mono channels
• 1 track of 6 mono channels, 1 track of 2 mono channels

Server with 16 audio mono channels

• 1 track of 16 mono channels
• 2 tracks of 8 mono channels
• 4 tracks of respectively 2, 2, 6 and 6 mono channels
• 4 tracks of respectively 2, 6, 2 and 6 mono channels

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5.2.4. Opening a Timeline

Introduction
There are different ways to open a timeline. This section describes the two modes to open
the timeline from IPEdit.
In all cases, you first need to ensure that a timeline engine is assigned to IPEdit.
The timeline can only be loaded in IPEdit if the following conditions are fulfilled:
• The timeline contains the same number of tracks and channels as the local server
configuration.
If this is not the case, you cannot load the timeline.
• The timeline definition, at least, is stored on the local server.
If this is not the case, you can create a copy of the timeline definition and, if requested,
a copy of its elements.

Opening a Timeline by a Drag-and-Drop

Action
When you open a timeline by dragging it from the Browser to the Timeline pane, you will
follow the procedure below

The following checks are performed when you drag a timeline from the Browser:

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• If the timeline is not compatible with the audio configuration of the local server, it will
not open.
• If the timeline is not on the local server, you will be asked to make a local copy of the
timeline definition before the timeline is loaded.
"Appending a Timeline to the Open Timeline" on page 110.

How to Open a Timeline via the LSM ID Field

To open a timeline via the LSM ID field of the timeline, proceed as follows:
1. Type the LSM ID of the timeline in the LSM ID field of the Timeline pane.
2. Press ENTER.
The same checks as for the drag-and-drop action from the Browser are performed.

5.2.5. Copying and Moving a Timeline

Introduction
When you copy or move a selected timeline, IPEdit copies the timeline definition, and if
requested, the timeline elements on the selected server.
You can copy or move a timeline from different places in IPDirector:
• From the Database Explorer in Timeline or Bin views,
◦ by selecting the Copy/Move Timeline command in the contextual menu in the
grid
◦ by dropping a distant timeline to the Timeline pane in IPEdit
◦ by dropping a timeline stored on an EVS server from the grid to another EVS
server in the Timeline branch of the tree view.
In this case, the Copy-Move Timeline window is simpler than shown below.
• From the Browser pane in IPEdit in Timeline or Bin views,
◦ by selecting the Copy/Move Timeline command in the contextual menu in the
grid
◦ by dropping a distant timeline from the Timeline grid to the Timeline pane in IPEdit.
• From Timeline pane in IPEdit,
◦ by selecting the Copy/Move Timeline command in the contextual menu of the
Timeline Name field.

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Fields in the Copy Timeline Window

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The table describes the various fields in the window above displayed:

Field/Button Description Mandatory?

Name Name of the timeline in maximum 32 characters. Yes

The field is filled with the original timeline name.

LSM ID ID identifying the timeline position in the XNet No

network.
• If you enter an LSM ID that is already used, the
copy will not be created and an error message will
be displayed in the Message Pane.
• If you do not enter an LSM ID, IPDirector will
assign one to the timeline.

Destination List of all servers on the XNet network to which the Yes
XT timeline can be copied.

Send to Bins where a shortcut to the timeline copy can be No

stored.

Copy Type Allows you to select how the copy should be No

performed:
• EDL Only: this copies only the timeline definition
to the IPDirector database and to the server.
• EDL and clips "short": this copies the timeline
definition and the clips from their IN to the OUT
points as defined in the timeline. This is the default
value.
• EDL and clips "long": this copies the timeline
definition and the clips from their Protect IN to the
Protect OUT.

Move Starts the move process -

Copy Starts the copy process -

Cancel Cancels the copy/move command -

How to Copy or Move a Timeline

To create a copy of a timeline, proceed as follows:
1. In the Timeline pane, right-click the Timeline Name field and select Copy/Move
Timeline. The Copy-Move Timeline window opens.
2. If requested, modify the default name and type the requested LSM ID.
3. Select the server to which you want to copy the timeline in the Server list box.
4. In the Copy Type group box, tick the radio button corresponding to the type of copy
you want to perform.
5. If requested, check a bin to which you want to send a shortcut of the timeline copy.
6. Click the button corresponding to the requested action:
◦ Copy to make a copy of the selected timeline
◦ Move to move the selected timeline to the new location

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The timeline is copied or moved onto the selected server. You can monitor the copy or
move process in the Transfer Monitoring box in the main window and in the Database
Explorer.

Errors in Move or Copy Processes

In the following situations, the copy or move process will fail, or be only partially executed:
The copy or move process will fail if:
• The VarID of the copied or moved timeline already exists on the destination server.
• The requested LSMID on the destination server is not available.
• The number of audio channels differs between the server where the timeline has been
created and the server where the timeline is copied/moved.
In this case, the original timeline is kept.
In a move process, the original copy may not be deleted if:
• It is open IPEdit during the move process.
• It is loaded on a channel during the move process.

5.2.6. Publishing a Timeline

Context of Use
Publishing a timeline makes it visible to members of the group(s), or to individual users, it
is published to.
A timeline can be published at creation, from the Create a New Timeline window, or
afterwards from IPEdit or from the Database Explorer.
See also sections "Fields in the Create Timeline Window" on page 67 and the "Publishing"
sections in the Database Explorer user manual.

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How to Publish a Timeline

To publish a timeline to groups of users, or to individual users, from IPEdit,
1. Do one of the following actions:
◦ Right click the Timeline Name field if the timeline is loaded on the Timeline pane
◦ Right click the timeline from the Timelines grid of the IPEdit browser.
2. Select Publish from the contextual menu.
The Publish window opens.

3. Select the user group(s), or the individual users, to which you want to publish the
timeline in the Available Groups area on the left. Keep CTRL pressed to select
multiple groups.

TIP
Use the Search field to search for a group or to search for a user from the
corresponding lists.

4. Click the Right Arrow button to move the selected groups / users from the Available
Groups to the Selected Groups area on the right.
5. Click the Publish button.
When a user group has been selected, all users belonging to the selected user group and
having visibility rights on the timelines will be able to view it.
To un-publish a timeline to a group of users, or the individual users, repeat steps above
and perform the opposite operation: select the user group, or user, in the Selected Groups
area and click the Left Arrow button.

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5.2.7. Transferring Timelines

Possible Transfer Destinations

Sending Media to Locations

IPDirector gives full flexibility to directly send A/V files to third party systems (i.e. NLE
systems) and storage paths.
Sending media to predefined targets, such as third party systems or file archive targets,
will be performed with the Send to command.
The possible destinations to transfer timelines are listed hereafter.
• the user's default bin, if any
See section "Bin Contextual Menu" in the Database Explorer user manual.
• XT targets
The EVS servers for which the user has visibility right.
• Third party systems (Xedio/CleanEdit, Avid, FCP, Adobe).
The targets may have been set from the Remote Installer or from Xsquare.
• File targets
The file targets may have been set from the Remote Installer or from Xsquare.

NOTE - VISIBILITY OF XSQUARE TARGETS

Xsquare targets are visible provided that
• the Xsquare has been declared in the Remote Installer and that it
can be reached
• the user logged into IPDirector has an Xsquare account with the
same access codes (login and password) in both applications.
• the user belongs to the same groups in both applications
• in Xsquare, targets have been published to a group the user
belongs to (or target visibility for that user is set to All).

Backing Media up to Nearline

Sending media to nearline storage will be performed with the Backup to Nearline
command from the contextual menu. This is used to store or back up A/V material to a
nearline folder, visible on the GigE network, that has been defined in the Remote Installer.
Users can access the A/V material of nearline folders in IPDirector, or restore it on an
EVS server.

WARNING
Refer to the IPDirector Remote Installer Technical Reference manual
for more information on the configuration of targets and nearline folders
and to the Xsquare user manual for the configuration of Xsquare
targets.

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Transfer Types
There are different ways to transfer a timeline to a target or nearline. This is set when
defining the target or nearline in the Remote Installer, and cannot be modified from
IPDirector.
The possible transfer types are briefly described below. All transfer types are possible
with nearlines. However, the supported transfer types to a target depend on the target
itself.

Transfer Type Description

EDL and clips Creation of an EDL file (XML format) that describes the timeline
and backup of each clip used in the timeline.

EDL and flatten file Creation of an EDL file (XML format) that describes the timeline
and of a consolidated file that represents the A/V result of the
timeline, with the defined A/V effects.

EDL only Creation of an EDL file (XML format) that describes the timeline.

Flatten file only Creation of a consolidated file that represents the A/V result of the
timeline, with the defined A/V effects.

How to Send a Timeline to a Target, Bin or

Nearline
To send a timeline open in IPEdit to the default bin, a target or an on-line nearline, proceed
as follows:
1. In the Timeline area, right-click the Timeline Name field.
The Timeline contextual menu is displayed.
2. Do one of the following:
◦ To send to the default bin or to an available destination target, select Send to and
the requested destination.
◦ To send to an on-line nearline folder, select Back up to Nearline and the
requested nearline folder.
The timeline is sent to the requested destination.

5.3. Timeline Editing

5.3.1. Overview of Editing Actions

All actions to add or modify timeline elements, or to add transitions within the timeline, are
timeline editing actions. The editing functions are explained in separate sections below.
The most important editing functions are the following ones:

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Editing Functions See section...

Placing media in the timeline using "Placing Media in the Timeline" on page 91.
the
• Insert or Overwrite mode
• Match Frame Replace mode

Deleting elements from the timeline "Deleting Elements from the Timeline" on page
111.

Moving elements within the timeline "Moving Elements Within the Timeline" on page
115.

Extending elements "Extending Timeline Elements" on page 119.

Trimming elements "Trimming Elements in the Timeline" on page 128.

Slipping elements "Slipping Elements in the Timeline" on page 143.

Sliding elements "Sliding Elements in the Timeline" on page 151.

Transition effects are described in section "Transition Effects" on page 157, and the
specific action of editing timeline elements containing an effect is mentioned in section
"Editing Timeline Elements with Effects" on page 175.

5.3.2. Overview of Slow Motion Editing

Introduction
Several features offer the possibility to speed up or slow down the playout of the video or
audio element of the timeline, in other words to perform slow/fast motion editing.

Slow Motion Features

This section provides an overview on the main slow/fast motion editing features. They are
explained in details in the relevant sections:

Slow/Fast Motion Editing via … See section...

Set Speed command available from the "Contextual Menu on the Timeline Element"
contextual menu of the timeline on page 84.
element.

4-Point Edit that matches media with "Adding Media in Insert or Overwrite via the
(mark) IN and OUT points to a timeline Keyboard, ShuttlePRO or Player Buttons" on
element. page 97 and "Position Applied to the Timeline
Element" on page 100.

Extend Slow/Fast that extends a "Extending Timeline Elements" on page 119.

timeline elements by adapting its speed
(and without adding material).

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Super Slow Motion Clips

SLSM clips (33% or 50%) can be added to the timeline.
The display speed is automatically their initial speed (33% or 50%) with specific color.
Using the contextual menu, you can change the speed of the SLSM clip as follows:
• from 33% to 66% or 100%, and back to 33%.
• from 50% to 100%, and back to 50%.

5.3.3. A/V Material Available for Editing in the

Timeline
Any clip in a timeline (called TL clip) is always associated to a clip in the IPDirector
database:
• When a clip is added to a timeline with its initial IN and OUT points, the TL clip points
to the initial clip.
• When a clip is added to a timeline with different IN and OUT points than the initial
ones, no new clip is created for the clip in the timeline. The TL clip still points to the
initial clip.
• When a part of a record train is added to a timeline, a new clip is automatically created
with the guardbands defined in the Default Clip Duration setting (Clip Creation tab).
The aim is to identify and protect the media added to the timeline.
When an element is edited in a timeline, the A/V material of the corresponding clip is or
can be made available:
• The A/V material between the Protect IN and Protect OUT of the clip always remains
available.
• The record train on which the clip is based is made available if the A/V material around
the clip TC IN and OUT is still available on the local or on a distant server.

5.3.4. Growing Clips in Timelines

As already mentioned, growing clips are supported in timelines. They can be identified by
the growing clip icon and, usually, by the percentage of the material already recorded
displayed on the timeline element:

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All editing actions are possible on growing clips placed in timelines, except extend actions
when the growing clip is stopped before reaching the size of the corresponding element in
the timeline.
The setting Growing Clip Display Option available in the category IPEdit > General
defines what the EVS server will display on the player channels when users browse the
growing clip over a TC where data is not yet recorded. Depending on the setting, the EVS
server displays either a black video or the head of the record train where the clip is being
recorded. The timecode displayed on the OSD is the TC of the record train head.

5.3.5. Contextual Menu on the Timeline

Element
Several actions can be performed from the contextual menu available when right-clicking
a timeline element:

Menu Command Description

Delete Deletes the selected elements.

If the elements of the same source clip are not deleted together, the
timeline tracks will be desynchronized.

Rename Allows you to rename the selected timeline elements. This is also
available via the CTRL+R keyboard shortcut.
This will not affect the original clip name.

Add swap/mute Allows you to swap or mute audio tracks.

See section "Audio Swaps and Mutes" on page 176.

Modify Allows you to modify the audio swaps or mutes previously defined.
swap/mute See section "Modifying Audio Swaps" on page 193.

Delete Allows you to delete the audio swaps or mutes previously defined.
swap/mute See section "Deleting Audio Swaps" on page 194.

Fit to content Adapts the timeline zoom to display the whole timeline in the
Timeline pane.

Replace settings Opens the Replace settings window.

IPEdit settings Opens the General settings window for IPEdit.

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Menu Command Description

Resync A -> V Resynchronizes the selected audio tracks to the corresponding

video tracks.

Resync V -> A Resynchronizes the selected video tracks to the corresponding

audio tracks. In this case, you need to select the audio track to
which the video track should be resynchronized.

Send To This option is used to transfer a single timeline element to a target.

Backup to This option is used to back a single timeline element up to a

Nearline nearline.

Set Timecode Allows you to slip the selected elements by defining a new TC IN or
(slip) TC OUT. As in all slipping actions, the element duration, its position
in the timeline and the surrounding elements are not impacted.
See section "How to Slip an Element by Setting a New Timecode"
on page 150.

Select Camera Allows you to select the timeline elements recorded on the camera
you will choose from the list displayed in the contextual menu. This
command is used in combination with the Replace by command.
See section "Selection Based on the Recorded Camera Angle" on
page 90.

Replace by … Allows you to change the source clip used for the selected timeline
element(s). This makes it possible to change the camera angle:
• If the selected clip(s) in the timeline are part of a linked clip
group, the sub-menu displays the other clips from the group.
If another linked clip is selected, the clip in the timeline is
replaced by the selected clip.
• If the selected clips are not part of a linked clip group, the sub-
menu displays the other recorders available on the XNet
network.
If another recorder is selected, a new clip is created at the same
timecode as the source clip and the timeline elements are
replaced by this new clip.
See section "Changing the Camera Angle of Timeline Elements" on
page 108.

Set Speed Allows you to modify or reset to 100% the speed in which the
selected timeline elements have to be played out. Selecting multiple
elements is possible, but only one element per track at a time.

5.4. Marking and Selecting Techniques

5.4.1. Moving the Nowline in the Timeline

You move in the timeline by placing the nowline at the requested position.
To move the nowline or change its position, the following actions are possible:

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To move the nowline … Do the following:

to a specific position within • Left-click the mouse in the Timecode bar at the
an element position where you want to place the nowline.
• Select the nowline by left-clicking the mouse in the
Timecode bar at the nowline position and drag it to the
requested position

One second before the last

editing point Press the key.

to the beginning of the

timeline Press the key

to the end of the timeline

Press the key.

to the next transition

(compared to the current Press the key.
position)

to the previous transition

(compared to the current Press the key.
position)

to the mark IN point

Press the key.

to the mark OUT point

Press the key.

to the next frame

(compared to the current Press the key
position) OR

Press (if no element selected)

OR
Jog one frame to the right with the ShuttlePRO

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To move the nowline … Do the following:

to the previous frame

(compared to the current Press the key
position) OR

Press (if no element selected)

OR
Jog one frame to the left with the ShuttlePRO

by 10 frames to the right on

the timeline Press the key.
OR

Press + (if no element selected)

by 10 frames to the left on

the timeline Press the key.
OR

Press + (if no element selected)

by a requested number of
frames to the right.
Press (if no element selected)
+ requested number of frames on the numeric pad +
ENTER.

by a requested number of
frames to the left. Press (if no element selected)
+ requested number of frames on the numeric pad +
ENTER.

5.4.2. Adding Mark IN and Mark OUT points

The mark IN point is symbolized by a green vertical line on the timeline.
The mark OUT point is symbolized by a red vertical line on the timeline.

Adding a Mark IN point

Place the nowline at the requested position and click .

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NOTE
If you have already defined a mark OUT point in the timeline and if you
position the nowline before the mark OUT point, the nowline will act as
a mark IN point when you perform an editing action.

Adding a Mark OUT point

Place the nowline at the requested position and click .

NOTE
If you have already defined a mark IN point in the timeline and if you
position the nowline after the mark IN point, the nowline will act as a
mark OUT point when you perform an editing action.

Adding Mark IN and OUT points (on the boundaries of a clip)

Place the nowline on a clip whose boundaries you want to define a mark IN and mark OUT

and click .
This works when no timeline element is selected.

Adding Mark IN and OUT points (on the boundaries of several contiguous clips)

Select an element of the first clip and an element of the last clip and click .

5.4.3. Selecting and Deselecting Timeline

Elements
Selection By Clicking
To select … Do the following …

one timeline element Click the timeline element.

all timeline elements of the Press SHIFT while clicking one timeline element of
same clip the clip.

non-contiguous timeline Press CTRL while clicking all non-contiguous

elements timeline elements.

all timeline elements of several Press SHIFT + CTRL while clicking one timeline
clips element of each clip.

all timeline elements from a Place a mark IN and OUT points, then press CTRL +
mark IN to a mark OUT A. Whole elements will be selected.

all timeline elements (not black) Press CTRL + A

on the selected tracks

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To deselect … Do the following …

one timeline element Press CTRL while clicking the timeline element to
deselect.

all selected timeline • Click in the Lasso Selection area.

elements • Click CTRL + SHIFT + A

Selection With the Lasso

You can only select contiguous tracks with the lasso.
To select tracks with the lasso, left-click the mouse in the Lasso Selection area and drag
the mouse from left to right over the tracks that you want to select. Only the tracks that
can be completely lassoed will be selected.

Selection

Result

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Selection Based on the Nowline Position

• To select all elements before the nowline, including the elements where the nowline is

positioned, press CTRL and click .

• To select all elements after the nowline, including the elements where the nowline is

positioned, click .

Selection Based on the Recorded Camera

Angle
The Select Camera command available when you right-click in a timeline allows you to
select the timeline elements recorded on the camera you will choose from the list
displayed in the contextual menu:

This selection is used in combination with the Replace by command to replace all
selected clips by another camera angle.
The selection based on the recorded camera angle is done according to the following
rules:
• Only elements on the activated A/V tracks will be selected.
• Only elements recorded on the selected camera will be selected.
• If mark IN and mark OUT points are defined, only relevant elements between the
marks are taken into account for the selection.

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• If no mark IN/OUT are defined, all relevant elements on the selected tracks are taken
into account for the selection.

5.5. Placing Media in the Timeline

5.5.1. Applicable Principles

Introduction
The following principles are applicable when you want to place media in the timeline.

Minimum Clip Duration

The media you place in the timeline, or generate after editing actions, needs to have 3-
frame duration at least. However consecutive clips of less than 10 frames can lead to a
freeze during playout. In this case, it is recommended to consolidate the small clips into a
single clip using the Replace function.
For this reason, the user is warned as follows when consecutive clips of less than 10
frames are detected in the timeline:
• A red triangle is displayed on the timeline to indicate the presence of consecutive
small clips:

• The following warning message is displayed in the message bar:

Inserted Material Depending on Element Types

You can place a whole clip (XT clip, growing clip or protect media), as well as a portion of a
clip or record train.
• When you add a clip (with the initial IN and OUT points) or a portion of it (with mark IN
and mark OUT points) to the timeline, the guardbands and the non-selected portions
remain available in the timeline for further editing.
• When you add a portion of a record train to the timeline, a clip is automatically created
with the guardbands defined in the Clip Creation settings.
◦ This clip gets the Created in IPEdit flag for further purge purposes. This can be
retrieved from the Create in IPEdit column of the IPEdit Browser.

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◦ If the recorder channel used to create the clip is ganged to other recorder
channels, clips will automatically be created on all the recorder channels from the
group, provided that the Create Clips on all Synchronized Recorders setting
has been selected under Tools > Settings > Clips > General.

NOTE
Contrary to what happens when linked clips are created in the Player
pane, the clips created by addition of a portion of record train to the
timeline will be identified as follows:
• the clip created from the loaded recorder train gets the name of the
recorder channel without any extension
• the clips created from all the other ganged recorders get the same
name, followed by the extension 00, 01, 02, etc. depending on the
number of ganged recorders.

WARNING
In such a case where clips are created, from ganged recorder
channels, by addition of a portion of record train to the timeline, only
the first clip gets the Created in IPEdit flag.

• When you add a growing clip without mark OUT, a popup message is displayed to
force the user to specify a duration for the timeline element, and consequently a mark
OUT:

◦ When you select the first option, the mark OUT is the current TC of the record
head of the growing clip.
◦ When you select the second option, the mark OUT is calculated based on the
duration you have specified.

Availability of Clip Material

When material from a clip is placed in the timeline:
• If the necessary material to create the timeline element is available in the clip or record
train, it is taken over from the clip or record train.
• If the necessary material to create the timeline element is not available in the record
train, an error message is displayed in the Message Panel and the material cannot be
placed into the timeline.

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Availability of Record Train Material

When material from a train is placed in the timeline:
• If the necessary material to create the timeline element is available, it is taken over
from the record train.
• If the necessary material to create the timeline element is not available, an error
message is displayed in the Message Panel and the material cannot be placed into the
timeline.

Criteria for Element Insertion

There are many different ways to place media in a timeline. The main criteria to take into
account are the following:
• how you want the clip to be included in the timeline
• where you want the clip to be included in the timeline
• which tracks of the clip should be included in the timeline

Name of Timeline Elements

When a clip is added to the timeline, however it has been created (either created in the
Player or dropped from the Browser), the element name inherits the clip name by default.

5.5.2. Editing Modes From the Player

Introduction
The editing mode applied, i.e. insert, overwrite or match frame replace, will determine how
the material will be placed in the timeline.

Insert
User Interface Button Keyboard Shortcut ShuttlePRO key

(Player mode)

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When the Insert mode is active, the clip will be added to the requested position AND the
media located after the insertion point will be shifted further to the right of the timeline. The
timeline will accommodate the new element in the timeline without impacting the length of
the existing elements.

Example of an Insert Action

The clip added is 00:00:04:23 long. The element after the insertion point is 00:00:13:01.
When the new clip is added, the timeline element after the insertion position is shifted to
the right and remains 00:00:13:01 long.

Timeline before the Insert action

Timeline during the Insert action

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Timeline after the Insert action

Overwrite
User Interface Button Keyboard Shortcut ShuttlePRO key

(Player mode)

When the Overwrite mode is active, the clip will be added to the requested position AND
the media located after the insertion point will be overwritten by the length of the added
media.

Example of an Overwrite Action

The clip added is 00:00:04:23 long. The element after the insertion point is initially
00:00:13:01.
When the new clip is added, the element after the insertion position is reduced by the
length of the added media. It is now 00:00:08:03 long.

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Timeline before the Overwrite action

Timeline during the Overwrite action

Timeline after the Overwrite action

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Match Frame Replace

User Interface Button Keyboard Shortcut

The Match Frame Replace button allows you to replace timeline elements or parts of
them by matching the current position on the clip or train loaded on the Player to the
nowline position in the timeline. The system calculates automatically the mark IN and
mark OUT in the Player that will match the (part of the) timeline element(s) to be replaced.
See section "Adding Media Using the Match Frame Replace" on page 104 for detailed
information.

5.5.3. Adding Media in Insert or Overwrite via

the Keyboard, ShuttlePRO or Player
Buttons
Introduction
These methods to add media to the timeline are direct insertion methods. In other words,
selecting the requested shortcut, button or key to add the media determines directly which
mode, i.e. Insert or Overwrite, will be used.

Procedure in the Player

To add media to a timeline using keyboard shortcuts or the editing buttons on the Player,
proceed as follows:
1. In the Timeline pane, select the tracks to be taken into account when you will add the
media with the Timeline Track Selection buttons.
2. In the timeline loaded, place the nowline or add a mark IN or/and mark OUT points
where you want to insert the media.
See section "Position Applied to the Timeline Element" on page 100 for more
information on the media position.
3. In the Browser pane, click on the media you want to add to the timeline and drag it to
the Player to load it.
4. If you want to define new mark IN and mark OUT points in the Player, do the following
in the Player:
a. Browse to the requested position.

b. Click the mark IN button and/or mark OUT button .

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5. Do one of the following:

◦ Click the Insert button or Overwrite button in the Player pane.

◦ Press the Insert key or Overwrite key on the keyboard.

The media is added to the timeline with the Insert of Overwrite mode, from the mark IN
and OUT points.

Procedure with the ShuttlePRO

To add media to a timeline using the ShuttlePRO, proceed as follows:
1. In the Timeline pane, select the tracks to be taken into account when you will add the
media.
2. In the timeline loaded, place the nowline or add a mark IN or/and mark OUT point
where you want to insert the media.
See section "Position Applied to the Timeline Element" on page 100 for more
information on the media position.
3. In the Browser, double-click the media you want to add to the timeline.
4. If you want to define new mark IN and mark OUT points, do the following:

a. Press the ShuttlePRO key to add a mark IN.

b. Press the ShuttlePRO key to add a mark OUT.

5. To add the media to the timeline, press the ShuttlePRO key

for Insert or for Overwrite.

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The media is added to the timeline with the Insert of Overwrite mode, from the mark IN
and OUT points.

Track Selection Applied to the Timeline

Element

General Principles
When you use the Editing buttons in the Player, the keyboard shortcuts or the
ShuttlePRO keys, the tracks added to the timeline are the combination of the track
selection in the Player and in the Timeline.
The channels in the audio tracks are added to the timeline in the same sequence as they
are defined in the source media. In other words, a1 in the source media will be matched to
a1 in the timeline, a2 in the source media to a2 in the timeline, etc.

Possible Cases
The following table summarizes the impact of the track selection in the Player and the
Timeline on the element added to the timeline:

Track selected
Track selected
in the Track available in the timeline element?
in the Player?
Timeline?

Yes Yes Element added to the timeline

Yes No Nothing added to the timeline

Warning
The elements after the insertion
position will be desynchronized.

No Yes Black element added to the timeline

No No Nothing added to the timeline

NOTE
When one or more audio channels of a track (but not all of them) are deselected
in the Player, these channels will be muted in the timeline.

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Position Applied to the Timeline Element

Principle
The position of the element added to the timeline will depend on the following elements:
• IN/mark IN points and OUT/mark OUT points are defined in the Player pane. When a
clip is loaded in the Player, the mark IN and mark OUT points supersede the original
IN/OUT points.
• Mark IN, mark OUT and/or nowline are defined in the Timeline pane.

Standard Insert/Overwrite Action

The user performs a standard insert or overwrite action when two reference positions (IN
point, OUT point, mark IN point, mark OUT point or nowline) are defined in the Player.

3-Point Edit
The user performs a 3-point edit when only one reference point is defined in the Player
pane, and two reference points are defined in the Timeline pane.
In this case, IPEdit calculates the portion of the source media to be added between the
mark IN and mark OUT points in the Timeline pane.

4-Point Edit
The user performs a 4-point edit when two reference points are defined in the Player pane
and two reference points are defined in the Timeline pane.
In this case, the material defined between the (mark) IN and (mark) OUT in the Player is
inserted between the mark IN and mark OUT in the Timeline. The speed is automatically
calculated to fit in the space between boundary marks.

Possible Cases
The following table summarizes all possible cases:

Points/Marks in
Edit Type Marks in Timeline Element Position
Player

Standard IN OUT - - Nowline (Mark) IN point of media

edit positioned on the timeline
nowline

Standard IN OUT IN - Nowline (Mark) IN point of media

edit before positioned on the timeline
mark IN mark IN

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Points/Marks in
Edit Type Marks in Timeline Element Position
Player

Standard IN OUT - OUT Nowline (Mark) OUT point of media

edit after positioned on the timeline
mark mark OUT
OUT

3-point IN - IN OUT Nowline (Mark) IN point of media

edit positioned on mark IN of
timeline + calculation of the
mark OUT of inserted media

3-point IN - IN - Nowline (Mark) IN point of media

edit after positioned on mark IN of
mark IN = timeline + calculation of the
mark mark OUT point of inserted
OUT media

3-point - OUT IN OUT Nowline (Mark) OUT point of media

edit positioned on mark OUT of
timeline + calculation of the
mark IN of inserted media

3-point - OUT - OUT Nowline (Mark) OUT point of media

edit before positioned on mark OUT of
mark timeline + calculation of the
OUT = mark IN of inserted media
mark IN

3-point - - IN OUT Nowline Blue indicator of media

edit on mark positioned on mark IN of
IN timeline + calculation of the
mark OUT point of inserted
media

3-point - - IN OUT Nowline Blue indicator positioned on

edit on mark mark OUT of timeline +
OUT calculation of the mark IN
point of inserted media

4-point IN OUT IN OUT Nowline Media between marks in the

edit Player added between mark
IN and mark OUT points in
the timeline + speed is
automatically calculated in
the timeline

4-point IN OUT IN - Nowline Equivalent to a 4-point edit

edit after since the nowline acts as a
mark IN mark OUT.

4-point IN OUT - OUT Nowline Equivalent to a 4-point edit

edit before since the nowline acts as a
mark mark IN.
OUT

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5.5.4. Adding Media in Insert or Overwrite

Using Drag-and-Drop Actions
Introduction
Dragging media to the timeline does not directly determine whether the media will be
inserted or overwritten in the timeline. The Insert or Overwrite mode defined in the timeline
is taken into account for drag-and-drop actions.

Drag Media from the Player in the Timeline

To add media to a timeline by dragging it from the Player to the timeline, proceed as
follows:
1. In the Timeline pane, select the Insertion mode with the Insert/Overwrite Toggle

button in the Edit Command bar.

2. In the loaded timeline, do one of the following to define the insertion position if you do
not want to add the media on an element transition:
◦ Position the nowline on the requested insertion position.
◦ Add a mark IN or mark OUT point on the requested insertion position.
3. In the Player pane, load the requested media and select the tracks to be taken into
account when you will add the media.
4. If you want to define a new mark IN and mark OUT points in the Player, do the
following in the Player:
◦ Browse to the requested position.

◦ Click the mark IN button and/or mark OUT button .

5. Drag the loaded media from the Player pane to the requested position in the timeline.
The media is added to the timeline based on the Insert/Overwrite mode selected in the
timeline.

Drag Media from the Browser in the Timeline

To add media to a timeline by dragging it from the Browser to the timeline, proceed as
follows:
1. In the Timeline pane, select the Insertion mode with the Insert/Overwrite Toggle

button in the Edit Command bar.

2. In the loaded timeline, do one of the following to define the insertion position if you do
not want to add the media on an element transition:
◦ Position the nowline
◦ Add a mark IN or mark OUT point on the requested insertion position. 

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3. In the Browser pane, select the media to add and drag it to the requested position in
the timeline.
The media is added to the timeline from the mark IN to the mark OUT points based on the
Insert/Overwrite mode selected in the timeline.

Dragging Media from other IPDirector

Modules
You can also drag media from the following IPDirector modules directly to the timeline:
• the Database Explorer.
• the History list of a Control Panel
• the Last Created Clips of a Control Panel
Proceed in the same way as when you drag media from the Browser.

Track Selection Applied to the Timeline

Element

General Principles
The track selection defined in the timeline is NOT taken into account when media is
dragged to the timeline. If IPEdit cannot determine the tracks to be added, all of them are
added to the timeline.
The channels in the audio tracks are added to the timeline in the same sequence as they
are defined in the source media. In other words, a1 in the source media will be matched to
a1 in the timeline, a2 in the source media to a2 in the timeline, etc.

Possible Cases
The principles applied to define which tracks will be added to the timeline are the following:

If the media is dragged from… Then…

the Player pane the Player track selection is taken into account to
add tracks to the timeline.

the Browser pane all the tracks of the media are added to the timeline.

another IPDirector module all the tracks of the media are added to the timeline.

Automatic Audio Swap in Drag-and-Drop Actions

When you drag the media to the timeline, you can perform an automatic audio swap if you
force, for example, the G1 track to be placed on the G2 track position in the timeline. To do
this, position your mouse on the G2 track when you drop the media on the timeline.

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See section "Overview of the Ways to Define Swaps and Mutes" on page 177 for more
information on the automatic audio swap.

Position Applied to the Timeline Element

Principle
You always need to define an IN and OUT points in the media to be dragged since it is
added to the timeline from its IN to its OUT point. This is not applicable when you drag
media from the Player since the 3-point Edit is possible.
In all cases, the IN point of the media dragged will be snapped to the insertion position.
To disable the snap effect, press CTRL during the drag-and-drop action. The media will be
dropped at the position where you will release the mouse.

Possible Cases
When you drag the media in the timeline, you can drop the media on the following
positions:
• any element transition
• nowline
• mark IN point (when defined)
In this case, the IN point or mark IN point defined in the media to add is matched to the
mark IN point in the timeline.
• mark OUT point (when defined).
In this case, the IN point or mark IN point defined in the media to add is matched to the
mark OUT point in the timeline.

5.5.5. Adding Media Using the Match Frame

Replace
Overview

The Match Frame Replace button allows you to replace timeline elements or parts
of them by matching the current position of the clip or train loaded on the Player to the
nowline position in the timeline. The system calculates automatically the mark IN and
mark OUT in the Player that will match the (part of the) timeline element(s) to be replaced.
The Match Frame Replace feature comes in three variants:
• Replacing one or more timeline element(s) of the same source clip from their IN point
to their OUT point.
• Replacing the portion of the timeline element(s) of the same source clip from the
nowline position to the OUT point of the element(s).

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• Replacing a portion of timeline element(s) between a mark IN and mark OUT points
defined in the timeline.

General Rules

Track Selection
The rules for the track selection (described in the "Track Selection Applied to the Timeline
Element" on page 99) apply to the Match Frame Replace function when you use the
Player buttons or keyboard shortcuts.

Available Material
The general principles about available material remain valid for the Match Frame Replace
function. See section "Applicable Principles" on page 91.

Replacing Timeline Elements From IN to

OUT Points

Description
The following schema shows how the Match Frame Replace is performed when timeline
elements are replaced from their IN to OUT points:

Procedure
To replace one or more timeline element(s) of the same source clip using the Match Frame
Replace function, proceed as follows:

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1. In the Player and Timeline panes, select the tracks to be taken into account when you
will insert the media. See section "Track Selection Applied to the Timeline Element"
on page 99.
2. In the Player panel, load the clip or train that contains the material to be inserted into
the timeline.
3. Click in the jog bar to define the reference frame position in the loaded media.
4. In the loaded timeline, place the nowline on the element(s) to be replaced.
5. Do one of the following to execute the Match Frame Replace:

◦ Click the Match Frame Replace button in the Player.

◦ Press on the keyboard.

The timeline element(s) whose tracks are selected and where the nowline is positioned
are replaced by the media loaded in the Player. In this action, the reference position in the
Player is matched to the nowline in the timeline.

Replacing Timeline Elements From Nowline

to OUT Points

Description
The following schema shows how the Match Frame Replace is performed when timeline
elements are replaced from the nowline to the OUT point:

Procedure
To replace one or more timeline element(s) of the same source clip from the nowline to the
OUT point using the Match Frame Replace function, proceed as follows:

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1. In the Player and Timeline panes, select the tracks to be taken into account when you
will insert the media. See section "Track Selection Applied to the Timeline Element"
on page 99.
2. In the Player panel, load the clip or train that contains the material to be inserted into
the timeline.
3. Click in the jog bar to define the reference position in the loaded media.
4. In the loaded timeline, place the nowline on the element(s) to be replaced from the
nowline to the OUT point.
5. Do one of the following to execute the Match Frame Replace:

◦ Click  + simultaneously in the Player.

◦ Press + on the keyboard.

The timeline element(s) whose tracks are selected are replaced by the media loaded in the
Player from the nowline to their OUT point. In this action, the reference position in the
Player is matched to the nowline in the timeline.

Replacing Timeline Parts From Mark IN to

Mark OUT

Description
The following schema shows how the Match Frame Replace is performed when a part of
timeline between a mark IN and a mark OUT points is replaced.
You can perform a similar action to replace a portion of the timeline between a mark IN and
the nowline, or the nowline and a mark OUT. In this case, you define only the nowline and
the mark IN or OUT.

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Procedure
To replace parts of a timeline between a mark IN and mark OUT points using the Match
Frame Replace function, proceed as follows:
1. In the Player and Timeline panes, select the tracks to be taken into account when you
will insert the media. See section "Track Selection Applied to the Timeline Element"
on page 99.
2. In the Player panel, load the clip or train that contains the material to be inserted into
the timeline.
3. Click in the jog bar to define the reference position in the loaded media.
4. In the loaded timeline, place the mark IN and Mark Out to define the timeline portion to
be replaced.
5. Do one of the following to execute the Match Frame Replace:

◦ Click the Match Frame Replace button in the Player.

◦ Press on the keyboard.

The parts of the timeline element(s) whose tracks are selected are replaced by the media
loaded in the Player from the mark IN point to the mark OUT point.
In this action, the reference position in the Player is matched to the nowline in the timeline.

5.5.6. Changing the Camera Angle of Timeline

Elements

Introduction
You can change the camera angle of timeline elements according to the following rules:
• Changing the elements of a single clip by a linked clip
• Changing the elements (max. 20) of one or more clips by A/V material having the
same TC IN and OUT and recorded on other recorders on the XNet network.

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Procedure
To change one or more timeline elements by another one, which would allow you to
change the camera angle, proceed as follows:
1. Select the timeline elements you want to replace (see section "Selecting and
Deselecting Timeline Elements" on page 88).
To select specifically elements created on a given camera angle, do the following:
a. Activate the tracks to be taken into account in the selection.
b. If requested place a mark IN and mark OUT points to delimit the portion where to
apply the selection.
c. Right-click in the timeline and select Select Camera from the contextual menu.
The requested elements are selected.
2. Right-click one of the elements and select Replace by in the contextual menu.
3. Do one of the following:
◦ If the current timeline element belongs to a group of linked clips, select one of the
other linked clips.

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◦ If the current timeline element does not belong to a group of linked clips, select
another recorder on which you will create a new clip. This clip will have the same
IN and OUT points and will replace the selected timeline element.

5.5.7. Appending a Timeline to the Open

Timeline

Introduction
You can append a timeline to the open timeline, provided both timelines have the same
configuration.
The append action brings about the following results:
• All tracks of the selected timeline are appended to the open timeline.
• Effects at the end of the open timeline are removed.
• If the tracks do not have the same duration, the appended timeline is placed at the end
of the longest timeline element of the open timeline.

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Procedure
To append a timeline to an open timeline, proceed as follows:
1. Select the timeline to append in the Browser area.
2. Press CTRL as you drop the timeline to the Timeline Display area.
The timeline is directly appended to the current timeline.

NOTE
If you simply drop the selected timeline to the Timeline Display area, a dialog
box will open to ask you whether you want to open or append the dropped
timeline:

5.6. Deleting Elements from the Timeline

5.6.1. Introduction
The elements of a timeline are said to be 'lifted' when they are deleted from the timeline in
Overwrite mode.
The elements of a timeline are said to be 'extracted' when they are deleted from the
timeline in Insert mode.

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5.6.2. Lifting Timeline Elements or Parts of a

Timeline
Principle
When you delete timeline elements or a part of a timeline in Overwrite mode, i.e. lift them,
a blank element will be left at the position where each element or the part of the timeline
has been deleted.

How to Lift Elements from a Timeline

First Method
To lift elements in Overwrite mode, you can proceed as follows:

1. Toggle to the button by clicking the Insert/Overwrite Global Mode button.

2. Select the elements of the timeline to be lifted by clicking or lassoing them. See
section "Selecting and Deselecting Timeline Elements" on page 88 for more
information.

3. Press .
The selected elements are deleted and replaced by blank elements.

Second Method
To lift elements from a timeline in Overwrite mode, you can proceed as follows:
1. Select the elements of the timeline to be lifted by clicking or lassoing them. See
section "Selecting and Deselecting Timeline Elements" on page 88 for more
information.

2. Press .
The selected elements are deleted and replaced by blank elements.

How to Lift Media Between the Mark IN and

Mark OUT
To delete a part of a timeline between the mark IN and mark OUT in Overwrite mode,
proceed as follows:

1. Toggle to the button by clicking the Insert/Overwrite Global Mode button.

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2. Activate the Timeline Track Selection buttons for which you want to delete a part of
the timeline.
3. Add a mark IN point and a mark OUT point to delimit the part of the timeline to delete.

4. Press .
The part of the timeline selected is deleted and replaced by a blank element.

5.6.3. Extracting Timeline Elements or Parts of

a Timeline
Principle
When you delete timeline elements or a part of a timeline in Insert mode, i.e. extract them,
the elements that remain in the timeline are shifted so that no blank is left.

How to Extract Elements From a Timeline

First Method
To delete elements from a timeline in Insert mode, proceed as follows:

1. Toggle to the button by clicking the Insert/Overwrite Global Mode button.

2. Select the elements of the timeline to be extracted by clicking or lassoing them. See
section "Selecting and Deselecting Timeline Elements" on page 88 for more
information.

3. Press .
The selected elements are deleted and the remaining elements in the timeline are shifted
to the left.

Second Method
To delete elements from a timeline in Insert mode, proceed as follows:
1. Select the elements of the timeline to be extracted by clicking or lassoing them. See
section "Selecting and Deselecting Timeline Elements" on page 88 for more
information.

2. Press .
The selected elements are deleted and the remaining elements in the timeline are shifted
to the left.

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How to Extract Media Between the Mark IN

and Mark OUT
To delete a part of a timeline between the mark IN and mark OUT in Insert mode, proceed
as follows:

1. Toggle to the button by clicking the Insert/Overwrite Global Mode button.

2. Activate the Timeline Track Selection buttons for which you want to delete a part of
the timeline.
3. Add a mark IN point and a mark OUT point to delimit the part of the timeline to delete.

4. Press .
The selected elements are deleted and the remaining elements in the timeline are shifted
to the left.

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5.7. Moving Elements Within the

Timeline

5.7.1. Introduction
You can move one or several elements of a timeline to any requested position, using the
Insert or Overwrite mode. The element speed is preserved.
This section gives an overview of the various aspects to consider when performing a
move.

Move in Insert or Overwrite Mode

When you perform a move action in Insert mode:
• The A/V material where you move the selected elements to is preserved and shifted to
the right.
• The elements initially positioned on the right of the moved element are shifted to the
left to fill the gap of the moved elements.

When you perform a move action in Overwrite mode:

• The A/V material where you move the selected elements to is overwritten.
• The initial position of the elements is left empty.

Possible Selections and Moves

Not all moves are possible. Whether a move is allowed or not depends on:
• which elements are selected for the move action
• where the selected elements are moved to.
Before explaining how a move is performed, see section "Possible Element Selections
and Move Types" on page 116 for a description on which element selections and which
types of moves are possible.

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Magnet Effect
By default, a magnet effect allows the selected element(s) to be moved to a transition or to
the nowline. However, you can deactivate this magnet effect by pressing CTRL on the
keyboard while moving the elements.

5.7.2. Possible Element Selections and Move

Types

Possible Element Selections

The methods for selecting elements before moving them are the ones explained in
"Selecting and Deselecting Timeline Elements" on page 88.
You can move the following elements or group of elements:

Selection Type Example

One element on
one track

Contiguous
elements on one
track

One or more
contiguous
elements on
several tracks

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Possible Move Types

You can only move the elements on the same track as their initial one.
This rule is also valid when you have several audio tracks: you cannot move selected
elements from an audio track to another one.

5.7.3. How to Move Elements By Drag-and-

Drop
To move timeline elements by drag-and-drop, proceed as follows:
1. Click the Insert/Overwrite Global Mode button to select the Insert or Overwrite
mode that you want to use in the move action.
2. Select the elements to be moved.
3. Do one of the following:
◦ To move the elements so that one of them is dropped on an existing transition or
on the nowline, drag the elements to the requested position (magnet effect active).

◦ To move the elements so that they can be dropped anywhere in the timeline, click
CTRL and drag the elements to the requested position (magnet effect
deactivated).

4. Release the mouse at the position where you want to move the elements.
The elements are moved to the requested position taking into account the global mode
defined.

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5.7.4. How to Move Elements Using the

Numeric Pad
To move timeline elements using the numeric pad, proceed as follows:
1. Click the Insert/Overwrite Global Mode button to select the Insert or Overwrite
mode that you want to use in the move action.
2. Select the elements to be moved.
3. Do one of the following:

◦ To move the element to the left, press the Minus key on the numeric pad,

◦ To move the element to the right, press the Plus key on the numeric pad.
A Minus or Plus sign appears on the first selected element.
4. Type the number of frames you want to shift the selected elements.
5. Press ENTER.

5.7.5. How to Move Elements Using the

Arrows
To move timeline elements using the arrow keys, proceed as follows:
1. Click the Insert/Overwrite Global Mode button to select the Insert or Overwrite
mode that you want to use in the move action.
2. Select the elements to be moved.
3. Do one of the following:

◦ To move the element 1 frame to the left, press .

◦ To move the element 10 frames to the left, press + .

◦ To move the element 1 frame to the right, press .

◦ To move the element 10 frames to the right, press + .

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5.8. Extending Timeline Elements

5.8.1. Introduction
Definition
The Extend function consists of extending a timeline element by redefining its IN point
(Extend IN) or OUT point (Extend OUT).
This function will apply to the element that is in Extend mode, in other words:
• to the element located after the mark IN that is placed to perform an Extend IN.
• to the element located before the mark OUT that is placed to perform an Extend OUT.
The length of the next or previous element will be impacted in Overwrite mode.

Extend versus Extend Slow/Fast

The material in the extended timeline element can be modified in two ways:
• The standard Extend function will add media on the element extension without
changing the speed.
• The Extend Slow/Fast function will stretch the existing material of the element to fit in
the new length. The playout speed of the whole element will be adapted accordingly.

NOTE
A standard Extend applied to an element with modified speed will not modify
the element speed, but only the element length.

Limits for the Standard Extend

The elements can be extended up to the limits of the media still available before the IN
point and after the OUT point of the timeline element:
• If a record train including the timeline element is still available, the element can be
extended beyond the Protect IN and Protect OUT of the clip, up to the limits of the A/V
material available.
• If only the source clip of the timeline element is available, the element can only be
extended up to the Protect IN or Protect OUT of the source clip.

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Example of Extend
In the example below, the user wants to extend the point OUT of a timeline element and
reduce the next element in the timeline.
This means that the Extend function is applied:
• to the OUT point of the timeline element
• in Overwrite mode

Before the Extend Action

The user places an OUT point to show up to which position IPEdit should extend the OUT
point of the element 'clip adl_090514_1-00'.

After an Extend Action

When the user clicks the Extend button , IPEdit automatically shifts the OUT point
of the clip to the position of the mark OUT point. As the user is in Overwrite mode, the
duration of the next timeline element is reduced.

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After an Extend Slow/Fast Action

When the user clicks the Extend Slow/Fast button , IPEdit automatically shifts the
OUT point of the clip to the position of the mark OUT point and adapts the playout speed
of the timeline element and displays it on the extended elements.
As no new material is added, the duration of the extended element is not modified.
As the user is in Overwrite mode, the duration of the next timeline element is reduced.

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5.8.2. Overview of the Extend Actions

The following table shows an overview of the extend actions. The same Extend actions
apply to the Extend Slow/Fast function.

Extend Action Description

Extend IN The user wants to extend a timeline element by shifting its IN point to
in Insert or the left in the available A/V material:
in Overwrite
Mode

Depending on the selected Global Insert/Overwrite mode, this will

reduce or not the duration of the previous timeline element.

Extend OUT The user wants to extend the timeline element by shifting its OUT
in Insert or point to the right in the available A/V material.
in Overwrite
Mode

Depending on the selected Global Insert/Overwrite mode, this will

reduce or not the duration of the next timeline element.

Extend IN & The user wants to extend the timeline element by shifting its IN point
OUT to the left or its OUT point to the right in the available A/V material.
in Insert or In this case, IPEdit asks the user to make a choice between Extend
in Overwrite IN or Extend OUT.
Mode

Depending on the selected Global Insert/Overwrite mode, this will

reduce or not the duration of the next timeline element (in Extend OUT)
or previous timeline element (in Extend IN).

5.8.3. Extending in Insert or Overwrite Mode

When you perform an Extend IN, you extend a timeline element by shifting its IN point to
the left. This takes up A/V material on the IN guardband of the element or on the record
train available before the IN point of the element.
• When the Extend IN is performed in Insert mode, this does not reduce the duration of
the previous timeline element.
• When the Extend IN is performed in Overwrite mode, this reduces the duration of the
previous timeline element by the duration of the extend.

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Before

After Extend IN in Insert Mode

The IN point of the timeline element 'ADL_CLP_3-00' has been shifted to the left in the
available A/V material. IPEdit calculates the shift on the basis of the duration between the
mark IN point placed in the timeline and the IN point of the timeline element.
The duration of the previous timeline element has not been reduced.

After Extend IN in Overwrite Mode

The IN point of the timeline element 'ADL_CLP_3-00' has been shifted to the left in the
available A/V material. IPEdit calculated the shift on the basis of the duration between the
mark IN point placed in the timeline and the IN point of the timeline element.
The duration of the previous timeline element has been reduced by the duration of the
extend.

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5.8.4. Extending OUT in Insert or Overwrite

Mode
When you perform an Extend OUT, you extend a timeline element by shifting its OUT
point to the right. This takes up A/V material on the OUT guardband of the element or on
the record train available after the OUT point of the element.
• When the Extend OUT is performed in Insert mode, this does not reduce the duration
of the next timeline element.
• When the Extend OUT is performed in Overwrite mode, this reduces the duration of
the next timeline element by the duration of the extend.

Before

After Extend OUT in Insert Mode

The OUT point of the timeline element 'adl_clp_9-00' has been shifted to the right in the
available A/V material. IPEdit calculates the shift on the basis of the duration between the
OUT point of the timeline element and the mark OUT point placed in the timeline.
The duration of the next timeline element has not been reduced.

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After Extend OUT in Overwrite Mode

The OUT point of the timeline element 'adl_clp_9-00' has been shifted to the right in the
available A/V material. IPEdit calculates the shift on the basis of the duration between the
OUT point of the timeline element and the mark OUT point placed in the timeline.
The duration of the next timeline element has been reduced by the duration of the extend.

5.8.5. Extending In or OUT in Insert or

Overwrite Mode
When you place a mark IN and mark OUT before using the Extend function, IPEdit does
not know whether you want to perform an Extend IN or an Extend OUT. In this case, a
question is displayed when you click the Extend button and you need to specify at that
time which extend action you want to perform:

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The Extend IN or OUT action generate the same results as the Extend IN or Extend OUT
actions:

Extend IN/OUT Corresponds to …

Insert & Extend to mark IN an Extend IN in Insert mode

Insert & Extend to mark OUT an Extend OUT in Insert mode

Overwrite & Extend to mark IN an Extend IN in Overwrite mode

Overwrite & Extend to mark OUT an Extend OUT in Overwrite mode

5.8.6. How to Extend IN or Extend IN Slow/Fast

a Timeline Element
To extend the IN point of a timeline element, perform as follows:
1. With the Timeline Track Selection buttons, select the tracks to be taken into
account in the Extend action.

2. Select the Insert or Overwrite mode to be applied in the extend action by

clicking the Insert/Overwrite Global Mode button.

3. In the timeline loaded, click to add a mark IN point before the transition of the
elements whose IN point you want to extend.
Define precisely the position of the mark IN point: IPEdit will indeed calculate the
duration of the extension based on the duration between:
◦ the mark IN point added
and
◦ the transition of the element to extend.
4. Do one of the following:

◦ Click the Extend button to perform the Extend action.

◦ Click the Extend Slow/Fast button to perform the Extend Slow/Fast action.
The Extend or the Extend Slow/Fast action is performed according to the defined settings:
• on the selected tracks
• in the selected Insert or Overwrite mode
• on the elements after which the mark IN point has been added
• with the duration between the mark IN point and the element transition.

NOTE
When you place a mark IN and mark OUT before using the Extend function,
IPEdit will ask you which extend action you want to perform.

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5.8.7. How to Extend OUT or Extend OUT

Slow/Fast a Timeline Element
To extend the mark OUT point of a timeline element, perform as follows:
1. With the Timeline Track Selection buttons, select the tracks to be taken into
account in the Extend action.

2. Select the Insert or Overwrite mode to be applied in the extend action by

clicking the Insert/Overwrite Global Mode button.

3. In the timeline loaded, click to add a mark OUT point after the transition of the
elements whose OUT point you want to extend.
Define precisely the position of the mark OUT point: IPEdit will indeed calculate the
duration of the extend based on the duration between:
◦ the transition of the element to extend
and
◦ the mark OUT point added.
4. Do one of the following:

◦ Click the Extend button to perform the Extend action.

◦ Click the Extend Slow/Fast Button to perform the Extend Slow/Fast

action.
The Extend or the Extend Slow/Fast action is performed according to the defined settings:
• on the selected tracks
• in the selected Insert or Overwrite mode
• on the elements before which the mark OUT point has been added
• with the duration between the element transition and the mark OUT point.

NOTE
When you place a mark IN and mark OUT before using the Extend function,
IPEdit will ask you which extend action you want to perform.

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5.9. Trimming Elements in the Timeline

5.9.1. Introduction
Definition
The Trim function consists of adjusting the IN or OUT point of a timeline element. This
function is used to fine-tune transitions between two elements after you have performed
the first rough cuts.
The Trim function will shorten or lengthen the element that is in trim mode. The length of
the following or previous element will be impacted in Overwrite mode.
The elements can be trimmed up to the limits of the media still available before the IN
point and after the OUT point of the timeline element:
• If a record train including the timeline element is still available, the material from the
record train is made available.
• If a clip including the timeline element is available, the trim can be performed up to the
Protect IN or Protect OUT of the clip.

Example
In the example below, the trim mode is applied to the OUT point of a timeline element and
to the IN point of the following element (trim left and right). This is the only case where the
Insert/Overwrite mode does not have an impact on the result.
In this case, the following actions are performed:
• The OUT point of the first element is rolled to the right and the element is extended.
• The IN point of the following element is rolled to the right and the element is trimmed.

Before the Trim Action

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During the Trim Action

After the Trim Action

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5.9.2. Overview of Trim Modes and Trim

Actions
The following table gives an overview of the possible trim actions. You can find more
detailed information on trim actions in "Possible Trim Actions" on page 134.

Trim Action Description

Trim Left & Right The transition between both elements in trim mode is moved left
- Roll mode: or right within each element but the overall length of both
elements is preserved:
• The duration of each individual element is modified.
• One element is extended, one element is trimmed.

Trim Left Insert The OUT transition of the element in trim mode is moved to the
- Ripple A mode: right or to the left:
• The element is extended or trimmed around its OUT point.
• This does not impact the next element in the timeline.

Trim Left Overwrite The OUT transition of the element in trim mode is moved to the
- Ripple A mode: right or to the left:
• The element is extended or trimmed around its OUT point.
• If the element is trimmed, a blank element is added after it.
• If the element is extended, the following element is trimmed
at its IN point.

Trim Right Insert The IN transition of the element in trim mode is moved to the
- Ripple B mode: right or to the left:
• The element is extended or trimmed around its IN point.
• This does not impact the previous element in the timeline.

Trim Right Overwrite The IN transition of the element in trim mode is moved to the
- Ripple B mode: right or to the left:
• The element is extended or trimmed around its IN point.
• If the element is trimmed, a blank element is added before it.
• If the element is extended, the previous element is trimmed
at its OUT point.

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5.9.3. Activating and Deactivating the Trim

Modes
How to Activate the Trim Mode
You can activate the trim mode on the requested transitions with the mouse, the keyboard
shortcuts or the ShuttlePRO.

With the Mouse

To enter the trim mode with the mouse, proceed as follows:
1. Click the left mouse button in the upper or lower Lasso Selection area.
2. Keeping this button pressed, drag the mouse from right to left over the transitions on
which you want to activate the Trim mode.

The trim mode is activated on all the selected tracks and is in roll mode by default.

With the Keyboard

To enter the trim mode with the keyboard shortcuts, proceed as follows:
1. Position the nowline next to the transition on which you want to activate the trim
mode.
2. Select the Track Selection buttons of the tracks on which you want to activate the
trim mode.

3. Press on the keyboard.

The trim mode is activated on the nearest transition for the selected tracks and is in roll
mode by default.

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With the ShuttlePRO

To enter the trim mode with the ShuttlePRO, proceed as follows:
1. Position the nowline next to the transition on which you want to activate the trim
mode.
2. Select the Track Selection buttons of the tracks on which you want to activate the
trim mode.

3. Press the ShuttlePRO key to activate the trim mode.

The trim mode is activated on the nearest transition for the selected tracks and is in roll
mode by default.

How to Exclude or Include Tracks

When the trim mode is active for at least one of the tracks of the timeline, you can include
or exclude tracks by clicking the corresponding Track Selection button on the Timeline
pane.

How to Change the Trim Mode

By default, the trim mode is activated in roll mode. To change the trim mode on the user
interface via the keyboard, refer to the following procedures:

To activate the Trim Left mode (Ripple A)

• In the user interface, click next to the transition on the left element:
• On the keyboard, press P.
The yellow vertical bar is displayed on the left element and the Trim Left mode is active.

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To activate the Trim Right mode (Ripple B)

• In the user interface, click next to the transition on the right element:
• On the keyboard, press ].
The yellow vertical bar is displayed on the right element and the Trim Right mode is active.

To activate the Trim Left and Right mode (Roll)

• In the user interface, click right on the transition:

• On the keyboard, press [.
The yellow vertical bars are displayed on the both left and right elements and the Trim Left

and Right mode is active.

How to Activate the Trim Mode on the

Next/Previous Transition
When you are in trim mode, you can activate the trim mode on the next or previous
transition using keyboard shortcuts.

Principles
When the trim mode is moved to the next or previous transition, it is set back to the roll
mode by default.
The trim will only be activated on the next or previous transition where all the selected
tracks are vertically consecutive.

Procedures

To activate the trim mode on the next transition, press on the keyboard.

To activate the trim mode on the previous transition, press on the keyboard.

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How to Leave the Trim Mode

You can leave the trim mode with the mouse, the keyboard shortcut, or the ShuttlePRO.

With the Mouse

To leave the trim mode with the mouse, click anywhere in the Lasso Selection area above
or below the timeline display.

With the Keyboard

To leave the trim mode with the keyboard, press .

With the ShuttlePRO

To leave the trim mode with the ShuttlePRO, press the Trim key .

5.9.4. Possible Trim Actions

Limitation
The Trim Left and Right (or trim actions in roll mode) are NOT possible on elements whose
playout speed has been modified.
The Trim Left action or Trim Right action is possible on such elements.

Trim Left and Right (Roll)

Principle
In the trim left and right action, the transition is moved to the right or to the left. Both
elements around the transition are modified:
• When the transition is rolled to the right:
The 1st element is extended, i.e. its OUT point is shifted to the right.
The 2nd element is trimmed, i.e. its IN point is shifted to the right.

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• When the transition is rolled to the left:

The 1st element is trimmed, i.e. its OUT point is shifted to the left.
The 2nd element is extended, i.e. its IN point is shifted to the left.
The Insert/Overwrite mode does not influence trim left and right.

Example: Shift to the left

Before the trim action

During the trim action

After the trim action

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Trim Left in Insert Mode

Principle
In a trim left performed in Insert mode, the OUT point of an element is shifted to the right
(i.e. element extended) or to the left (i.e. element trimmed) in the available A/V material,
without impacting what follows in the timeline.

Example: Shift to the left

The following example shows a trim left in Insert mode where the element is trimmed. The
following timeline element remains unchanged after the trim action.

Before the trim action

During the trim action

After the trim action

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Trim Left in Overwrite Mode

Principle
In a trim left performed in Overwrite mode, the OUT point of an element is shifted to the
right (i.e. element extended) or to the left (i.e. element trimmed), impacting what follows in
the timeline:
• When the OUT point of the element is shifted to the right, the next element is reduced
by an equivalent duration.
• When the OUT point of the element is shifted to the left, a blank of an equivalent
duration is added after the trimmed element.

Example: Shift to the right

The following example shows a trim left in Overwrite mode where the element is
extended. The following element is trimmed by the same duration at its IN point.

Before the trim action

During the trim action

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After the trim action

Trim Right in Insert Mode

Principle
In a trim right performed in Insert mode, the IN point of an element is shifted to the right
(i.e. element trimmed) or to the left (i.e. element extended) in the available A/V material,
without impacting what comes before in the timeline.

Example: Shift to the left

The following example shows a trim right in Insert mode where the element is extended.
The previous timeline element remains unchanged after the trim action.

Before the trim action

During the trim action

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After the trim action

Trim Right in Overwrite Mode

Principle
In a trim right performed in Overwrite mode, the IN point of an element is shifted to the
right (i.e. element trimmed) or to the left (i.e. element extended), impacting what comes
before in the timeline:
• When the IN point of the element is shifted to the right, a blank of an equivalent
duration is added before the trimmed element.
• When the IN point of the element is shifted to the left, the previous element is reduced
by an equivalent duration.

Example: Shift to the right

The following example shows a trim right in Overwrite mode where the element is
trimmed. A blank element is added in front of the trimmed element.

Before the trim action

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During the trim action

After the trim action

5.9.5. Trimming Timeline Elements

How to Trim an Element in the User Interface
To trim an element using the user interface, proceed as follows:

1. Select the Insert or Overwrite mode to be applied in the trim action by

clicking the Insert/Overwrite Global mode button.
2. If the trim mode is not active, click the left mouse button in the upper or lower Lasso
Selection area and, keeping it pressed, drag the mouse from right to left over the
transitions on which you want to activate the Trim mode:

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3. If required, refine the track selection by selecting or deselecting the tracks using the
Track Selection buttons on the left of the timeline display.
4. If required, change the trim mode by clicking on:
◦ the left of the transition to activate the Trim Left mode
◦ the right of the transition to activate the Trim Right mode
◦ the transition itself to activate the Trim Left and Right mode (roll mode) again.
5. Left-click the transition and, keeping the left mouse button pressed, drag the transition
to the right or to the left to perform the trim action.
6. Release the left mouse button where you want the element to be trimmed.
The selected tracks of the element are trimmed according to the active trim mode up to the
requested position.

NOTE
If the limits of the A/V material are reached, you cannot drag the transition
further.

How to Trim an Element Using the Keyboard

Shortcuts
To trim an element using the keyboard shortcuts, proceed as follows:

1. Select the Insert of Overwrite mode to be applied in the trim action by

clicking the Insert/Overwrite Global mode button.
2. If the trim mode is not active, do the following:
a. Position the nowline next to the transition on which to activate the trim mode.
b. Select the Track Selection buttons of the tracks to be taken into account in the
trim action.
c. Press U on the keyboard.
3. If required, change the trim mode using the following keyboard shortcuts:

◦ to activate the Trim Left mode

◦ to activate the Trim Right mode

◦ to activate the Trim Left and Right mode (roll mode) again.
4. Use the following keyboard shortcuts to perform the trim action:

◦ to move the IN or OUT point 10 frames on the left.

◦ to move the IN or OUT point 1 frame on the left.

◦ to move the IN or OUT point 1 frame on the right.

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◦ to move the IN or OUT point 10 frames on the right.

The selected tracks of the element are trimmed according to the active trim mode up to the
requested position.

NOTE
If the limits of the A/V material are reached, the trim actions are no longer taken
into account.

How to Trim an Element Using the

ShuttlePRO
To trim an element using the ShuttlePRO, proceed as follows:

1. Select the Insert of Overwrite mode to be applied in the trim action by

clicking Insert/Overwrite Global mode button.
2. If the trim mode is not active, do the following:
a. Position the nowline next to the transition on which to activate the trim mode.
b. Select the Track Selection buttons of the tracks to be taken into account in the
trim action.

c. Press the Trim key on the ShuttlePRO.

3. If required, change the trim mode by clicking on:
◦ the left of the transition to activate the Trim Left mode
◦ the right of the transition to activate the Trim Right mode
◦ the transition itself to activate the Trim Left and Right mode (roll mode) again.
4. Move the jog right or left to shift the IN or OUT point of the trimmed element
respectively to the right or to the left.
The selected tracks of the element are trimmed according to the active trim mode up to the
requested position.

NOTE
If the limits of the A/V material are reached, you cannot drag the transition
further.

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5.10. Slipping Elements in the Timeline

5.10.1. Overview
Definition
Slipping an element in a timeline consists of adjusting the content of the clip without
changing:
• the element position in the timeline
• the duration of the element included in the timeline
• the surrounding elements in the timeline.
In other words, slipping a timeline element moves its IN and OUT points to another frame
in the A/V material still available. The IN and OUT points will be moved simultaneously by
the same number of frames in the same direction.

NOTE
All slip actions are possible on timeline elements whose playout speed has
been modified.

Limits
The A/V material still available on the server, i.e. the source media or the record train, will
determine the limits of a slip action:
• If the record train of the source media is still available around the source media, the
record train will be loaded and the user can perform the slipping action on the loaded
record train.
• If only the source media is still available, the source media will be loaded and the user
can perform the slipping action up on the available guardbands.

Methods
Two methods are available in IPEdit to perform a slip:
• Slipping the element by dragging it once it is selected.
Use this method if you do not know precisely the new mark IN and OUT points you
want to define.
• Slipping the element by setting a new timecode.
Use this method if you know precisely the new mark IN and OUT points you want to
define.

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Example
In the following example, the first method mentioned above is used. In the example, the
TC IN and TC OUT of the elements are specified on the element block.

Element Selected for Slipping Action

The initial elements of a source clip ADL_CLP_1-00 are present in the timeline.
Their TC IN is 11:27:27:06. Their TC OUT is 11:27:28:09.
All elements of the same source clip are selected for the slip action:

During the Slipping Action

In this case, the IN point and OUT point of the elements are being shifted to the left:
• The available A/V material on the server is represented by the light blue blocks before
and after the element boundaries.
• The TCs of the IN point and OUT point that correspond to the slip action applied are
displayed in the Timecode bar.

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Final Situation
The IN points of the slipped elements have been shifted 6 frames to the left. They are now
11:27:27:00.
The OUT points of the slipped elements have been shifted 6 frames to the left. They are
now 11:27:28:03.
The element position and duration in the timeline have not changed, nor have the
surrounding elements been impacted by the slip action.

5.10.2. Activating and Deactivating the Slip

Mode
How to Activate the Slip Mode
You can only activate the slip mode on one or more elements of the same source media.
To activate the slip mode on one or more elements of the timeline, proceed as follows:
1. Click the left mouse button in the upper or lower Lasso Selection area after the
elements on which to activate the slip mode.
2. Keeping this button pressed, drag the mouse from right to left over the tracks that you
want to select.

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OR 
The slip mode is activated on the tracks that are completely lassoed.
The elements on which the slip mode is active have yellow vertical bars displayed inside
the element, close to the transitions:

NOTE
When the slip mode is active on given elements, the ShuttlePRO can also be
used in slip mode on these elements.

How to Leave the Slip Mode

With the Mouse
To leave the slip mode with the mouse, click anywhere in the Lasso Selection area above
or below the timeline display.

With the Keyboard

To leave the slip mode with the keyboard, press .

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5.10.3. How to Slip an Element Using the Mouse

To slip one or more elements of the same source media using the mouse, proceed as
follows:
1. Activate the slip mode on the requested elements by lassoing the whole elements
from right to left. See section "Activating and Deactivating the Slip Mode" on page
145.

->
2. Click the requested Timeline Track Selection buttons to select or unselect the
tracks you want or do not want to slip.
3. Click the mouse on one of the elements in slip mode and drag it to the left or right to
slip the elements respectively to the left or to the right.
The TCs of the IN point and OUT point that correspond to the slip action applied are
displayed in the Timecode bar.
When you release the mouse, the slip action is applied within 1 sec.
4. Click anywhere in the Lasso Selection area to leave the slip mode.

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5.10.4. How to Slip an Element Using the

Keyboard
To slip one or more elements of the same source media using the keyboard, proceed as
follows:
1. Activate the slip mode on the requested elements by lassoing the whole elements
from right to left. See section "Activating and Deactivating the Slip Mode" on page
145.

->

2. Click the keyboard shortcuts , , , and/or to select or unselect

the tracks you want or do not want to slip.
3. Use the following keyboard shortcuts to perform the slide action:

◦ to slip the element 10 frames to the left.

◦ to slip the element 1 frame to the left.

◦ to slip the element 1 frame to the right.

◦ to slip the element 10 frames to the right.

When you release the key, the slip action is applied within 1 sec.
4. Click anywhere in the Lasso Selection area to leave the slip mode.

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5.10.5. How to Slip an Element Using the

ShuttlePRO
To slip one or more elements of the same source media using the ShuttlePRO, proceed as
follows:
1. Activate the slip mode on the requested elements by lassoing the whole elements
from right to left. See section "Activating and Deactivating the Slip Mode" on page
145.

->
2. Click the requested Timeline Track Selection buttons to select or unselect the
tracks you want or do not want to slip.
3. Rotate the jog to the left or to the right to slide the elements respectively to the left or
to the right.
When you stop turning the jog, the slip action is applied within 1 sec.
4. Click anywhere in the Lasso Selection area to leave the slip mode.

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5.10.6. How to Slip an Element by Setting a New

Timecode
You can slip one or more element(s) by redefining either the TC IN or TC OUT. If several
elements are selected, they must belong to the same source media and have the same
TC IN and OUT.
To slip an element by modifying the timecode, proceed as follows:
1. Select one or more elements of the same source media.
2. Right-click on the selected elements and select Set Timecode from the contextual
menu.
The Slip Timecode dialog box opens:

3. Enter the new requested TC IN or TC OUT and click ENTER to validate the new TC
value.
4. Click Apply.
The TC IN and TC OUT of the selected elements have been modified according to the
new TC information entered.
If the new timecode defined is not available in the record train, an error message will be
displayed.

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5.11. Sliding Elements in the Timeline

5.11.1. Overview
Definition
Sliding an element on a timeline consists of moving its position in the timeline without
changing:
• the element duration included in the timeline
• the element TC IN and OUT points
Moving the position of the timeline element will reduce or extend the length of the
surrounding elements in the timeline as the contiguous limits of the surrounding elements
will be modified.

Limits
The A/V material still available on the server for the previous and next elements in the
timeline, i.e. the source media or the record train of these elements, will determine the
limits of a slide action:
• If the record train of the adjacent elements is still available around the source media,
the record train of these elements will be loaded and the user can perform the slide
action on the loaded record train.
• If only the source media of the adjacent elements is still available, the source media of
these elements will be loaded and the user can perform the slide action up on the
available guardbands.

Restrictions With Slow Motion

The slide action is possible if only the selected element has a modified playout speed:

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The slide action is NOT possible if one or more elements surrounding the selected one
have a modified speed.

Example
Initial Situation
The initial elements of the clips adl_clp_10, adl_clp_11 and adl_clp_12 are present in the
timeline. Their TC IN and OUT of the elements are specified on the element blocks and
displayed on the screenshots:

Element Selected for Slipping Action

All elements of the same source clip are selected for the slip action:

During the Slide Action

In this case, the element adl_clp_11 is shifted to the right:
• The elements before and after the slid element are highlighted in dark blue to indicate
that their length will be impacted.
• The new position of the slid element in the timeline, which corresponds to the slide
action applied, is displayed in the Timecode bar and in the element blocks, instead of
the element timecode.

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Final Situation
The position of the slid element in the timeline has been shifted to the right. However, the
IN and OUT point of the slid elements have not changed.
The element before the slid element has been lengthened: its TC OUT has changed from
09:49:09:18 to 09:49:11:13.
The element after the slid element has been reduced: its TC IN has changed from
09:49:39:17 to 09:49:41:12.

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5.11.2. Activating and Deactivating the Slide

Mode
How to Activate the Slide Mode
You can only activate the slide mode on one or more elements of the same source media.
To activate the slide mode on one or more elements of the timeline, proceed as follows:
1. Click the left mouse button in the upper or lower Lasso Selection area after the
elements on which to activate the slip mode.
2. Keeping the mouse button pressed and pressing CTRL simultaneously, drag the
mouse from right to left over the tracks that you want to select.

OR
The slide mode is activated on the tracks that are completely lassoed.
The elements on which the slide mode is active have yellow vertical bars displayed
outside the element, close to the transitions:

NOTE
When the slide mode is active on given elements, the ShuttlePRO can also be
used in slide mode on these elements.

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How to Leave the Slide Mode

With the Mouse
To leave the slide mode with the mouse, click anywhere in the Lasso Selection area
above or below the timeline display.

With the Keyboard

To leave the slide mode with the keyboard, press .

5.11.3. How to Slide an Element Using the

Mouse
To slide one or more elements of the same source media using the mouse, proceed as
follows:
1. Activate the slide mode on the requested elements by lassoing the whole elements
from right to left, keeping the CTRL key pressed.
See section "Activating and Deactivating the Slide Mode" on page 154.

->
2. Click the requested Timeline Track Selection buttons to select or unselect the
tracks you want or do not want to slide.
3. Click the mouse on one of the elements in slide mode and drag it to the left or right to
slide the elements respectively to the left or to the right.
The new position of the slid element in the timeline, which corresponds to the slide
action applied, is displayed in the Timecode bar.
When you release the mouse, the slide action is applied within 1 sec.
4. Click anywhere in the Lasso Selection area to leave the slide mode.

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5.11.4. How to Slide an Element Using the

Keyboard
To slide one or more elements of the same source media using the keyboard, proceed as
follows:
1. Activate the slide mode on the requested elements by lassoing the whole elements
from right to left, keeping the CTRL key pressed.
See section "Activating and Deactivating the Slide Mode" on page 154.

->

2. Click the keyboard shortcuts , , , and/or

to select or unselect the tracks you want or do not want to slide.
3. Use the following keyboard shortcuts to perform the slide action:

◦ to slide the element 10 frames to the left.

◦ to slide the element 1 frame to the left.

◦ to slide the element 1 frame to the right.

◦ to slide the element 10 frames to the right.

When you release the key, the slide action is applied within 1 sec.
4. Click anywhere in the Lasso Selection area to leave the slide mode.

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5.11.5. How to Slide an Element Using the

ShuttlePRO
To slide one or more elements of the same source media using the ShuttlePRO, proceed
as follows:
1. Activate the slide mode on the requested elements by lassoing the whole elements
from right to left, keeping the CTRL key pressed.
See section "Activating and Deactivating the Slide Mode" on page 154.

->
2. Click the requested Timeline Track Selection buttons to select or unselect the
tracks you want or do not want to slide.
3. Rotate the jog to the left or to the right to slide the elements respectively to the left or
to the right.
When you stop turning the jog, the slide action is applied within 1 sec.
4. Click anywhere in the Lasso Selection area to leave the slide mode.

5.12. Transition Effects

5.12.1. Introduction
Principles and Limitations
In IPEdit, the transition effects follow the principles below:
• Effects can be added on the transitions of the audio and video elements of any
timeline track.
• They can be heard and seen when browsing the timeline.
• A transition effect is always linked to the beginning of the element.
• It is possible to perform transitions from and to mute or blank elements.
• The video and audio transition effects can have a different duration.

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• The transition effect will not impact the duration of the element as it is created beyond
the IN or OUT points of the element, using the material available in the guardbands or
on the record train.
• No effect can be defined on an element for which no guardband or record train is
available.

Automatic Versus Manual Transition Effects

The Transition Effects bar allows you to define and manage the video and audio transition
effects on the loaded timeline:

You can add transition effects manually or automatically:

• You can add transition effects manually on existing elements. The transitions on
which the effects are added depend on the position of the nowline, or mark IN and
mark OUT points. See section "Selection of Transitions and Tracks on Which to Apply
the Effects" on page 159.
The settings for the manual transition effects are defined in the Add/Modify Transition
Effects window.

To access it, click the Add Transition Effects button . See section "Add/
Modify Transition Effect Window" on page 163 for more information.
• You can add transition effects automatically on all future elements that will be added
to the loaded timeline.
The settings for the automatic transition effects are defined in the settings.
To access the settings, go to the Tools > Settings menu, Timeline category, General
sub-category: Transition Effects group box and select Automatic Video or
Automatic Audio in the Mode drop-down list.

Components to Specify in the Transition

Definition
When you define a transition effect,
See section...
you need to specify...

the transitions and tracks on which the "Selection of Transitions and Tracks on
effects will be applied Which to Apply the Effects" on page 159.

the transition type "Effect Types" on page 160.

the transition duration "Effect Duration" on page 161.

the transition position at the beginning of "Effect Positions" on page 162.

the element

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5.12.2. Selection of Transitions and Tracks on

Which to Apply the Effects
Introduction
When you define the transition effects, you need to specify the transitions and tracks on
which you want to apply the effects. The following table summarizes the various ways to
proceed:

Transition Selection
When you want to add
Do the following …
effects …

on one or several Position the nowline close to the transitions on which to add
transitions of elements the effects.
that belong to the same Then define the effects via the Add/Modify Transition
clip Effects window.

on the transitions of Add a mark IN and mark OUT points that will cover all the
several contiguous transitions on which to add the effects.
elements Then define the effects via the Add/Modify Transition
Effects window and select the check box Apply to all
transitions between mark IN and mark OUT.

on any new elements

added to the loaded
Select the VFX and AFX check boxes , which
timeline
activates the automatic mode to add transition effects.
Then define the effects in the menu Tools > Settings,
Timeline tab, Transitions Effects group box, Mode:
'Automatic Video' or 'Automatic Audio'.

Track Selection
When you add transition effects
Specify the tracks with …
…

Manually the Timeline Track Selection buttons

OR
the Tracks group box in the Add/Modify
Transition Effects window.

Automatically the Timeline Track Selection buttons.

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5.12.3. Effect Types

Video Effects
The following video effects can be defined on transitions.
For a definition on the various effects, refer to the glossary at the end of this user manual.

Effect Comments Display

Cut Default transition

Mix (Dissolve) -

Horizontal Wipe • From top to bottom

• From bottom to top

Vertical Wipe • From left to right

• From right to left

Audio Effects
The following audio effects can be defined on transitions.

Effect Comments Display

Cut Default transition

Mix (Dissolve) -

NOTE
If you select video and audio tracks to apply effects but you define a Wipe
effect in the Add/Modify Transition Effects window, IPEdit will apply a Mix
effect by default on the audio tracks.

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5.12.4. Effect Duration

The video and audio transition effects can have a different duration.
The transition effect will not impact the duration of the element as it is created beyond the
IN or OUT points of the element, using the material available in the guardbands or on the
record train.

NOTE
No effect can be defined on an element for which no guardband or record train
is available.

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5.12.5. Effect Positions

The transition effect is always linked to the beginning of the element on which it is defined.
It can be positioned as follows:

Setting in the Transition

Transition Position Display
Effect Definition

Before Cut
(on the previous element)

Centered

After Cut
(on the element where the
transition is defined)

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5.12.6. Add/ Modify Transition Effect Window

Opening the Window
You can add and modify transition effects manually in the Add/Modify Transitions Effect
window.
To access this window, do one of the following:

• Click the Add Transition Effects button in the Timeline pane.

• Press the Backslash key .

Overview
This window is made up of four main group boxes, in addition to the usual Add and
Cancel buttons:
• Tracks
• Transition Effect
• Options
• Video Transition GPI

The following sections explain the various group boxes in details.

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Where are the Transition Effects Applied?

Elements from the Same Media Source

By default, the transition effects defined manually in the Add/Modify Transition Effect
window are applied to the selected tracks and to the elements which are the closest to the
nowline.

Contiguous Elements from Different Media Sources

If you want to apply the transition effects to several contiguous transitions, you need to
place mark IN and mark OUT points to cover all the transitions on which to apply the
transitions effects and select the option Apply to all transitions between mark IN and
mark OUT.

NOTE
By default, the pre-existing transition effects will be preserved when you define
new transition effects between mark IN and a mark OUT points. However, you
can overwrite the pre-existing transition effects by selecting the option
Overwrite existing transitions effects when you define the new effects.

Tracks Group Box

The Tracks group box in the Add/Modify Transition Effects window allows you to select
the tracks on which the defined transitions effects will be added in the timeline. The
effects will only be added to the tracks whose buttons are highlighted in blue. The
selection in this group box is reflected in the Timeline Track Selection and vice versa.
For a quick selection from the keyboard, you can use the same keyboard shortcuts as for
the track selection in the Timeline pane. See section "Timeline Track Selection Buttons"
on page 61.

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Transition Effect Group Box

Default Settings and Settings Defined in this Group Box

You can define default settings for the transition effects applied manually via the
Add/Modify Transition Effect window. These settings are defined in the Tools > Settings
menu, in the category IPEdit > General, Transition Effects group box, Manual mode.
In the Transition Effect group box of the Add/Modify Transition Effect window, you can
modify these default settings by specifying another type, duration and/or position for the
transition effects to be added:

When you first access the window in a session, the default value defined in the Timeline
settings is displayed. Then, the last value used is restored each time you open the
window.

Field Description
The following table provides a short description of the fields:

Field Description

Type Effect type that will be applied to the selected transitions.

The possible values are:
• Cut
• Mix
• Wipe
If you select 'wipe', you need to select the kind of wipe you want to perform
in the drop-down list:
• Wipe L -> R: wipe from left to right
• Wipe R -> L: wipe from right to left
• Wipe U -> D: wipe from top to bottom
• Wipe D -> U: wipe from bottom to top.
When the wipe effect is defined, it is applied to the video track and a mix is
automatically defined on the selected audio tracks.

Duration Duration of the effect that will be applied to the selected transitions. The
duration is defined in frames must fulfill the following conditions:
• Even number
• Minimum of 3 frames
• Maximum recalculated based on the transition selection

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Field Description

Position Position of the effect in relation to the transition.

The possible values are:
• Before cut: before the transition
• Centered: centered on the transition
• After cut: after the transition

Video Transition GPI

About Video Transition GPIs

The server can trigger an external device that will perform an effect in association with a
video transition. To do this, you need to associate a GPI OUT to the beginning, and
possibly to the end of the video transition.
Typical use is, for example, to hide a wipe effect with an image that would be
superimposed to the timeline during the transition.

How to Define a GPI OUT Linked to a Video Transition

You will define the GPI OUT at the same time you define the video transition effect.
To associate a GPI OUT to a video transition, proceed as follows:

1. In the Add/Modify Transition Effect window, click the Pane Display button to
display the left part of the window.
2. In the Video Transition GPI group box, tick the check box Link GPI(s) to video
transition effect.
3. Tick the Start Transition GPI check box to a GPI at the beginning of the transition
effect.
The two drop-down lists on the right of the check box become available.

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4. In the first drop-down list, select the number of the GPI OUT to be used:

5. In the second drop-down list, select the type of the GPI OUT to be used:

6. If you need to associate a GPI OUT to the end of the transition, apply steps 3 to 5 to
the End Transition GPI.
7. If you want the GPI to be sent to the external device before the start and the end of the
transition effect, specify the number of fields for the advance in the GPI offset spin
box.
8. Click the Add or Modify button.
When the transition effect is added to the timeline, the Start transition and End transition
GPIs are displayed on the Timecode bar as orange markers. The GPI number is
mentioned on the marker and the marker position takes the advance into account:

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5.12.7. Transition Effect Settings

Overview
Transition Effect settings are available in the Tools > Settings menu, in the category
IPEdit > General, Transition Effects setting:

They allow you to:

• Define the default settings for the transition effects applied manually.
See section "How to Define Default Settings for Manual Transition Effects" on page
168 for more information on this.
• Define the settings for the transition effects applied automatically.
See section "How to Add Effects Automatically to New Elements" on page 173 for
more information on this.

How to Define Default Settings for Manual

Transition Effects
1. Open the menu Tools > Settings and select the category IPEdit > General.
2. In the Transition Effects group box, select Manual in the Mode drop-down list.
Then specify the default values to be used for the transition effect settings that will be
applied manually:
◦ effect type (mix or wipe)
◦ effect duration in seconds and frames (even number, min. 2 frames)
◦ effect position (before cut, centered, after cut)
3. Click OK in the Timeline tab.
The following default settings will be defined for or applied to manual transition effects in
the following situations:
• when you first open the Add/Modify Transition Effects window in a new session.
• when you apply transition effects using keyboard shortcuts without modifying the
settings in the Add/Modify Transition Effects window in a new session.

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5.12.8. Adding Transition Effects

Possible Actions
As already mentioned in "Selection of Transitions and Tracks on Which to Apply the
Effects" on page 159, you can add effects to:
• the transitions of elements that belong to the same clip (manual mode)
• the transitions of several contiguous elements in the timeline (manual mode)
• the transitions of any new element added to the timeline (automatic mode)
The following procedures explain how to add transition effects in these three situations.

How to Add Effects To Elements of the

Same Clip
To add transition effects manually to timeline elements of the same source clip, proceed
as follows:
1. Place the nowline close to the transitions on which you want to add an effect. For
example:

2. Click the Add Fx button to open the Add Transition Effect window.
3. In the Tracks group box, select the tracks on which transition effects should be added.
For example:

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4. In the Transition Effect group box, modify the default settings for the effect type,
duration and position, if needed. For example:

5. In the Video Transition GPI, specify a Start transition GPI and an End transition GPI, if
requested.
6. Click the Add button.
The transition effects are added to the beginning transitions of the elements that are
closest to the nowline and that are selected in the Track group box. The effects have
settings defined in the Transition Effect group box and GPIs defined on the video track, if
any.
In the given example, the result is as follows:

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NOTE
To add the same transition effect than the last one without displaying the
Transition Effects dialog box, select the clip transition on which the effect
should be added and press SHIFT+ x.

How to Add Effects To Contiguous

Elements
To add transition effects manually to contiguous elements in the timeline, proceed as
follows:
1. Place a mark IN and mark OUT to cover the transitions on which an effect needs to be
defined. For example:

2. Click the Add Fx button to open the Add Transition Effect window.
3. In the Tracks group box, click the tracks on which transition effects should be added.
For example:

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4. In the Transition Effect group box, modify the default settings for the effect type,
duration and position, if needed. For example:

5. In the Video Transition GPI, specify a Start transition GPI and an End transition GPI, if
requested. For example, no GPIs are defined.
6. Tick the check box Apply to all transitions between mark in and mark out.
7. If you want to overwrite any transition effect that may have been previously defined on
the selected transitions, tick the check box Overwrite existing transition effects.
8. Click the Add button.
The transition effects are added to the beginning transitions of the elements that are
covered by the mark IN and mark OUT points and that are selected in the Track group
box. The effects have the settings defined in the Transition Effect group box and the GPIs
defined on the video track, if any:

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How to Add Effects Automatically to New

Elements
The IPEdit module is open and the timeline on which you want to add automatic transition
effects is loaded in the Timeline pane.
To add transition effects automatically to new elements, proceed as follows:
1. Open the menu Tools > Settings and select the category IPEdit > General.
2. In the Transition Effects group box, select Automatic Video in the Mode drop-down
list.
Then specify the transition effect settings to be applied automatically to the video
track of new clips placed in the timeline:
◦ effect type (mix or wipe)
◦ effect duration in seconds and frames (even number, min. 2 frames)
◦ effect position (before cut, centered, after cut)
For example:

3. In the Transition Effects group box, select Automatic Audio in the Mode drop-down
list.
Then specify the settings the transition effect settings to be applied automatically to
the audio track(s) of new clips placed in the timeline:
◦ effect duration in seconds and frames (even number, min. 2 frames)
◦ effect position (before cut, centered, after cut)
The effect type is automatically 'mix'.
For example:

4. Click OK in the Timeline tab.

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5. In Timeline pane, tick the following check boxes in the Transition Effects bar:
◦ VFX check box if you want to add automatic transition effects to the video track of
new clips added to the timeline.
◦ AFX check box if you want to add automatic transition effects to the audio tracks
of new clips placed to the timeline.
In the IPEdit module, each time you will add a new media to the timeline, the transition
effects will be defined on the video and/or audio tracks of the new clip with the settings
defined in the Timeline tab.
For example:

5.12.9. Modifying Transition Effects

To modify transition effect, apply the same procedures as for creating the transition
effects. IPEdit will open the Modify Transition Effects window from which you will be able
to modify the effects defined on the selected transitions.

5.12.10.Deleting Transition Effects

How to Delete Transition Effects on
Elements of the Same Clip
To delete transition effects on elements of the same clip, proceed as follows:
1. Position the nowline next to the transitions to delete.
2. Select the audio and video tracks where the effects should be removed.
3. Do one of the following:

◦ Click the Delete Fx button .

◦ Press .

◦ Press .

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◦ Press + .
The effects are deleted on the selected transitions for the selected tracks.

How to Delete Transition Effects on

Contiguous Elements
To delete transition effects on contiguous elements, proceed as follows:
1. Place a mark IN and mark OUT points to cover the transitions on which the effects
should be removed.
2. Select the audio and video tracks where the effects should be removed.
3. Do one of the following:

◦ Click the Delete Fx button .

◦ Press +
The effects are deleted on the selected transitions for the selected tracks.

5.12.11.Editing Timeline Elements with Effects

As mentioned in section "Effect Positions" on page 162, a transition effect is always
linked to the beginning of the timeline element on which it is defined. Transition effects are
kept when editing actions are applied to those elements, provided that some conditions
are met.
This concerns the following editing actions: Insert, Overwrite, Match Frame Replace,
Replace by another camera angle, Delete, Move, Extend, Extend Slow, Trim, Slip, Slide,
Change Speed.
This behavior is valid both in Insert and in Overwrite modes.
The effects are kept, would they be positioned Before Cut, Centered or After Cut.
The conditions which must be met to keep the transition effect are the following:
• The entire effect still covers the same two video/audio timeline elements
• The entire effect does not cover more than two video/audio timeline elements,
including blank elements
• The entire effect does not overlap other effects
• The entire effect is not split by the editing operation (Delete, Insert, Overwrite actions)
In case one of these conditions is not encountered, the effect is removed.
However, conditions are checked for each track individually. So an effect on an audio
track could be kept even if the effect on the video track is deleted.

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5.13. Audio Swaps and Mutes

5.13.1. Introduction to the Swap/Mute Function

Default Audio Track and Channel Allocation
By default, the tracks and channels of the source media are added in a linear way and in
the same sequence when an element is added to a timeline.
The following schema shows how the channels and tracks of a source media with 4 tracks
of 2 mono channels are added into the timeline:

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Swap/Mute Function
The swap function makes it possible to change the source audio channel to be played on a
given output audio channel, for example to play the source channel a4 onto the output
channel a6.
The mute function makes it possible to mute the content of an audio channel or track.
The swap and mute functions can be defined:
• on one or several elements of an audio track
• from the nowline position up to the end of the element where it is placed
• on a part of a track, from a mark IN point to a mark OUT point placed on the track.

NOTE
No swap or mute can be added or modified on timeline elements whose speed
is different than 100%. However, swaps or mutes can be deleted on such
elements.

5.13.2. Overview of the Ways to Define Swaps

and Mutes
Automatic Swap Definition

What is it applied to?

The swap is applied to all output channels of an audio track of a timeline element.
This impacts the output channels of other tracks of the same timeline element.

Where is it defined?
You perform an automatic swap when you drag an audio track of the source media onto a
different output audio track in the timeline.
See section "Automatic Swap Definition" on page 179 for more information.

Automatic Mute Definition

What is it applied to?

The mute is applied to one, more or all audio channels of a track in the source media
loaded on the Player.

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Where is it defined?
This is defined when you add the source media to the timeline: the channels or tracks not
selected in the source are muted in the timeline.

Manual Swap/Mute Definition in the General

Timeline Display

What is it applied to?

It can be applied to one, more or all output channels of a track of one or more elements.

The Swap icon is displayed on the timeline, as well as the active channels affected by
the swap .

Where is it defined?
This is defined in the general timeline display: right-click (one of) the element(s) of the
audio track on which to apply the swap and select Add Swap/Mute:

See section "Manual Swap Definition in the General Display Mode" on page 182 for more
information.

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Manual Swap/Mute Definition in the

Swap/Mute Zoom Display

What is it applied to?

It can be applied:
• from the nowline to the end of the track on a timeline element where the nowline is
placed.
• from a mark IN point to mark OUT point on a timeline track.

The Swap icon displayed on the timeline is .

Where is it defined?

This is defined in the Swap/Mute Zoom display of a track. Click the button for a given
track to access this mode for the track.
Then, right-click the track display where you want to define the swap and select Add
Swap/Mute:

See section "Manual Swap Definition in the Swap/Mute Zoom Mode " on page 184 for
more information.

5.13.3. Automatic Swap Definition

Description
When you add an element to the timeline, you can perform an automatic audio swap as
you drag the source media into the timeline by placing, for example, the G1 track of the
source media to the G2 track of the timeline.

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Example

Initial Situation
The source media has 4 tracks of 2 channels. All tracks and channels are selected. In the
timeline, all buttons of the Timeline Track Selection are selected.

Automatic Swap Action

As you drag the source media into the timeline, you position the mouse on the G2 track.
Doing this, you force the G1 track of the source media to be placed on the G2 track of the
timeline:

Result
The automatic swap action performed generates the following swaps on the output audio
channels of the timeline element:

The source channels are sent to the output channels of the timeline element …

a1 (on G1) a3 (on G2)

a2 (on G1) a4 (on G2)

a3 (on G2) a5 (on G3)

a4 (on G2) a6 (on G3)

a5 (on G3) a7 (on G4)

a6 (on G3) a8 (on G4)

a7 (on G4) are muted

a8 (on G4) are muted

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NOTE
If you position the mouse on the G3 track, the a1 source channel is sent to the
a5 output channel, and so on. In this situation, the channels of the source
tracks G3 and G4 are muted in the timeline.

5.13.4. Automatic Mute Definition

Description
When you mute one, more or all channels of a track on the source media loaded on the
Player, these channels or tracks will be muted once the source media is added to the
timeline.

Example

Initial Situation
The source media has 4 tracks of 2 channels. The a1 channel has been muted from the
Player In the timeline, all buttons of the Timeline Track Selection are selected.

Automatic Swap Action

As you drag the source media into the timeline, you position the mouse on the G1 track.

Result
The channel(s) muted on the source media in the Player are muted on the timeline:

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5.13.5. Manual Swap Definition in the General

Display Mode

Description
You can swap one or more channels of one or more elements selected on an audio track
when you are in the general timeline display. In this case, the swap is applied to the
swapped channels from the IN point to the OUT point of the selected elements.
You can define such a swap in the Swap/Mute Configuration window accessible when
right-clicking a given audio track of the selected elements and selecting Add Swap/Mute.
See section "Swap/Mute Configuration Window" on page 186 for a description of this
window.

Example 1

Initial Situation
The timeline audio configuration is 4 tracks of 2 channels. You want to play the channels
a3 and a4 (G2 track) of the source media onto the output channels a1 and a2 respectively
(G1 track) of one timeline element.

Manual Swap Action

You will perform the swap action on the G1 track of the timeline element, where you
specify which source channels will be played on the channels of the G1 track. In this
case, you will map:
• the source channel a3 to the output channel a1 and
• the source channel a4 to the output channel a2.

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Result
In the general timeline display (left screenshot below), you can see the global swap icon
on the G1 track, which means that channels are swapped on this track.
In the Swap/Mute Zoom display (right screenshot below), you can see that the channels
a3 and a4 are played instead of a1 and a2 on track G1 from the IN to the OUT point of the
element.

Example 2
In this example, the audio configuration of the source media is 2 tracks of 8 channels.
From the Swap/Mute Configuration window, you swap the a3/a4 channels of the source
media  to the a1/a2 output channels of the selected track on the timeline, the a5/a6
channels to the a3/a4 output channels, the a7/a8 channels to the a5/a6 output channels.
The a7/a8 output channels are muted:

In the timeline, this is shown as follows:

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When you click the Swap/Mute Zoom Mode button, the final situation is reflected by:

5.13.6. Manual Swap Definition in the

Swap/Mute Zoom Mode
Description
You can swap one or more channels of an audio track and apply the swap to these
channels from a point to another point of the audio track. You will specify the start and end
points as follows:
• with a mark IN on the start point and a mark OUT on the end point.
• with the nowline on the start point. In this case, the swap is applied up to the end of the
element where the nowline is positioned.

How to Define a Swap/Mute in Swap/Mute

Zoom Mode
You can define such a swap in the Swap/Mute Zoom mode.
To do so, proceed as follows:

1. Click the Swap/Mute Zoom Mode button to access the Swap/Mute Zoom
mode.
Depending on the audio configuration of the output channels, an audio track may
contain up to 16 channels. In Swap/Mute Zoom mode, the audio track shows a
number of lines reflecting the number of audio mono channels.

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Example of a 16-channels track:

2. Right-click in the audio track.

3. Select Add Swap/Mute.
The Swap/Mute Configuration window is displayed.

Example
Initial Situation
The timeline audio configuration is 4 tracks of 2 channels. You want to play the channels
a7 and a8 (G4 track) of the source media onto the output channels a5 and a6 respectively
(G3 track) of the selected part of the track.

Manual Swap Action

You will perform the swap action from a given point to another point of the G3 track. In this
track, you specify which source channels will be played on the channels of the G3 track.
In this case, you will map:
• the source channel a7 to the output channel a5 and
• the source channel a8 to the output channel a6.

Result
In the general timeline display (upper screenshot below), you can see the swap icons on
the G3 track, which means that channels are swapped on this track.

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In the Swap/Mute Zoom display (lower screenshot below), you can see that the channels
a7 and a8 are played instead of a5 and a6 on track G3 from the mark IN point to the mark
OUT point.

5.13.7. Swap/Mute Configuration Window

Window Variations
The Swap/Mute Configuration window reflects the audio configuration. So the number of
audio channels displayed may differ from the screenshots given in this section.
You can access the Swap/Mute Configuration window:
• from the general timeline display, to apply a swap to an audio track of a timeline
element, from its IN point to its OUT point
• from the Swap/Mute Zoom display, to apply a swap from a mark IN to a mark OUT
point placed on the audio track.

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Some additional fields are available at the bottom of the Swap/Mute Configuration window
when you access it from the Swap/Mute Zoom display. For this reason, this window will
be described below.

NOTE
IPEdit does not support 32-audio channels.

How to Access the Swap/Mute Configuration

Window

From the General Display of a Timeline

To access the Swap/Mute Configuration window, proceed as follows:
1. Right-click the element in an audio track on which you want to define a swap.
2. Select Add Swap/Mute from the contextual menu.

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From the Swap/Mute Zoom Display of a Track

To access the Swap/Mute Configuration window, proceed as follows:
1. After you have specified where you want to perform the swap, click the Swap/Mute
Zoom Mode button to access the Swap/Mute Zoom mode.
2. Right-click on the track where to define a swap.
3. Select Add Swap/Mute from the contextual menu.

Swap Sources / Outputs

Description
The swap sources are the audio mono channels available in all the audio tracks of the
source media added to the timeline.
The swap outputs are the audio channels of the element as they have to be played in the
timeline.
Therefore, the window can display up to 16 audio channels, depending on the audio
configuration.
Window for an audio configuration of 2 tracks of 8 channels:

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Uses
In the Swap/Mute Configuration window of a given track, you can define the following:
• which source channels will be sent to the audio channels of this track when the
timeline is played.
To do this, click at the intersection between the source and the output channels to
associate.
• which output channels will be muted.
To do this, click the bullet that corresponds to the output channel. This removes the
bullet, which means that the output channel will be muted.

Summary Information
The information at the right of the output channels summarizes the channel allocation:

• means that the source channel a7 is assigned to the output channel a5.

• means that no source channel will be assigned to the output channel a2.
This will be muted.

Additional Options
These options are only available when you access the Swap/Mute Configuration window
from the Swap/Mute Zoom display of a track.

Apply between mark IN and mark OUT

When you have defined a mark IN and mark OUT within which you should apply the swap
or mute function, you need to tick this check box.

Overwrite existing swap/mute

When you have ticked the Apply between Mark IN and Mark OUT option, you can tick
the Overwrite Existing Swap/Mute option if you want to overwrite possible swap/mute
that might have been previously defined on the selected part of the track.

Swap Mix Duration

You can add a mix audio effect at the beginning and end of the swap. In this case, specify
the duration of the swap mix in this spin box.

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NOTE
If an audio transition effect is defined where the swap mix is defined, the
transition effect will have priority on the swap mix. The latter will not be applied.

5.13.8. Adding Audio Swaps

How to Add a Swap or Mute to one or More
Elements of an Audio Track
To add an audio swap to one or more elements of an audio track, proceed as follows:
1. In the general timeline display, select the elements of a track on which you want to
define a swap. For a multiple selection, select the elements while pressing CTRL.
2. Right-click one of the selected elements and select Add Swap/Mute.
The Swap/Mute Configuration window opens:

3. Do one of the following to define a swap or mute:

◦ For a swap, click in the matrix at the intersection between the source channel to
play and the output channel on which the source should be played.
◦ For a mute, click in the matrix on the bullet located on the line of the output
channel to mute.
4. Repeat the step 3 on all the channels that you want to swap or mute.
5. Click Apply.

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The swap and mutes are defined on the requested elements of the audio track. This is

symbolized with the global swap icon or the mute icon displayed on the element
in the general display of the timeline.
The swaps and mutes can be viewed on the Swap/Mute Zoom display:

How to Add a Swap or Mute From and to

Given Points of a Track
To add an audio swap or mute from and to given points of an audio track, proceed as
follows:

1. In the general timeline display, click the Swap/Mute Zoom button on the right of
the track on which to add the swap or mute.
The track is displayed in Swap/Mute Zoom mode.
2. Do one of the following to specify the start and end point of the swap:
◦ Place a mark IN at the start point and a mark OUT at the end point.
◦ Place the nowline at the start point if you want the end point to be the end of the
element.

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3. Right-click after the nowline or between the mark IN and mark OUT points and select
Add Swap/Mute.
The Swap/Mute Configuration window opens:

4. Do one of the following to define a swap or mute:

◦ For a swap, click in the matrix at the intersection between the source channel to
play and the output channel on which the source should be played.
◦ For a mute, click in the matrix on the bullet located on the line of the output
channel to mute.
5. If you want to apply the swap between a mark IN and mark OUT points, tick the
Apply between mark IN and mark OUT check box.
In this case, you can overwrite existing swap/mute between these points by ticking
the Overwrite existing swap/mute check box.
6. If you want to define a mix effect at the start and end of the swap, specify the duration
of the effect in the Swap mix duration spin box.
7. Click Apply.
The swap and mutes are defined on the requested part of the audio track.

This is symbolized with the swap icon or the mute icon displayed on the relevant
elements in the general display of the timeline.
The swaps and mutes can be viewed on the Swap/Mute Zoom display:

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5.13.9. Modifying Audio Swaps

How to Modify a Swap or Mute on one or
More Elements of an Audio Track
To modify a swap or mute defined on one or more elements of an audio track, proceed as
follows:
1. In the general timeline display, select the elements of a track on which you want to
modify the swap. For a multiple selection, select the elements while pressing CTRL.
2. Right-click one of the selected elements and select Modify Swap/Mute.
The Swap/Mute Configuration window opens with the parameters defined on the first
swapped element of the selection.
3. Do one of the following to modify or add a swap or mute:
◦ For a swap, click in the matrix at the intersection between the source channel to
play and the output channel on which the source should be played.
◦ For mute, click in the matrix on the bullet located on the line of the output channel
to mute. If you click again, the bullet reappears and the channel is no longer
muted.
4. Repeat the step 3 on all the channels that you want to swap or mute.
5. Click Apply.
The selected swaps or mutes are modified according to the new settings.

How to Modify a Swap or Mute Defined From

and to Given Points of a Track
To modify an audio swap or mute defined on a part of an audio track, proceed as follows:

1. In the general timeline display, click the Swap/Mute Zoom button on the right of
the track on which to add the swap or mute.
The track is displayed in Swap/Mute Zoom mode.
2. Select the swaps you want to modify in one of the following ways:
◦ Lasso the swap point(s) to select from right to left.
◦ Right-click the swap point(s) to select, keeping CTRL pressed for multiple
selections.
3. Right-click and select Modify Swap/Mute.
The Swap/Mute Configuration window opens.

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4. Do one of the following to modify or add a swap or mute:

◦ For a swap, click in the matrix at the intersection between the source channel to
play and the output channel on which the source should be played.
◦ For mute, click in the matrix on the bullet located on the line of the output channel
to mute. If you click again, the bullet reappears and the channel is no longer
muted.
5. If you want to define a mix effect at the start and end of the swap, specify the duration
of the effect in the Swap mix duration spin box.
6. Click Apply.
The swap and mutes are modified according to the new settings.

5.13.10.Deleting Audio Swaps

How to Delete a Swap or Mute on one or
More Elements of an Audio Track
To delete a swap or mute defined on one or more elements of an audio track, proceed as
follows:
1. In the general timeline display, select the elements of a track on which you want to
delete the swap. For a multiple selection, select the elements while pressing CTRL.
2. Right-click one of the selected elements and select Delete Swap/Mute.
3. Answer Yes to the message asking whether you want to delete the swaps or mutes.
The selected swaps or mutes are deleted.

How to Delete a Swap or Mute Defined From

and to Given Points of a Track
To modify an audio swap or mute defined on a part of an audio track, proceed as follows:

1. In the general timeline display, click the Swap/Mute Zoom button on the right of
the track on which to add the swap or mute.
The track is displayed in Swap/Mute Zoom mode.
2. Select the swaps you want to delete in one of the following ways:
◦ Lasso the swap point(s) to select from right to left.
◦ Right-click the swap point(s) to select, keeping CTRL pressed for multiple
selections.
3. Right-click and select Delete Swap/Mute.
The Swap/Mute Configuration window opens.
4. Answer Yes to the message asking whether you want to delete the swaps or mutes.
The selected swaps or mutes are deleted.

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5.14. Adjusting the Audio Volume on the

Timeline

5.14.1. Introduction
You can adjust the audio volume for each track, i.e. group of audio channels, of a timeline
by means of the Volume Automation mode.

NOTE
You cannot use the volume automation feature on timeline elements whose
speed is different than 100%.

5.14.2. Accessing and Leaving the Volume

Automation Mode
• To access the Volume Automation mode on a given track of the loaded timeline, click

the Volume Automation button on the right of the track display.

• To leave the Volume Automation mode, click the button.

5.14.3. Overview of the Possible Actions

In the Volume Automation mode, you can perform the following actions:
• Increase or decrease the global audio volume of a track
• Increase or decrease the volume of a part of a track
• Modify the audio level on a given position of a track
• Reset the audio volume of a whole audio track
• Reset the audio volume of the audio track of a given element

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5.14.4. Audio Volume Automation Panel

Overview
The Audio Volume Automation panel contains the main areas highlighted on the following
screenshot and shortly described in the table below.

Area Description / See section...

1. Audio Track Name The Audio Track Name shows the name of the audio track
that is displayed in Volume Automation mode.

2. Global These buttons makes it possible to increase or decrease

Increase/Decrease the volume of the whole volume automation line or curve.
button See section "Increasing or Decreasing the Global Volume
of a Track" on page 199 for more information.

3. Maximum Graphic "Maximum / Minimum Graphic Volume Range" on page

Volume Range 197.

4. Minimum Graphic "Maximum / Minimum Graphic Volume Range" on page

Volume Range 197.

5. 0 db line The 0 db line represents the original audio level of the track
in the timeline.
When it is added to the timeline, each element on the track
has the same audio level as its source media.

6. Volume Automation "Display of the Audio Track Volume" on page 197.

point

7. Volume Automation "Display of the Audio Track Volume" on page 197.

curve

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Maximum / Minimum Graphic Volume Range

The Maximum Graphic Volume Range box (upper box) specifies the range for
increasing the audio volume of a track, track portion or point above the 0 db line. The range
is expressed in decibels and can be between 1 and 18 decibels.
The Minimum Graphic Volume Range box (lower box) specifies the range for
decreasing the audio volume of a track, track portion or point below the 0 db line. The
range is expressed in decibels and can be between -1 and -122 decibels.
The default values for the maximum and minimum graphic volume range are specified in
the timeline settings available in the menu Tools > Settings, category IPEdit > General:
Volume Automation Range group box. Each time you open a session, the default
values for the range are restored.
The Maximum and Minimum Graphic Volume Range spin boxes allow you to change
the default values and adapt the range to your needs. See section "How to Change the
Graphic Volume Range" on page 198 for more information.

Display of the Audio Track Volume

When you have entered the volume automation mode on a selected audio track, the audio
level of the track is displayed as follows:
• Initially, it is displayed as a blue line on the 0 db line, the Volume Automation line. This
means that the audio level heard when playing the timeline is the initial audio level of
the source media.

• As you modify the audio level on the track, on a portion of the track and/or on given
points, you draw a volume automation curve that reflects the volume variation of the
track compared to its initial volume.

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5.14.5. How to Change the Graphic Volume

Range
In order to … Click one or more times …

increase the graphic the upper arrow in the MaximumGraphic Volume Range
volume range above the 0
db line,

spin box
until the requested value for the range is displayed

decrease the graphic the lower arrow in the MaximumGraphic Volume Range
volume range above the 0 spin box until the requested value for the range is
db line, displayed.

increase the graphic the upper arrow in the MinimumGraphic Volume Range
volume range below the 0
db line,

spin box
until the requested value for the range is displayed.

decrease the graphic the lower arrow in the MinimumGraphic Volume Range
volume range below the 0 spin box until the requested value for the range is
db line, displayed.

5.14.6. Preliminary Actions Before Any Increase

or Decrease on the Volume Automation
Curve
Before you increase or decrease the volume automation curve, go through the following
steps:

Loading the Track in the Volume Automation Panel

To enter the volume automation mode and load the track in the Volume Automation panel,

click the Volume Automation Mode button next to the track where you want to
increase or decrease the volume.

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Adapting the Graphic Volume Range

You need to ensure that the graphic volume range displayed allows you to perform the
increase or decrease action you want to.
If this is not the case, change the graphic volume range. See section "How to Change the
Graphic Volume Range" on page 198 for more information.

5.14.7. Increasing or Decreasing the Global

Volume of a Track
How to Increase the Global Volume of a
Track
To increase the global volume of a track displayed in the Volume Automation panel,
proceed as follows:

To increase the global volume of

Click …
the track …

of 1 db
the button on the left of the volume
automation curve.

of 0,1 db
the button while pressing SHIFT.

How to Decrease the Global Volume

To decrease the global volume of a track displayed in the Volume Automation panel,
proceed as follows:

To decrease the global volume of

Click …
the track …

of 1 db
the button on the left of the volume
automation curve.

of 0,1 db
the button while pressing SHIFT.

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Example: Increase the Global Volume of a

Track
Before

After

5.14.8. Increasing or Decreasing the Volume on

Part of a Track
How to Decrease or Increase the Volume on
a Part of a Track
To increase or decrease the volume on part of a track displayed in the Volume Automation
panel, proceed as follows:
1. Delimit the part of the track on which you want to increase the volume as follows:
◦ Add a mark IN point at the position to start the volume increase or decrease.
◦ Add a mark OUT point at the position to stop the volume increase or decrease.
2. Drag the part of the track between the mark IN and mark OUT points up (increase) or
down (decrease) with the left mouse button.

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3. Release the mouse button when the part of the track selected is positioned at the
requested audio level.

Example: Increase the Volume on a Part of a

Track
Before

During

After

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5.14.9. Modifying the Volume on a Given

Position of a Track
How to Modify the Volume on a Given
Position of a Track
To modify the volume on a given point of a track, proceed as follows:
1. On the Volume Automation panel, double-click the position where you want to add a
volume automation point.
The point is added.
2. If you need to adjust the volume or the position of the point, select it again and drag it
up or down, right or left according to your needs.
The decibel increase or decrease compared to the 0 db line is specified as you move
the volume automation point.
3. When the volume automation point is correctly positioned, release the mouse.

Example: Add a Volume Automation Point

Before

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During

After

5.14.10.Resetting the Volume

How to Reset the Volume on an Track
To reset the volume on the whole track loaded, proceed as follows:
• In the Volume Automation panel, right-click and select Reset track automation
volume.
The volume of the whole track is reset to its initial volume.

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How to Reset the Volume on a Part of a

Track
To reset the volume on a part of the track loaded, proceed as follows:
1. In the Volume Automation panel, delimit the part of the track on which you want to
reset the volume as follows:
a. Add a mark IN point at the position to start the volume reset.
b. Add a mark OUT point at the position to stop the volume reset.
2. Right-click and select Reset automation volume.
The volume of the selected part of the track is reset to its initial volume.

How to Reset the Volume on an Audio

Element
To reset the volume on an element of the loaded track, proceed as follows:
1. In the Volume Automation panel, position the mouse cursor on the element for which
you want to reset the volume.
2. Right-click and select Reset clip automation volume.
The volume of the audio element on the loaded track is reset to its initial volume.

5.15. Consolidating a Part of a Timeline

5.15.1. 'Replace', 'Create Clip from Timeline'

and 'Live to Tape' Functions
Introduction
The Replace function, the Create Clip from Timeline function, and the Live to Tape
function all make it possible to consolidate and replace a part of the timeline. However
those functions follow different purposes and methods.

Replace Function
The Replace function aims at replacing a part of a timeline by the initial A/V material as
well as A/V effects added by external devices. Typical use is to add graphical effects
inside a video track or to add mixed audio as voice-over to an audio track, by means of
external devices.

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With the Replace function, the output:

• overwrites the initial timeline material,
• cannot be saved as a separate clip (and is therefore only available in the timeline),
• is only available at the end of the Replace process.

Create Clip From Timeline Function

The Create Clip from Timeline function aims at replacing a part of a timeline that includes
several effects defined in IPEdit. This allows the consolidation of the A/V material in the
timeline. Typical use is to consolidate several consecutive small timeline elements into a
single clip, to ensure a smooth playout.
With the Create Clip from Timeline function, the output:
• overwrites or not the initial timeline material,
• is saved as a separate clip (and can therefore be used outside the timeline),
• is directly available as a growing clip in IPDirector.

Live to Tape Function

Description
The Live to Tape function aims at replacing a part of a timeline by A/V material recorded
live or previously ingested from a different camera angle. The video and audio tracks can
be desynchronized, so it is possible to have different mark IN points on video and audio
and to start the replacement of A/V material at different points in time for video and audio.
After a pre-roll period, the newly ingested material is automatically displayed on the
monitoring screen.
Typical use is for productions such as daily games or daily shows recorded in studio using
several cameras and a switcher for director's cut ingest. Such productions use the same
environment every day, sound and light are calibrated and they seldom require post-
production. IPEdit is then used instead of VTR devices.

Limitations and Constraints

• No audio or video transition effect is available between the initial timeline element and
the newly recorded one.
• The audio tracks cannot be desynchronized, so the take junction is the same for all the
audio tracks.
• If an audio track has not been selected in the timeline, audio will be recorded on this
track even so.
• No audio swap, mute or volume automation features are available, even if set in the
Replace settings.
• No video transition effect is available between the initial timeline element and the
newly recorded one.

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• In order to achieve a frame accurate monitoring of a new take, the internal frame
synchronizer must be temporarily disabled eventually causing a video line shifting.
This video line shifting is obviously not present anymore when the take ingest has
been done and the timeline mode re-established.

Cabling
The director's cut switcher must be connected to the EVS video server as follows.
• It is connected to the recorder channel selected in the Associated Recorder Channel
zone of the IPEdit Status bar. This channel will be used to ingest the new take back to
the server.
• It is connected to the recorder channel corresponding to the player channel used as
Timeline output channel. This channel will be used to automatically display the new
take being recorded on the monitoring screen, after the pre-roll duration.

5.15.2. Process Overview

When you use the Replace function or Create Clip from Timeline function, you will follow a
similar but not identical sequence of steps.

Replace
The Replace process can be summarized as follows:

Step See section...

1. The user first needs to assign a recorder channel "Assigning a Recorder

to IPEdit to be able to use the Replace function. Channel to IPEdit" on page
209.

2. The user defines the Replace settings, including "Replace Settings" on page
Preroll, audio remapping and optional GPI triggers 233.
for external devices in use.

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Step See section...

3. The user specifies the range of the timeline to be "How To Render Part of a
replaced by defining a mark IN point and, possibly Timeline Using the Replace
a mark OUT point in the timeline. The mark OUT Function" on page 217.
point for the Replace function is optional. If no
OUT point exists, the user is performing an open-
ended replace and can stop the replace when
desired.

4. The user initiates the Replace process.  This can "How To Render Part of a
Timeline Using the Replace
be done by clicking the button above the Function" on page 217.
timeline or pressing CTRL + <SPACE BAR>.

5. The resulting A/V material is ingested back to the "How To Render Part of a
server via the assigned recorder channel. Timeline Using the Replace
Function" on page 217.

6. A newly created clip based on this ingested "How To Render Part of a

material will directly replace the defined portion in Timeline Using the Replace
the timeline. The new clip includes a fixed Function" on page 217.
guardband IN and OUT of 3 seconds.

Create Clip From Timeline

The Create Clip from Timeline process can be summarized as follows:

Step See section...

1. The user first needs to assign a recorder channel to "Assigning a Recorder

IPEdit to be able to use the Create Clip function. Channel to IPEdit" on page
209

2. The user specifies the part of the timeline to be "How To Consolidate a Part
replaced by defining a mark IN point and, possibly a of a Timeline Using the Clip
mark OUT point in the timeline. The mark OUT Creation From Timeline
point for the Create Clip function is optional. If no Function" on page 218.
OUT point exists, the user is performing an open-
ended rendering and can stop the rendering process
when desired.

3. "How To Consolidate a Part

The user clicks the button, which calls the of a Timeline Using the Clip
Create Clip From Timeline window to be filled in Creation From Timeline
with the requested clip information. Function" on page 218.
At this stage, the user specifies whether the
consolidated A/V material needs to be replaced in
the timeline itself.

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Step See section...

4. The resulting A/V material is ingested back to the "How To Consolidate a Part
server via the assigned recorder channel. of a Timeline Using the Clip
Creation From Timeline
Function" on page 218.

5. A newly created clip based on this ingested "How To Consolidate a Part

material will directly be available in the Browser, of a Timeline Using the Clip
and possibly replace the defined portion in the Creation From Timeline
timeline. The new clip includes fixed IN and OUT Function" on page 218.
guardbands of 3 seconds.

Live to Tape
The Live to Tape process can be summarized as follows:

Step See section...

1. The user first needs to assign a recorder channel to "Assigning a Recorder

IPEdit to be able to use the Live to Tape function. Channel to IPEdit" on page
209.

2. The user defines the Replace settings, including "Replace Settings" on page
Preroll and optional GPI triggers for external 233.
devices in use.

3. The user specifies the range of the timeline to be "How to Use the Live to
replaced by defining a mark IN point and, possibly a Tape Function" on page
mark OUT point in the timeline. The mark OUT 219.
point for the Live to Tape function is optional. If no
OUT point exists, the user is performing an open-
ended replace and can stop the replace when
desired.
If required, the user can define a mark IN point for
all the audio tracks which is different than the mark
IN point for the video track.

4. The user initiates the Live to Tape process.  This "How to Use the Live to
Tape Function" on page
can be done by clicking the button above the 219.
timeline or pressing SHIFT + <SPACE BAR>.

5. The resulting A/V material is ingested back to the "How to Use the Live to
server via the assigned recorder channel. Tape Function" on page
219.

6. A newly created clip based on this ingested "How to Use the Live to
material will directly replace the defined portion in Tape Function" on page
the timeline. The new clip includes a fixed 219.
guardband IN and OUT of 3 seconds.

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5.15.3. Assigning a Recorder Channel to IPEdit

Principle
The recorder channel is used to automate the process of recording portions of a timeline
back to the server. It is used in the Replace process, the Create Clip from Timeline
process and the Live to Tape process.

How to Assign a Recorder To Ingest the

Replace Clip Into the Timeline
To assign a recorder channel to IPEdit, proceed as follows:
1. Right-click the Associated Recorder Channel zone in the Status bar. This is in the
lower left corner of the IPEdit main window:

The available recorder channels are displayed.

2. Select the recorder channel to be used:

You can now set up and use the Replace feature in IPEdit.

NOTE
To un-assign the recorder channel, double-click the Associated Recorder
Channel zone.

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5.15.4. Replace Settings

Default Replace Settings
Generic default settings for the Replace function are defined in the window accessible via
the menu Tools > Settings, and IPEdit > Replace in the tree view.
The following screenshot shows the generic default settings:

NOTE
IPEdit does not support 32-audio channels.

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Specific Replace Settings

Before using the Replace function, you can adapt the settings to your edit. To access this
window, right-click anywhere in the timeline display and select Replace Settings from
the contextual menu. The changes you will perform in this window will impact the settings
related to the current timeline.
The following screenshot presents the Replace settings window where you can adapt the
default settings to your timeline:

The Audio Settings and Audio Channel Input Matrix may vary according to the audio
configuration. Up to 16 channels may be displayed in the matrix for sources and for
outputs (for a configuration of 1 track of 16 channels).

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NOTE
IPEdit does not support 32-audio channels.

The default Replace settings are described in the sections below. The specific Replace
settings are similar, but specific to the open timeline. For this reason, they will not be
further described.

Pre-Roll and Post-Roll

Introduction
A pre-roll of minimum 1 second can be defined, for example, to allow the user to listen to
the content of the timeline before starting its voice-over.
A post-roll of minimum 2 seconds is defined to allow the Replace process to be finalized
and the replaced part to be made available in the timeline.
In a replace process, the timeline will be played including the pre-roll and post-roll but only
the part of the timeline between the mark IN and the mark OUT will be replaced in the
timeline.

Defining a Pre-Roll and Post-Roll

To define a pre-roll and post-roll other than the default values, you first have to click in the
field to activate it.
Then, you can do one of the following actions before clicking Apply to validate the
changes:
• Type the whole pre-roll duration with the zeros that should precede the actual value.
• Click again at the exact position and type directly the value for the pre-roll duration
leaving the zeros on the left.

Video/Audio Delay Compensation

When the external devices add a delay to process the A/V material, you can compensate
this delay by entering a delay compensation equivalent to the delay brought about by the
external device. You specify this delay compensation in the Video/Audio Delay
Compensation group box.

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A delay can be entered individually for the audio or video material to take into account a
different delay generated by the audio device or by the video device.

GPI Settings on Mark IN and Mark OUT

About Replace GPIs

When you use the Replace function, you have the option to use external devices
manually. You can also trigger the external devices by specifying a GPI OUT to occur on
the IN and/or OUT of the Replace function. In this case, the server will send a first GPI
OUT signal to the external device at the IN point and a second GPI OUT signal at the OUT
point or when the user stops the Replace process manually.
For each GPI OUT, you need to define the GPI number and the type of GPI that will be
sent.

About GPI Offsets

You can also specify an offset for each GPI. The offset shifts the position of the GPI
compared to the mark IN or mark OUT point. It allows, for example, an audio mixer to
make smooth configuration transitions or a graphic keyer to make dissolves for graphics.
You can define:
• a positive offset for the mark IN to send the GPI after the replace process has started.
• a negative offset for the mark OUT to send the GPI before the replace process has
stopped. The offset is not taken into account when the Replace process is stopped
manually.

How to Define a GPI OUT for Mark IN and Mark OUT points
1. Right-click anywhere in the timeline and select Replace Settings.
The Replace Settings window opens.
2. To define a GPI on the mark IN point, do the following in the Boundary Mark GPIs
group box:
◦ Select the number of the GPI OUT to use on the mark IN in the Mark IN GPI OUT
field.
◦ Select the type of GPI OUT pulse in the Output Mode drop-down box.
◦ For Pulse GPIs, specify the pulse duration in the related field.

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◦ If requested, type the offset to apply to the GPI in the Post Mark IN Offset spin
box.
3. To define a GPI on the mark OUT point, perform the operations described in step 2 for
the Mark OUT GPI fields.
4. Click Apply to save the Replace settings.
When the mark IN and mark OUT for the replace function are placed on the timeline, the
Replace GPIs are displayed on the Timecode bar as a green marker for the mark IN GPI
and a red marker for the mark OUT GPI. The GPI number is mentioned on the marker and
the marker position takes the offset into account:

NOTE
When you define a GPI for the mark IN and for the mark OUT points of the
Replace function, you need to define compatible GPI types, for example a level
high GPI for the mark IN GPI and a level low GPI for the mark OUT GPI. The
application will not prevent you from defining incompatible types.

Audio Swap Input Matrix

Introduction
When you use the Replace function, the current track selection in the timeline determines
which track will be replaced.

NOTE
Those settings will not be taken into account with the Live to Tape
function.

If you want to route the result of the external mixing to a track other than the original one,
you can use the audio channel input matrix to configure how the audio channels should be
routed in the Replace process.

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You need to click the Config. button corresponding to the requested track to open the
Audio Channel Input Matrix for this track:

Example
You have four audio tracks with 2 mono channels on each of the track.
You want to:
• add a voice-over to the track G1 (including the channels a1 and a2)
AND
• replace the track G3 by the track G1 with the voice-over.

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The following drawing shows an overview of the swap you want to perform in the Replace
process:

As you want to output the track G1 into the track G3, you will do the following to set up the
audio channel input matrix:
• On the G1 track, click on the bullets to mute the channels a1 and a2.
• On the G3 track, click at the intersection of the a1 source channel and the a5 output
channel to route the a1 source to the a5 output.
• On the G3 track, click at the intersection of the a2 source channel and the a6 output
channel to route the a2 source to the a6 output.

How to Define the Audio Channel Input Matrix

1. Right-click anywhere in the timeline and select Replace Settings.
The Replace Settings window opens.
2. In the Audio Channel Input Matrix group box, map each channel that you want to have
in the replaced media (output channel) to the source channel to be played on this
output channel:
To map the source channel and the output channel, click at the intersection of both
channels in the grid that corresponds to the track where you want to output the signal.
3. Repeat the step 2 for each output channel you want to have in your replaced media.
4. Click Apply to save the Replace settings.

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Audio Group Track Mute

This setting makes it possible to specify which audio tracks should be muted during the
Replace process.
It is possible to either:
• mute the tracks selected in the timeline track selection.
In this case, select the Follow track selection check box
• force one or more stereo audio tracks to be muted whatever the timeline track
selection.
In this case, select the check boxes corresponding to the tracks to be muted.

NOTE
Those settings will not be taken into account with the Live to Tape
function.

5.15.5. How To Render Part of a Timeline Using

the Replace Function
Before you can use the Replace function, ensure that you have assigned a recorder to
IPEdit. See section "Assigning a Recorder Channel to IPEdit" on page 209.
To replace a part of a timeline, proceed as follows:
1. Right-click the timeline display and select Replace Settings.
2. In the Replace Settings window, define the requested settings as explained in section
"Replace Settings" on page 210 and click Apply to confirm the changes.
3. In the Timeline Track Selection buttons, activate the buttons of the tracks on which
the Replace process will be performed.
4. Set a mark IN point and, if requested, a mark OUT point to delimit the part of the
timeline to be replaced. You can also stop the Replace process manually.
The GPIs OUT defined in the settings are displayed on the Timecode bar as a green
marker for a mark IN GPI and a red marker for a mark OUT GPI:

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5. To start the Replace process, do one of the following:

◦ Click the Replace button to start the Replace process OR

◦ Press +

◦ Press the Replace key on the ShuttlePRO:

6. The nowline is automatically positioned on the mark IN point. If a pre-roll is defined,
the nowline is positioned on the mark IN minus the pre-roll duration.
As the Replace process takes place, the nowline moves to the right and the area
already replaced is displayed on an orange background:

7. The Replace process is stopped in one of the following ways:

◦ Automatically: you have defined a mark OUT and the process will be stopped
when it reaches the mark OUT.
◦ Manually: click again the Replace button to stop the Replace process.
◦ End of timeline: If the Replace process is not stopped automatically or manually,
it will be stopped when the process reaches the end of the timeline.
Two seconds after the end of the Replace process, the replaced part of the A/V material is
available in the timeline and you can read it.

5.15.6. How To Consolidate a Part of a Timeline

Using the Clip Creation From Timeline
Function
Before you can use the Clip Creation from Timeline function, ensure that a recorder is
assigned to IPEdit and the desired Preroll value is defined in the Replace settings. See
sections "Assigning a Recorder Channel to IPEdit" on page 209 and "Replace Settings"
on page 210.
To create a clip from a part of a timeline, proceed as follows:

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1. In the Timeline Track Selection buttons, activate the buttons of the tracks on which
the Replace process will be performed.
2. Set a mark IN point and, if requested, a mark OUT point to delimit the part of the
timeline to be replaced. You can also stop the process manually.

3. To start the Create Clip From Timeline process, click the button.
The Save Clip window opens:
◦ Fill in the window with the requested clip information, as described in the Control
Panel user manual.
◦ Tick the Replace in Timeline check box if you want the consolidated A/V
material to be replaced in the timeline.
4. The nowline is automatically positioned on the mark IN point. If a pre-roll is defined,
the nowline is positioned on the mark IN minus the pre-roll duration.
As the Replace process takes place, the nowline moves to the right and the area
already replaced is displayed on an orange background:

5. The Create Clip From Timeline process is stopped in one of the following ways:
◦ Automatically: you have defined a mark OUT and the process will be stopped
when it reaches the mark OUT.

◦ Manually: click again the button to stop the process.

◦ End of timeline: If the process is not stopped automatically or manually, it will be
stopped when the record reaches the end of the timeline.
Two seconds after the end of the Create Clip from Timeline process, the replaced part of
the A/V material is available in the timeline (if you have checked the Replace in Timeline
check box in step 3), the consolidated clip is available in the Browser and you can play it.

5.15.7. How to Use the Live to Tape Function

Before you can use the Live to Tape function, ensure that a recorder is assigned to IPEdit
and the desired Preroll value is defined in the Replace settings. See sections "Assigning a
Recorder Channel to IPEdit" on page 209 and "Replace Settings" on page 210.

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To replace a part of a timeline, proceed as follows:

1. Set a mark IN point.
It is set for video and audio tracks.
2. (optional) To set a different mark IN point for the audio tracks, place the nowline at the
right position, then press SHIFT while setting the mark IN point.

3. (optional) If requested, set a mark OUT point to delimit the part of the timeline to be
replaced. You can also stop the process manually.

4. To start the Live to Tape process, click the button or press SHIFT + <SPACE
BAR>.
5. The nowline is automatically positioned on the video mark IN point. If a pre-roll is
defined, the nowline is positioned on the video mark IN minus the pre-roll duration.
As the Live to Tape process takes place, the nowline moves to the right and the area
already replaced is displayed on an orange background:

6. The Live to Tape process is stopped in one of the following ways:

◦ Automatically: you have defined a mark OUT and the process will be stopped
when it reaches the mark OUT.
◦ Manually: click <SPACE BAR> to stop the process.
◦ End of timeline: If the process is not stopped automatically or manually, it will be
stopped when the record reaches the end of the timeline.

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The replaced part of the A/V material is available in the timeline:

The consolidated clip is available in the Browser and you can play it.

5.15.8. How To Cancel a Consolidation Process

You can cancel the Replace process, Create Clip from Timeline process or Live to Tape
process by doing the following:
• If the operation is in progress, click the ESC key to cancel it.

• If the operation is completed, click the Undo button.

To restore the consolidated material, you can click the Redo button.
When you have used the Create Clip from Timeline, the clip is only deleted if it is not
being used.

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5.16. Using Locators in IPEdit

5.16.1. General Information on Locators

Definition
A locator is a reference point to a specific frame in a timeline element. The locator is
identified by a TC value, and generally relates to requested or required actions, or to
comments about the production.

Characteristics
The locators in IPEdit have the following characteristics:
• They are represented by a reverse triangle.
• They have a user-defined color,
• They need to be associated to a timeline element on a single video or audio track.
• You can add metadata to the locator.

NOTE
This is not possible to place more than one locator at the same timecode on the
same track.
If more than one locator are positioned at the same timecode, but on different
tracks, they will appear as follows on the timecode bar:

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5.16.2. Adding Locators

To add a locator anywhere to a timeline element, proceed as follows:
1. Position the nowline where you want to add the locator.
2. Do one of the following actions:
◦ Right-click the Timecode bar, and select Add Locator from the contextual menu.

◦ Press + .
The Add Locator window opens:

3. Fill in the dialog box as follows:

a. Tick the radio button of the track to which you want to associate the locator.
b. Click the requested color for the locator.
c. Add a description of maximum 128 characters for the locator
4. Click Add.
The locator is added in the Timecode bar.
If you move the timeline element to which the locator is associated, the locator will move
with the clip.

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5.16.3. Activating the Locators

When the Locator Selection button is disabled, the locators are 'not active': they are
displayed in grey on the Timecode bar: .

You need to click the Locator Selection button (above the Timeline Track
Selection buttons) to be able to:

• Display the locators with their respective color (example).

• Display the locator information when you position the mouse cursor on the locator.

• Select, move or modify locators.

5.16.4. How to Select / Deselect Locators

To select locators, proceed as follows:

1. Click the Locator Selection button to activate the locators.

2. In the Timeline Track selection, select the track on which the locator is defined (and
only this track), for example the Video track.
3. Left-click the mouse in the Lasso Selection area and draw a rectangle around the
locator you want to select to cover it:

When you release the mouse key, the locator is selected: it is displayed with a white
border: .
To deselect a locator, simply click in the Lasso Selection area. The white border around
the locator disappears.

5.16.5. How to Move a Locator Within the

Timeline Element
When a locator is selected, you can move it within the limits of the clip by dragging it with
the mouse along the timecode bar.
As you are moving the locator, it turns light blue and displays the frame on which it is
positioned in the clip .

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5.16.6. How to Modify Locators

To modify the locator color or description, proceed as follows:
1. Select the locator with the lasso as described in section "How to Select / Deselect
Locators" on page 224.
The locator is displayed with a white border.
2. Right-click on the locator and select Modify Locator from the contextual menu.
The Modify Locator dialog box opens.
3. Modify the requested parameters in the Modify Locator window.
4. Click Apply.
The parameters of the locator have been modified.

5.16.7. How to Delete a Locator

1. Select the locator with the lasso as described in section "How to Select / Deselect
Locators" on page 224.
The locator is displayed with a white border.
2. Right-click on the locator and select Delete Locator from the contextual menu.
A warning message is displayed.
3. Click Yes to confirm that you want to delete the locator.
The locator has been removed from the Timecode bar.

5.17. Using GPIs in IPEdit

5.17.1. General Information on GPIs

Basics
The GPI is the General Purpose Interface device that can be connected to the XT server.
The GPI signals, i.e. electric signals, generated by the GPI device allow the operator to:
• receive commands from a third-party device to the server. These are Input GPIs our
GPIs IN.
GPIs IN can be used in the Playlist panel. 
OR
• send commands from the server to a third-party device via given IPDirector
applications. These are Output GPIs or GPIs OUT.
GPIs OUT can be used in the Playlist panel and in IPEdit.

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GPI Use in IPEdit

In IPEdit, you can define up to eight GPIs OUT. The IPEdit module and the Playlist panel
have to share these eight GPIs OUT.

Warning
IPDirector does not prevent the operator from using the same GPI OUT to the
Playlist panel and in IPEdit. This is up to the administrators and operators to
manage the use of GPIs OUT.

GPI and Slow Motion

When the speed of an element is different than 100%, you cannot add new GPIs to the
element or modify existing ones. However, you can delete the GPIs.
When you modify the speed of an element which already contained a GPI, the GPI
remains defined on the same TC as before.

Overview of GPI Settings

Each time you define a GPI, you need to specify the following settings:

GPI Setting Description Possible Values

GPI number Number of the GPI used From 1 to 8

GPI mode Type of electric signal used Pulse high,

Pulse low,
Level high,
Level low

GPI duration Duration of GPI signal In frames and

seconds

GPI offset Whether, and with how much advance or delay,  the In frames and
GPI signal will be sent to the third-party device. seconds

GPI Types in IPEdit

The GPIs OUT can be used in the following context in IPEdit:
• Replace GPIs
• Video Transition GPIs
• Clip GPIs

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5.17.2. Replace GPIs

Purpose
They can be used to trigger the external device that will add video or audio effects to the
part of the timeline that will be replaced.

More about Replace GPIS

See section "GPI Settings on Mark IN and Mark OUT" on page 213 for full information on
the GPIs OUT used with the Replace function.

5.17.3. Video Transition Effect GPIs

Purpose
They can be used, for example, to add video effects to cover a transition effects.

More about Replace GPIS

See section "Video Transition GPI" on page 166 for full information on the GPIs OUT used
with the video transition effects.

5.17.4. Clip GPIs

Purpose
The Clip GPIs allow the operators to add video effects or foregrounds to the timeline and
to play these in real-time, as the timeline element is being played out. They could also be
used to launch an audio jingle while an element of the timeline is being played out.

How to Add a GPI to an Element

To add a GPI anywhere on an element of the timeline, proceed as follows:
1. Right-click the Timecode bar at the position where you want to add the GPI.
The Timeline bar contextual menu opens.

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2. Click Add GPI in the contextual menu.

The Add GPI OUT dialog box opens:

3. In the Add GPI OUT dialog box, do the following:

a. In the Link GPI to clip on group box, tick the track on which the GPI will be defined
and applied. Only the tracks on which an element exists on the requested GPI
position are enabled.
b. In the GPI settings group box, select the GPI OUT number from the GPI Out drop-
down list.
c. In the GPI settings group box, select the GPI mode from the Output Mode drop-
down list.
d. If the output mode is of type Pulse, specify the pulse duration in seconds and
frames.
4. Click Apply.
A GPI marker is added to the Timecode bar to identify the GPI defined.
If you move the timeline element to which the GPI is associated, the locator will move
with the clip.

GPI Display
When the GPI Selection button is disabled, the GPIs are 'not active': they are displayed
in grey on the Timecode bar:

You need to click the GPI Selection button (above the Timeline Track Selection
buttons) to allow the GPI selection.
When the GPI selection is enabled, the marker for a clip GPI is grey and the letter
corresponding to the track on which it is defined is displayed on the marker:

When you select only the track on which the GPI is defined, the GPI turns purple:

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The GPI settings will display after one second when you position the mouse cursor on the
GPI marker:

How to Select/Deselect a Clip GPI

To select a clip GPI, proceed as follows:
1. In the timeline track selection, select the track on which the clip GPI is defined. The
grey GPI turns purple.
2. Click the mouse in the Lasso Selection area and drag the mouse cover the clip GPI
marker:

When you release the mouse key, the clip GPI is selected and the marker is surrounded

by a white border .
To deselect a clip GPI, simply click in the Lasso Selection area. The white border around
the GPI disappears.

How to Move a Clip GPI

When a clip GPI is selected, you can move the GPI within the limits of the clip in one of
the following ways:
• By dragging it with the mouse.
• By pressing the following shortcut keys:

◦ to move the GPI 10 frames to the left in the clip.

◦ to move the GPI 1 frame to the left in the clip.

◦ to move the GPI 1 frame to the right in the clip.

◦ to move the GPI 10 frames to the right in the clip.

As you are moving the GPI, it turns light blue and displays the frame on which it is
positioned in the clip .

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How to Modify a Clip GPI

To modify a GPI defined on an element of the timeline, proceed as follows:
1. Select the Clip GPI with the lasso as described above in this section. The GPI marker
is displayed with a white border.
2. Right-click on the GPI and select Modify GPI from the contextual menu.
The Modify GPI OUT dialog box opens.
3. Modify the requested settings in the Modify GPI Out window.
4. Click Apply.
The settings of the clip GPI have been modified. The new GPI settings will display after
one second when you position the mouse cursor on the GPI marker.

How to Delete a Clip GPI

1. Select the Clip GPI with the lasso as described above in this section. The GPI marker
is displayed with a white border.
2. Right-click on the GPI and select Delete GPI from the contextual menu.
A warning message is displayed.
3. Click Yes to confirm that you want to delete the clip GPI.
The clip GPI marker has been removed from the Timecode bar.

5.18. Using Macro Commands in IPEdit

5.18.1. Overview
What is a Macro Command?
You can apply some functions in a timeline by means of macro commands.
A macro command is a kind of shortcut to a function to which predefined values are
associated.

Which Functions are Available via Macro

Commands?
In IPEdit, you can use macro commands with the following functions:

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Function Detailed information on the related settings in …

Clip GPI "Clip GPIs" on page 227.

Replace "Replace Settings" on page 210.

Transition "Add/ Modify Transition Effect Window" on page 163.

effect The settings in the Define Effect Parameters window are the same as the
ones on the Add/Modify Transition Effects window.

Where can a Macro Command be Defined?

You can define up to 10 macro commands in the menu Tools > Settings, in the category
IPEdit > Macro commands. The defined macro commands are numbered from 0 to 9.

What are the Limitations?

In some cases, the macro command cannot be defined or applied as it has been defined.
• A macro command cannot be applied if it is linked to a GPI OUT of TTL type, which
has then been changed to a GPI IN.
In this case, the macro command is displayed on a red background in the macro
command settings.
• A macro command cannot be applied if it is defined on an audio track that does not
exist in the current timeline.
In this case, the message box 'track does not exist for this macro'
appears in the global status bar when you try to apply the macro command.

5.18.2. How to Define or Modify a Macro

Command
To define or modify a macro command, proceed as follows:
1. Click the menu Tools > Settings, and click the category IPEdit > Macro
Commands in the tree view.
The list of macro commands opens on the right pane.
2. Do one of the following:
◦ To define a new macro command, select the action to be performed with the
macro command in the Action drop-down list box.
◦ To modify an existing macro command, double-click in the grey box corresponding
to the macro to modify.
The settings window related to the selected action appears.
3. Define or modify the relevant settings according to the detailed information you can
find in sections "Clip GPIs" on page 227, "Replace Settings" on page 210 or "Add/
Modify Transition Effect Window" on page 163.
4. Click OK to confirm the macro definition and leave the Settings window.

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5.18.3. Calling a Macro Command From the

Timeline
When a macro command has been defined, you can call the macro command via the key
combination INSERT + # macro command (number associated to the macro command
in the Settings window). When you call a macro command in a timeline, the associated
function is automatically applied if the position is properly defined or the relevant timeline
elements properly selected.

5.19. IPEdit Settings

5.19.1. General
Transition Effects
This option defines the default settings for the transition effects applied manually or
automatically. See section "Transition Effect Settings" on page 168.

Volume automation Range

This option defines the default values for the maximum and minimum graphic volume
range in the Audio Volume Automation panel.

Control Track Initial Timecode

This option defines the default start timecode for the initial value for the timeline track. See
section "Audio Volume Automation Panel" on page 196.

Growing Clip Display Option

This option defines how the data of growing clips that is not yet recorded should be
displayed:
• The EVS server displays a black image (Display black option).
• The EVS server displays the head of the record train (Display record train head
option).

Video Preview Display Option

This option defines what will be displayed on the preview channel (PGM2 or PGM4) in
timeline mode:
• The preview channel is set to black (Display black option).
• The preview channel displays the first frame of the next clip (Display first frame of
next element option).

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5.19.2. Macro Commands

The IPEdit-related macro commands are defined on the Macro Commands sub-category.
See section "Using Macro Commands in IPEdit" on page 230.

5.19.3. Replace Settings

The Replace settings are explained in section "Replace Settings" on page 210.

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6. Edit While Playout

6.1. Introduction

6.1.1. Purpose
The Edit While Playout mode allows the users to play out a timeline in IPEdit while editing
the same timeline in the same instance of the IPEdit application.
Two timeline engines are required to use the Edit While Playout mode: one for timeline
editing and another one for timeline playout. See section "Channel Assignment" on page
234.
The "edit timeline" is called the TLE. The "on-air timeline" is called the TLO.
The on-air timeline is updated by applying the editing actions performed on the TLE to the
TLO, via a COMMIT button.
This is possible to use the EWP mode (Edit While Playout mode) in a Master/Slave
configuration, so that it offers a failover mechanism in a redundant setup.

6.1.2. Channel Assignment

Two timeline engines are required to use the Edit While Playout mode: one for timeline
editing and another one for timeline playout.
The availability of the EWP mode and the assignation of channels among both timeline
engines will depend on the number of EVS server channels and the use of channels with
‘Mix on one channel’.

EVS Servers with 6 or 8 Channels

With a 6- or 8-channels EVS server, PGM3/4 are used as timeline engine for timeline
editing and PGM1/2 are used as timeline engine for timeline playout.
If PGM1 is a normal channel, both PGM1 and PGM2 will be needed as timeline engine for
timeline playout.
If PGM1 supports the ‘Mix on one channel’ functionality, it will be sufficient for use as
timeline engine for timeline playout. So, PGM2 will be free and could be used for any other
purpose.

EVS Servers with 4 Channels

The Multicam application running on a 4-channels EVS server must have 3 player
channels.
PGM1/PGM2 will be used as timeline engine in IPEdit, for the TLE. Then, the EWP mode
will be available only if PGM3 is a ‘Mix on one channel’. In this case, PGM3 is used as
timeline engine for the TLO.

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6.1.3. Activating the Edit While Playout Mode

Prerequisite
As the Edit While Playout mode requires 4 player channels, or 3 player channels with one
of them supporting the ‘Mix on one channel’.you need to ensure you are running a
compatible Multicam application on the EVS server with which you are working. When
you use the Master/Slave redundancy, IPEdit will thus require the same configuration on
each server. See section "Channel Assignment" on page 234.

Activation

To activate the EWP mode, click the button at the bottom of the IPEdit main
window.
When the EWP mode becomes active, the following occurs:

• The button turns green: .

• If IPEdit is used in a Master/Slave configuration, the Master/Slave connection status
is displayed on the status bar, to the left of the button.
• The EWP Control Panel is added on the main IPEdit window. See section "Edit While
Playout Control Panel" on page 237.

Deactivation

• Click the button again to deactivate the EWP mode.

6.1.4. Using the BEPlay Remote in EWP Mode

Prerequisites
• The BEPlay must be physically connected and recognized by the IPDirector
hardware.
• The channels must have been assigned to the Remote Function buttons as described
in the General Functions user manual.

How to Control the TLE Player Channels with the BEPlay

The player channels associated with the TLO cannot be controlled by the BEPlay.
The player channels from the timeline engine of the TLE can be controlled as follows.

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• Pressing the Function button assigned to the odd player channel gives access to the
IPEdit Timeline pane.
• Pressing the Function button assigned to the even player channel gives access to the
IPEdit Player pane.

6.2. User Interface

6.2.1. Overview of the User Interface in Edit

While Playout Mode
When the EWP mode is active, the EWP Control Panel is displayed on the main IPEdit
window, between the Browser and the Timeline pane:
Both TLE and TLO are managed on the same instance of IPEdit, and are visible on the
same Timeline display. The TLE editing is performed as usual with the commands above
the Timeline display (2). The TLO playout and related actions are managed via dedicated
commands, displayed on the EWP Control Panel (1).
The areas used in EWP mode are highlighted on the screenshot below:

TLO commands of the EWP Control Panel (1)

The EWP Control Panel makes it possible to:
• Control the TLO playout
• Perform synchronization actions between both TLOs in a Master/Slave configuration
• Get the nowline positions, and useful duration information in the Edit While Playout
mode
• Commit the changes from the TLE to the TLO.
See section "Edit While Playout Control Panel" on page 237.

TLE locator buttons and transport commands (2)

The usual commands are used for TLE editing.

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See sections "Locator Buttons" on page 56 and "Transport Command Bar and Transport-
Related Functions" on page 56.

6.2.2. Edit While Playout Control Panel

TLO Preview Bar
The TLO preview bar displays a read-only summary of the TLO with the following
elements:

Area Description / See section...

1. Locators (various Locators added to the TLE are represented by colored

colors) lines on the TLO.

2. TLO Nowline The nowline of the on-air timeline is displayed in red.

3. Security zone (red) The TLO Security zone is the portion of the timeline after
the TLO nowline on which the Timeline Engine will not
be able to commit changes from the TLE to the TLO.
This zone is defined by the Timeline Engine.

4. Full Timeline (blue) Graphical representation of the full TLE duration.

5. TLE portion visible in Graphical representation of the TLE portion currently

Timeline display (white) visible in the timeline.

6. TLE Nowline The nowline of the edit timeline is displayed in blue, as

usual in IPEdit.

The TLO preview bar is refreshed after a commit, and the nowline moves in real time.

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Edit While Playout Commands

Lock Button
This button makes it possible to lock the player channels of the TLO timeline engine to
prevent any operation from the IPDirector user interface. Then, the TLO Transport
commands are no longer available.
The button can be displayed according to two states:

• : the channel is unlocked

• : the channel is locked.

Master/Slave Synchronization Buttons

User Interface
Operation Description
Button

Sync TLE The Sync TLE button is only relevant with the
Master/Slave redundancy.
In this configuration, the Sync TLE button allows
synchronizing the TLE on the Master and the Slave
instances of IPEdit. This means that:
• The TLE is copied from the "Master IPEdit" to the
"Slave IPEdit".
• The timeline elements are created as clips on the
Slave EVS server.
The user can execute this command from either the
Master or the Slave IPEdit.
A global message is displayed in the global status bar
to inform the user if the timeline has been successfully
synchronized, or if the synchronization has failed.
It is recommended to synchronize the TLEs regularly
after committing changes to the Master TLO.

TLO The TLO PlaySync button is only relevant with the

PlaySync Master/Slave redundancy.
In this configuration, clicking the TLO PlaySync button
on the Slave IPEdit will synchronize the TLO playout on
the Slave IPEdit to the TLO playout in progress on the
Master IPEdit.
When the synchronized playout of both TLOs is active,
the button is displayed on a colored background on the
Slave IPEdit.
The TLO on the Master IPEdit needs to be in PLAY for
the TLO PlaySync command to work on the Slave
IPEdit.

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TLO Transport Functions

User Interface Keyboard
Operation Description
Button Shortcut (*)

TLO Recue Loads the on-air timeline on the

+ first frame of the first element.

TLO Pause Stops the playout of the TLO at

+ the current position.

TLO Play Starts the playout of the TLO

+ from the nowline position.

(*) QWERTY KEYBOARDS VERSUS AZERTY KEYBOARDS

These are the default shortcut keys applicable to Qwerty keyboards
and to Azerty keyboards.

Speed Nudging Buttons

The speed nudging consists of transport commands that allow adjusting manually and
momentarily the playout speed of a timeline in order to resynchronize the playing TLO to
an external program feed played through a vision mixer.

User
Keyboard
Operation Interface Description
Shortcut
Button

TLO Nudge Clicking the TLO Nudge Decrease button

Decrease + decreases temporarily the TLO playout speed.
Then, it comes automatically back to its
original speed. If you click the button several
(on numeric
times, the speed decrease effect lasts longer.
pad)

TLO Nudge Clicking the TLO Nudge Increase button

Increase + increases temporarily the TLO playout speed.
Then, it comes automatically back to its
original speed. If you click the button several
times, the speed increase effect lasts longer.
(on numeric
pad)

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Locator Buttons
User
Operation Interface Description
Button

Go To Next The Go To Next Locator button on the EWP Control Panel

Locator makes it possible to move the TLO nowline to the next
locator defined in the timeline.

Go To The Go To Previous Locator button on the EWP Control

Previous Panel makes it possible to move the TLO nowline to the
Locator previous locator defined in the timeline.

TLO Commit Button

/ or +
The COMMIT button allows applying the editing actions performed on the TLE to the TLO,
even when the TLO Control Panel is locked.

The button will have a white background, as long as the TLE is the same as
the TLO. In this case, no changes have to be committed.

The button will become red as soon as the user performs an editing action on
the TLE. This means the COMMIT button is active, and editing actions can be applied
from the TLE to the TLO.

The / button will blink red/white when the TLO Remaining Commit
duration (duration between the TLO nowline and the first changes still to be committed) is
equal or less than the value defined in the Remaining Commit Threshold Warning
setting. See section "Edit While Playout Settings" on page 243 for more information on
this setting.

NOTE
The Commit operation will result in a "commit and sync" operation or in
a "commit only" operation, depending on whether the Sync on
Commit setting has been selected or not. See section "Edit While
Playout Settings" on page 243.

Time Information Fields

TLO On-Air Nowline Position

This field displays the timecode position of the on-air nowline, or TLO nowline. This is the
red nowline on the Timeline Display area.

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NOTE
If you want to position the TLO nowline to a specific timecode, you can
type the requested timecode in this field, and press ENTER.

TLO Remaining

This field displays the remaining time between the TLO on-air nowline position and the end
of the TLO.

TLO Effective Duration

This field displays the effective duration of the TLO.

TLO Expected TC OUT

This field displays the expected LTC value when the TLO will finish to play, based on the
TLO effective duration.

TLO Remaining Commit Duration

This field displays the duration between the TLO nowline and the first TLE element that
has not been committed yet.
The TLO Remaining Commit Duration is represented by a red area in the upper Lasso
Selection area on the Timeline Display:

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6.2.3. Timeline Display in Edit While Playout

Mode
When you are editing the timeline, you work on the TLE. As long as you have not applied
the changes from the TLE to the TLO, the Timeline Display area will be similar to the
following screenshot:

TLO Nowline (1)

The nowline of the on-air timeline is displayed in red.

TLE Nowline (2)

The nowline of the edit timeline is displayed in blue, as usual in IPEdit.

TLO Remaining Commit Duration (3)

This red zone in the upper lasso selection area above the Timeline display represents the
duration between the TLO nowline and the first TLE element that has not been committed
yet.

It corresponds to the TLO Remaining Commit Duration field:

TLO Security Zone (4)

The TLO Security zone is the portion of the timeline after the TLO nowline on which the
Timeline Engine will not be able to commit changes from the TLE to the TLO. This zone is
defined by the Timeline Engine.

Uncommitted Changes (5)

On the timeline display, the A/V material that contains uncommitted changes has a
reddish layer, on the top of the usual element color.

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6.3. Edit While Playout Settings

Accessing the EWP Settings
To access the settings related to the Edit While Playout mode, click the menu Tools >
Settings, and select the category IPEdit > Edit While Playing.

Remaining Commit Threshold Warning

This settings allows defining when the COMMIT button will start blinking red/white. This
will draw the user's attention to the fact that (s)he should perform a commit because the
TLO nowline is coming near to the first uncommitted changes.
The value defined in this setting corresponds to the duration between the TLO nowline and
the first uncommitted change.

Sync on Commit
This setting defines whether the Commit operation will result in a "commit and sync"
operation or in a "commit only" operation.
• Sync on commit enabled (default) = Commit and Sync: when the operator performs a
Commit operation, editions done on the TLE are committed to the TLO and are
synchronized between the master and the slave servers.
• Sync on commit disabled = Commit (without sync): when the operator performs a
Commit operation, editions done on the TLE are committed to the TLO. A Sync
operation must be done separately to synchronize the editions between the master
and the slave servers.

6.4. Committing Actions in Edit While

Playout Mode

6.4.1. Introduction
The editing actions performed on the edit timeline must be committed to the on-air
timeline.
Afterwards, it is not possible to move back to the TLO as it was before the commit action.
Users have to undo the editing actions in the TLE and to re-commit to the TLO.
Editing actions performed on the TLE and not yet committed can also be canceled by
overwriting the TLE with the TLO.
All modifications are applied and committed for the future only, not in the past.

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6.4.2. Committing the TLE

You need to click the button to commit the changes from the TLE to the TLO.
When the TLO is being played out, only the uncommitted changes located after the TLO
security zone are applied to the TLO.
When the TLO is on pause, the whole TLE is reapplied to the TLO. This commits all
uncommitted changes, without taking into account the security zone.
The following screenshots show the timeline display before and after a commit action.

Before Commit
The TLO is being played out: the TLO nowline is moving forward.
The Remaining Commit Duration extends from 11:00:28:XX to 11:00:49:XX.

After Commit
After committing the changes, the TLE is the same as the TLO. The remaining Commit
Duration is no longer displayed, and all timeline elements have their usual color.

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6.4.3. Overwrite the Edit Timeline with the On-

Air Timeline
If you do unwanted changes, and want to reset the TLE to the situation when you last
committed your changes, you can overwrite the edit timeline with the material from the on-
air timeline as follows:
1. Right-click the COMMIT button.
The following contextual menu is displayed:

2. Select Overwrite edited timeline with on-air timeline.

3. Confirm the operation by clicking Yes on the displayed warning message:

6.5. Edit While Playout Mode in a

Master/Slave Configuration

6.5.1. Principles

Purpose and Terminology

The Master/Slave redundancy feature is available with the Edit While Playout mode. It
makes it possible to synchronize the content of a timeline being edited on the Master
(main) EVS server running IPEdit to a Slave (backup) EVS server also running IPEdit.
This redundancy allows providing a failover mechanism when using the Edit While
Playout mode in IPEdit.
To make it short, we will use the following terms:
• "Master IPEdit" to refer to the IPEdit application working with the Master EVS server,
• "Slave IPEdit" to refer to the IPEdit application working with the Slave EVS server.

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Requirements for Master/Slave Redundancy

If you want to use the Edit While Playout mode with the Master/Slave configuration, you
need to:
• Have the same versions of IPDirector.
• Work with 6-channel or 8-channel EVS servers having the same Multicam version.
• Work with the Multicam application, having 4 PGMs on each EVS server, or 3 PGMs
with one of them supporting the ‘Mix on one channel’. See section "Channel
Assignment" on page 234.
• Associate your EVS servers in Master/Slave relationship in the Redundancy tab of the
Remote Installer. Master/Slave servers need to have exactly the same genlock, same
LTC timecode signal, and same source signal on the recorders selected for
redundancy.
For more information on how to set up the redundancy between a Master and Slave EVS
server, please refer to the IPDirector Technical Reference manual for Remote Installer.

6.5.2. Redundancy Status in IPEdit

You can check that both Master and Slave EVS servers are correctly connected in the
Status bar of IPEdit.
The following connection status information related to the Master/Slave redundancy can
be displayed:

Displayed information On M/S Meaning

Connected to master On Slave The EVS server is available and the SDTI
server connection is established between the Master
and the Slave servers.

Connected to slave On Master The EVS server is available and the SDTI
server connection is established between the Master
and the Slave servers.

Error: not connected to On Slave The Master server is not available on the
server routing.
master

Error: not connected to On Master The Slave server is not available on the routing.
server
slave

Error: No SDTI between On Slave No SDTI connection is established between the

master and slave server Master EVS server and the Slave EVS server.

Error: No SDTI between On Master No SDTI connection is established between the

slave and master server Master and Slave EVS servers.

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6.5.3. Synchronizing the Timeline on the Slave

IPEdit

Preliminary Steps
When you use the Edit While Playout mode in a Master/Slave configuration, proceed as
follow before you start using the Edit While Playout mode:
1. Start IPEdit on the IPD workstation working with the Master EVS server, and load the
timeline on which you want to work as usual.
2. Start IPEdit on the IPD workstation working with the Slave EVS server, and create a
timeline with the same A/V configuration as the timeline loaded on the Master IPEdit.

3. On the Slave IPEdit, click the button.

After a few seconds, a timeline identical to the timeline loaded on the Master IPEdit is
loaded.
This timeline has the same name as the main one, but it has different IDs and is stored
on the Slave EVS server.
The same timelines are now loaded on the Master and Slave IPEdit. You can start working
in the Master IPEdit.

How to Synchronize the Timeline on the Slave IPEdit

After both timelines have been loaded and synchronized for the first time in your Master
and Slave IPEdit, you will typically work in the following way:
1. Start the TLO playout on the Master IPEdit.

2. On the Slave IPEdit, click to synchronize the TLO playout.

3. Edit the TLE on the Master IPEdit.

4. On the Master IPEdit, click to apply the changes from the TLE to the TLO.
◦ If the Sync on Commit setting has been selected in the Tools > Settings >
IPEdit > Edit While Playing category, the Commit operation results in a
"commit and sync" operation: editions done on the TLE are committed to the TLO
and are synchronized between the master and the slave servers.
Go to step 6.
◦ If the Sync on Commit setting has not been selected in the Tools > Settings >
IPEdit > Edit While Playing category, the Commit operation results in a
"commit without sync" operation: editions done on the TLE are committed to the
TLO. A Sync operation must be done separately to synchronize the editions
between the master and the slave servers.
Go to step 5.

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5. Click to synchronize the TLE of the Slave IPEdit.

6. On the Slave IPEdit, click to apply the changes from the TLE to the TLO.
The steps 4 to 6 will be repeated each time you perform changes on the TLE on the Master
IPEdit.

NOTE
The functions that allow synchronization between the Master and the
Slave timelines are Sync and PlaySync.
The TLO Play, Pause, Recue, Speed Nudging, and Commit functions
are used independently (hence not synchronized) on the Master and
the Slave IPEdit.

6.6. Managing GPI in TLO

Introduction
On some occasions, users may want to apply a GPI when the TLO nowline is on a
specific timecode. As the TLO nowline and the TLE nowline are separated in time, users
must be able to define GPIs linked to the TLO or to the TLE. For example, the use of an
external device on the on-air channel needs to be triggered by a TLO GPI.

WARNING
This should be performed by an appropriate technical staff as it
involves a DEBUG screen on the EVS Video Server.

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How to Set the GPI Mode

To set the GPI mode, proceed as follows:
1. On the EVS video server, go to debug screen by pressing CTRL+ALT+D, then go to
screen 440, page 12/12.
2. For the GPI you want to assign to the TLE, type CTRL+ the corresponding Function
key.
In the following example, press CTRL + F1

The timeline associated to the GPI 1 turns to TLE.

Changes not yet saved are highlighted in green.
3. Press CTRL + A to apply the change(s).
This information is stored in the setup and kept when re-starting the application.

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7. Supported Keyboards

7.1. Introduction
IPEdit supports the standard Qwerty and Azerty keyboards, as well as a number of hidden
shortcuts for transport controls.

7.2. Standard Keyboards

The keyboard shortcut definition is based on the key position on the keyboard, not on a
dedicated letter. IPEdit automatically detects the keyboard used, hence it supports default
shortcuts on Qwerty and Azerty keyboards.
The default shortcut keys specified in this user manual are applicable to Qwerty
keyboards.
The shortcut keys applicable to Azerty keyboards are the keys that have the same relative
position on the Qwerty keyboard. In other words, the shortcut key Q on a Qwerty keyboard
corresponds to the shortcut key A on an Azerty keyboard, and so on.

NOTE
Users can always edit the default keyboard shortcuts in the Tools > Define
Shortcuts window.

7.3. Shortcuts for Transport Controls on

Specific Keyboards
Specific keyboards (e.g. Bella DV) include a jog/shuttle device based on keyboard
shortcut events.
The following rules are applicable when using the jog/shuttle device on such keyboards:

• A right/left move of the jog respectively corresponds to the and keys on a

standard keyboard.
• The hidden shortcuts corresponding to the shuttle steps for the various play speeds
are specified in the table below:

Hidden Shortcut Transport Control Action

CTRL+F13 Play at -1000%

CTRL+F14 Play at -800%

CTRL+F15 Play at -600%

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Hidden Shortcut Transport Control Action

CTRL+F16 Play at -400%

CTRL+F17 Play at -300%

CTRL+F18 Play at -200%

CTRL+F19 Play at -100%

K Pause - 0%

F13 Play at 100%

F14 Play at 200%

F15 Play at 300%

F16 Play at 400%

F17 Play at 600%

F18 Play at 800%

F19 Play at 1000%

NOTE
The play speeds associated to the shuttle steps can only be modified using an
SQL script available in the installation package. For more information, please
contact the EVS customer service.

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8. ShuttlePRO Keys

8.1. Quick Reference of ShuttlePRO in

the Player Pane

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8.2. Quick Reference of ShuttlePRO in

the Timeline Pane

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Glossary
Term/Abbreviation Definition/Explanation

a1, a2, a3, ... Writing convention to refer to an audio mono channel of a track
in a timeline

Blank Element A hole in the timeline track. The blank video element is played
as a black image. The blank audio elements are played as
muted elements.

Boundary Marks Term used to refer to the mark IN and mark OUT points that can
be added in a timeline or in media loaded on the Player

Cut Abrupt and instantaneous transition at a frame boundary from

one video source to another. This is the default audio and video
transition, when no transition effect is defined.

Dissolve/Mix Gradual transition from one video or audio source to another, in

which an image from one source gradually becomes less
distinct as an image from a second source replaces it. 

Extend Editing action that consists of extending a timeline element by

redefining its IN point or OUT point.

G1, G2, ... Writing convention to refer to audio tracks in a timeline

Insert Mode Mode to add media in the timeline without overwriting any media
already included in the timeline.

IN point IN point of a clip without the guardbands.

It is sometimes called Short IN point.

OUT point OUT point of a clip without the guardbands.

It is sometimes called Short IN point.

mark IN point IN point defined on the media loaded in the Player or in the
timeline and symbolized by a green vertical bar.

mark OUT point OUT point defined on the media loaded in the Player or in the
timeline and symbolized by a red vertical bar.

Overwrite Mode Mode to add media in the timeline, overwriting the media already
included in the timeline from the selected position

Protect IN point IN point of a clip including the guardbands

Protect OUT point OUT point of a clip including the guardbands

Replace Feature that consist of replacing a portion of a timeline with the

initial A/V material to which audio or video effects have been
added

Timeline Engine Two player channels that are associated to IPEdit and makes it
possible for the module to run.

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Term/Abbreviation Definition/Explanation

Trim Editing action that consists of adjusting the IN or OUT point of a

timeline element

Slide Editing action that consists of moving the position of an element

in the timeline without changing its duration, nor TC IN and TC
OUT points.

Slip Editing action that consists of moving an element's IN and OUT

points to another frame in the A/V material still available. The IN
and OUT points will be moved simultaneously by the same
number of frames in the same direction.

Wipe A gradual spatial transition from one video source to another, in

which a vertical or horizontal border moves across the screen,
to gradually replace the image with another image.

Glossary 255
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EVS Broadcast Equipment is continuously adapting and improving its products in accordance with the ever changing
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