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Table of Contents
Table of Contents

5

Introduction

7

What's new in version 2023.2

7

The Catalyst Prepare window

7

Working with libraries

9

Creating or opening a library

9

Closing the library9

Adding media to a library

10

Organizing media in a library

15

Editing library clips

23

Working with subclips in a library

24

Exporting media from a library

25

Working with FTP devices

25

Transcoding presets

51

Relinking library media

53

Backing up a volume53

Finding media

55

Supported video formats for reading

61

Supported video devices

92

Playing media

93

Previewing video

93

Navigating the timeline

98

Marking in and out points for playback

100

Creating a snapshot of a frame

101

TABLE OF CONTENTS

5

Adjusting and monitoring audio levels

103

Editing clip settings

103

Working with clips

6105

Viewing and editing metadata

105

Exporting custom metadata

109

Working with clip lists

110

Working with storyboards

114

Working with EDLs

120

Catalog export

121

Combining relay clips

123

Synchronizing multicamera clips

123

Stabilizing clips

123

Stitching clips

128

Repairing flash bands

129

Applying color correction

131

Editing Color Adjustments controls

131

Applying color-correction settings

143

Using a Tangent control

145

Video-style (Rec.709) color grading146

Log (cinematic) color grading

149

Advanced cinematic (ACES) color grading

150

High Dynamic Range (HDR) color grading

151

Exporting color-correction settings

160

Editing Catalyst Prepare options

169

Keyboard shortcuts

181

Gestures

187

Index

188

TABLE OF CONTENTS

Chapter 1
Introduction
Catalyst Prepare is the fast, simple, reliable path from camera to post. You can use Catalyst
Prepare to copy and back up clips, organize your media clips, create subclips, apply color
correction, and export clips.

What's new in version 2023.2
nSupport for video formats has been added.

n

New look profiles including Cool, Teal and Orange, Vintage, and Warm have been added.

nLens breathing compensation is now available for MXF files as well.

n

It is now possible to use lens breathing compensation with image stabilization turned off,even when camera settings for lens distortion compensation is turned off.

n

A minimum limit for the cropping amount has been implemented to ensure that there are no
black borders around the frame when performing image stabilization and lens breathingcompensation.

The Catalyst Prepare window
The Catalyst Prepare window can be displayed in two modes:n

In Organize mode, you can make a checksum-verified, full-volume backup; browse yourcomputer for media files; copy media to your computer; add to your media libraries; organize
library clips using bins; export clips to additional volumes or devices; upload to Sony Media
Cloud Services Ci; and transcode files.

n

In Edit mode, you can preview media, mark in and out points, and apply looks and color
correction.

Click the Organize or Edit button at the top of the Catalyst Prepare window to change modes.

INTRODUCTION

7

Organize mode

Edit mode

8

CHAPTER 1

Chapter 2
Working with libraries
You can use libraries in Catalyst Prepare to organize your media.

Creating or opening a library
You can use different libraries to manage your media. A library helps you organize your clips, andyou can use bins for even more control.
For example, creating a separate library for each project helps you keep your media organized andallows you to quickly find the right media for each project.
In Catalyst Prepare, you can have one library open at a time.

Creating a library
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click the Library button

at the bottom of the Catalyst Prepare window and choose New

from the menu.
3. Use the New Library dialog to choose the folder and file where you want to save your new
library.
4. Click OK.

Opening a library
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click the Library button

at the bottom of the Catalyst Prepare window and choose Openfrom the menu.
3. Browse to the library folder you want to load, select it, and click Open.
You can also double-click a .cpreplib file in Windows Explorer or macOS Finder.

Closing the library
If you want to work with clips independently of a library, you can use the Close command. Afteryou've closed the library, (No Library) is displayed in the application's title bar.

WORKING WITH LIBRARIES

9

Some Catalyst Prepare features are unsupported without an open library:n

When no library is opened, color adjustments are applied globally to all clips forpreviewing. If you want to save your color-correction settings, you can transcode clips
to create new files. For more information, see "Exporting media from a library" on page25.
Color adjustments to clip lists or spanned clips are not available when a library is open.

n

When no library is opened, Channel Assignment controls in the Inspector are notavailable. For more information, see "Assigning audio channels" on page 107.

n

When no library is opened, storyboard support is not available. For more information,
see "Working with storyboards" on page 114.

nWhen no library is opened, bin support is not available. For more information, see"Adding bins to a library" on page 17.

1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click the Library button

at the bottom of the Catalyst Prepare window and choose Close

from the menu.

Adding media to a library
To add media to a Catalyst Prepare library, you can copy clips from folders or devices attached toyour computer, or you can choose to add clips without copying them to your computer.

10

CHAPTER 2

To add a local folder to the library without copying clips, click the Bin button

at the bottomof the Catalyst Prepare window in Organize mode, choose Create from folder, and browse to afolder on your computer. The folder and any clips in the folder are added to the current library.
When you edit a clip that is not included in the current library, the metadata is saved to thelibrary without modifying the original clip. The clip is added to the Automatically Added bin.
The following actions will add a clip to the Automatically Added bin in the current library:nChanging in/out points.

n

Adjusting color correction.

n

Editing metadata.

n

Editing audio channel assignments.

When browsing your clips, a badge is displayed in grid modeor list mode

to identify

clips that are included in the current library. Click the badge to display more information about
the clip.
Clip lists and spanned clips are not supported in Catalyst Prepare libraries.

Copying media from a device
Copying media allows you to import clips from cameras or decks to your computer, to anothercamera or deck, or to a centralized storage device.
1. Click the Organize button at the top of the Catalyst Prepare window.
The Places pane on the left side of the Catalyst Prepare window displays a list of the decks,
cameras, and card readers that are connected to your computer.
2. Click the Library button

to choose the library where you want to add media (or create a

new library).
3. Select a device in the Devices list to display its media.
4. Select the media clips you want to import.

WORKING WITH LIBRARIES

11

nClick a file to select it.
Growing MXF files are displayed with the following icon:

Copying is not available when growing and nongrowing files are selected.
nHold Shift and click the first and last file you want to select to select a range of files.

n

Hold Ctrl (Windows) or Command (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard

modifiers.
5. Click the Copy button

at the top of the Catalyst Prepare window.

6. Use the Copy pane to choose a destination for your files.
a. Choose how you want to copy the selected clips:oSelect Copy clips to library to copy the clips from your device to your computerand add them to the current library. The clips will be copied to a timestamped
folder (YYYY-MM-DD hh.mm.ss) in the library (_cpreplib) folder.

oSelect Copy clips to custom destination if you want to choose where to copy
the clips when adding them the current library. Click the Browse button tochoose a folder, and select the Create subfolder check box if you want to copy
the selected clips to a named or timestamped subfolder in the destination.

The Create subfolder check box is not available when copying to a known folder
structure.
b. Select the Add to bin check box and choose a bin from the drop-down list if you wantto copy the clips to a bin in the selected library (or create a new bin). For more
information, see "Organizing media in a library" on page 15.
The Add to bin check box is not available when copying from a library.
c. If you want to rename files, select the Rename files check box. Renaming ensuresthat source files will not be overwritten.
oType a string in the Prefix box if you want to start all file names with the same
text.

12

CHAPTER 2

oChoose a setting from the Numbering drop-down list to indicate whether you
want to number clips or use their original file names.

oType a string in the Suffix box if you want to end all file names with the sametext.
For example, if you wanted to name clips using a convention such as
Commercial_001_Camera1.mxf, you would type Commercial_ in the Prefix
box, choose 3 digits from the Numbering drop-down list, and type _Camera1 in
the Suffix box.
If you're exporting a still-image sequence for use in an editor that has
specific file-naming requirements, you can use the Rename files controls
to ensure your exported files are compliant with your editor's
requirements.

d. Select the Copy all related media check box if you want to copy all media related tothe selected clips (metadata.proxy clips, and extra files).
When SR Live metadata source is set to External file in the Options pane, .srm
files are not included with the copy operation. For more information, see "SRLive for HDR settings" on page 174.
e. Select the Copy clips only radio button if you want to copy only full-resolution clips.
f. Select the Copy proxy only radio button if you want to copy only proxy-resolution clips
and all media related to the selected clips (metadata.proxy clips, and extra files).
g. Select the Copy only between mark points check box if you want to copy only the
media between the in and out points. For more information, see "Marking in and out
points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported for someclip formats. Those clips will be transcoded using the Default transcode format
setting in Options. For more information, see "Marking in and out points forplayback" on page 100 or "Editing Catalyst Prepare options" on page 169.
h. Select the Close growing files check box if you want to close growing MXF files
generated by Sony decks when copying is complete.

WORKING WITH LIBRARIES

13

When you're copying via FTP from Sony decks, growing files are closed
automatically, and the check box is always selected. If you're copying from a
local drive, you can select the check box to close growing files or clear the checkbox to copy the files without closing them.
If the copy destination is an FTP device, copied MXF files are not converted toclosed files.
i. Select the Embed NRT metadata check box if you want to embed non-real-time
metadata from an XML sidecar file into an MXF file.
j. Select the Copy with verification check box if you want to verify clips as they are
copied.
The Copy with verification controls are not available when the source ordestination volume is an FTP device or when the destination volume is a
Professional Disc Drive unit.
oChoose a setting from the Verification mode drop-down list to choose whether
you want to verify the write operation only or also verify reading the source file.
Verify read/write is not available when the source volume is a
Professional Disc Drive unit.

oChoose a setting from the Hash type drop-down list to choose the method(MD5, SHA1, CRC32, or xxHash64) that will be used to verify your copied
clips.

7. Click the Copy button to copy the selected clips and add them to your library.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. Eachcopy job can contain multiple files if you have multiple files selected in step 2 above. If you
have multiple jobs queued, a separate progress indicator is displayed for each job.
The imported clips will be available in Organize mode in the folder you selected above.

Adding media from a device without copying
If you want to include clips in your library without copying the files to your computer, you candrag them from the device to a library bin.
1. Click the Organize button at the top of the Catalyst Prepare window.
The Places pane on the left side of the Catalyst Prepare window displays a list of the decks,
cameras, and card readers that are connected to your computer.

14

CHAPTER 2

2. Click the Library button

to choose the library where you want to add media (or create a

new library).
3. Select a device in the Devices list to display its media.
4. Select the media clips you want to add to the library.
n

Click a file to select it.
Growing MXF files are displayed with the following icon:

Copying is not available when growing and nongrowing files are selected.
nHold Shift and click the first and last file you want to select to select a range of files.

n

Hold Ctrl (Windows) or Command (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard

modifiers.
5. Drag the clips from the middle pane to a bin on the left side of the Catalyst Prepare window.
You can also drag clips from the Organize pane to a bin or storyboard in the Placespane.
The device's clips are added to the library and are identified with a badge when you browse
your device in grid modeor list mode.

Organizing media in a library
Organize mode allows you to view the clips on your computer's file system, attached devices, andlibraries.
Select a folder in the Places pane to view the clips in a folder or device.

WORKING WITH LIBRARIES

15

To navigate quickly, click the File button

at the bottom of the Media Browser and choose

Go to location.
To add the current folder to the Favorite Folders list in the Places pane, click the File button
at the bottom of the Media Browser and choose Add to Favorites.
To remove a folder from the Favorite Folders list, select the folder in the Places pane and click
the X button:

Select a library bin or storyboard in the Current Library pane to view a library's clips.
For more information, see "Adding media to a library" on page 10.

Choosing a library
1. Click the Organize button at the top of the Catalyst Prepare window.
2. The Places pane lists the current library. Click the Library button

to choose a different

library or create a new library.
The library's media is displayed in the right side of the Catalyst Prepare window.
Click the button to toggle thumbnail

and listmode.

For more information, see "Creating or opening a library" on page 9.

16

CHAPTER 2

Adding bins to a library
Bins are virtual folders within libraries that you can use to organize your media files. Bins are
saved with your library and do not affect the way media is saved on your computer.
Click the Bin button

at the bottom of the Catalyst Prepare window and choose a commandfrom the menu:nChoose New to add a new bin to the library. You can use bins to organize media within alibrary.

nChoose Create from folder to quickly add a local folder to the library without copying
clips. The folder and any clips in the folder are added to the current library.
To create multiple bins quickly, select folders in the folder contents pane, right-click
and choose Add selected folders as bins. A bin is created for each selected folder,
and the folders' clips are added to the current library.

Adding clips to a bin
1. Use the Media Browser to browse your computer for video files.
2. Drag a clip (or folder) from the Media Browser to a bin in the Bins list.
To include a clip in more than one bin, drag it from the All Clips bin (or a local folder or
device) to each bin where you want to include a link to the clip.
You can also drag a clip from one bin to another to move it.
You can also choose to add a clip to a bin when adding it to your library. For more
information, see "Adding media to a library" on page 10.
Clip lists or spanned clips () cannot be added to bins.

Deleting bins from a library
1. Select a bin in the Bins list.
2. Click the Bin button

at the bottom of the Catalyst Prepare window and choose Delete

from the menu.

WORKING WITH LIBRARIES

17

You're prompted with a confirmation dialog. If you also want to delete the source files fromyour computer, select the check box.
3. Click Delete.
If a folder or media file is moved or deleted outside of Catalyst Prepare, it is displayedwith the following icon:

Renaming bins
1. Select a bin in the Bins list.
2. Click the Bin button

at the bottom of the Catalyst Prepare window and choose

Rename from the menu.
3. Type a new name in the box and click OK.

Cleaning a bin
1. Select a bin in the Bins list.
2. Click the Bin button

at the bottom of the Catalyst Prepare window and choose Clean.

The Clean dialog is displayed.
3. Select the check box for each type of clip you'd like to remove from the selected bin:nDelete items older than X days: Removes clips that were added to the library before
the number of days you specify.

nDelete items that can no longer be found: Removes clips that are no longer available
on disk or are on disks that are not connected.

The dialog displays a list of clips that will be removed from the selected bin.
4. Click OK.

Exporting a library's bins as folders
1. Click the Organize button at the top of the Catalyst Prepare window.
2. The Places pane lists the current library. Click the Library button

to choose a different

library or create a new library.
The library's media is displayed in the right side of the Catalyst Prepare window.

18

CHAPTER 2

Click the button to toggle thumbnail

3. Click the Library button

and listmode.

and choose Export bins as folders.

4. Choose the folder where you want to export your library's bins, and then click OK.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window.
The exported folders are named to match the library's bin names.
Only the portion of the video between the mark in and mark out points will be copied.
For more information, see "Marking in and out points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported for some clip
formats. Those clips will be transcoded using the Default transcode format setting in
Options. For more information, see "Marking in and out points for playback" on page
100 or "Editing Catalyst Prepare options" on page 169.

Exporting a library's bins to Premiere
1. Click the Organize button at the top of the Catalyst Prepare window.
2. The Places pane lists the current library. Click the Library button

to choose a different

library or create a new library.
The library's media is displayed in the right side of the Catalyst Prepare window.
Click the button to toggle thumbnail

3. Click the Library button

and listmode.

and choose Export bins to Premiere.

4. Choose the folder where you want to create a new Premiere Pro project containing yourlibrary's bins and clips, and then click OK.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window.

WORKING WITH LIBRARIES

19

The exported folders are named to match the library's bin names.
Only the portion of the video between the mark in and mark out points will be copied.
For more information, see "Marking in and out points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported for some clip
formats. Those clips will be transcoded using the Default transcode format setting in
Options. For more information, see "Marking in and out points for playback" on page
100 or "Editing Catalyst Prepare options" on page 169.

Exporting a library's bins to Final Cut Pro X
1. Click the Organize button at the top of the Catalyst Prepare window.
2. The Places pane lists the current library. Click the Library button

to choose a different

library or create a new library.
The library's media is displayed in the right side of the Catalyst Prepare window.
Click the button to toggle thumbnail

3. Click the Library button

and listmode.

and choose Export bins to Final Cut Pro X.

4. Choose the folder where you want to create a new Final Cut Pro X project containing yourlibrary's bins and clips, and then click OK.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window.
The exported folders are named to match the library's bin names.
Only the portion of the video between the mark in and mark out points will be copied.
For more information, see "Marking in and out points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported for some clip
formats. Those clips will be transcoded using the Default transcode format setting in
Options. For more information, see "Marking in and out points for playback" on page
100 or "Editing Catalyst Prepare options" on page 169.

Working with storyboards
You can create and edit storyboards to create a video project that is comprised of multiple,
shorter video clips.
For more information, see "Working with storyboards" on page 114.

20

CHAPTER 2

Moving clips between bins
When you're using bins to organize your library, you can easily move clips between bins.
1. In the Places pane on the left side of the Catalyst Prepare window, select the bin that
contains the clips you want to move.
2. Select the clips you want to move in the Media Browser.
3. Click the Move button

at the bottom of the Media Browser.

4. Choose your destination folder from the Move clip to bin drop-down list.
5. Click the Move button.
You can also drag a clip from one bin to another to move it.
To include a clip in more than one bin, drag it from the All Clips bin (or a local folder or
device) to each bin where you want to include a link to the clip.

Renaming clips
Renaming a library clip allows you to edit the name that is displayed in your Catalyst Prepare
library. Renaming a clip does not rename the source media file on the disk.
If you want to rename a file on disk, browse to a device or local folder in the Places pane,and select a clip. Click the File button

at the bottom of the Media Browser, choose

Rename, and type a new name in the edit box. The file and all instances of the file in yourlibrary are updated.
1. Select a clip in the Media Browser.
2. Click the Clip button

at the bottom of the Media Browser, choose Rename, and type a

new name in the edit box.

Removing clips from a library (or bin)
1. Select a clip in the Media Browser.
2. Click the Clip button

at the bottom of the Catalyst Prepare window and choose

Remove from the menu.
The Remove Clips dialog is displayed to allow you to choose to remove the selected clip
only or all clips that use the source media.

WORKING WITH LIBRARIES21

If you want to remove all clips that use the source media, you can select the Also delete theassociated source file from disk check box to delete the source file from disk. Selecting thischeck box automatically selects the Also remove the clip from other bins check box.
If you want to remove the clip from all bins without deleting the source clip, select only the
Also remove the clip from other bins check box.
If a folder or media file is moved or deleted outside of Catalyst Prepare, it is displayedwith the following icon:.

22

CHAPTER 2

Consolidating a library
Consolidating a library gathers all the library's clips to a single folder. When you consolidate alibrary, clips are copied to the new destination folder; the original clips are not moved.
1. Click the Organize button at the top of the Catalyst Prepare window.
2. In the Places pane, click the Library buttonand choose Consolidate from the menu.

If any of the library's clips cannot be found, you'll be prompted to relink the library clips.
For more information, see "Relinking library media" on page 53.
3. Click OK to start copying media.

Saving and renaming a library (Save As)
You can use Save As to create a copy of the current library with a new name or to a different
folder.
1. Click the Organize button at the top of the Catalyst Prepare window.
2. In the Places pane, click the Library buttonand choose Save As from the menu.

3. Choose the folder where you want to save the library.
4. Select the Consolidate media with new library check box if you want to copy clips to a
subfolder in the destination folder. You can choose to copy the selected clips to a named ortimestamped subfolder in the destination.
5. Click OK to start copying media.

Showing source clips
1. Select a file.
2. Click the Clip button

at the bottom of the Media Browser and choose Show in Finder(macOS) or Show in Explorer (Windows) to view the source clip in its containing folder.

Editing library clips
In Edit mode, you can preview media, log mark in and out points, and apply looks and color
correction.

WORKING WITH LIBRARIES

23

1. Click the Organize button at the top of the Catalyst Prepare window.
2. Select the clip you want to edit.
The left pane allows you to navigate the folders in your library, and the middle pane displays
the contents of the selected folder.
3. Click the Edit button at the top of the Catalyst Prepare window to open the selected clip in
Edit mode.
You can also double-click a clip in Organize mode to open it in Edit mode.
In Edit mode, the left pane allows you to browse the file system or the library's clips; thecenter pane allows you to preview the file, log mark in and mark out points, and apply color
correction; and the right pane allows you to view and edit metadata for the selected file in the
Inspector.
n

For more information about previewing media, please see "Playing media" on page93.

n

For more information about logging mark in and out points, please see "Marking inand out points for playback" on page 100.

n

For more information about applying color correction, please see "Applying color
correction" on page 131.

n

For more information about using the Inspector, please see "Viewing and editing
metadata" on page 105.

Working with subclips in a library
A subclip is a library reference to a clip. You might create a subclip that uses different color
correction than the source media or that uses different mark in and mark out points.
Subclips save disk space when transferring media to the NLE: you can transcode only material ofinterest and apply a meaningful name to simplify the editing stage.
When you view your library in Organize mode, subclips are labeled with the original clip name anda number — MainClip - Subclip 1, MainClip - Subclip 2, and so on — or you can provide your own
name.

Creating subclips
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Double-click a clip to open it in Edit mode.

24

CHAPTER 2

3. Use the Mark In and Mark Out buttons to adjust the length of your subclip. For more
information, see "Marking in and out points for playback" on page 100.
4. Click the Create Subclip button. The Subclip Name dialog is displayed.

The subclip is created using the base name of the original clip. Edit the clip name if needed
and click OK to add the subclip to your library.
The Create Subclip button is displayed under a Log button when the Catalyst Prepare
window is too narrow to display the full toolbar.

Deleting subclips
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Select the subclip you want to delete.
3. Click the Clip button

at the bottom of the Media Browser and choose Remove.

The Remove Clips dialog is displayed to allow you to choose to remove the selected clip
only or all clips that use the source media.
If you choose to remove all clips that use the source media, you can select the Also delete
the associated source file from disk check box to delete the source file from disk.

Exporting media from a library
Catalyst Prepare provides you with several methods to transcode and share clips from your library.

Working with FTP devices
You can use Catalyst Prepare to work with clips on a remote server using FTP/FTPS.

Connect to an FTP device
Click the Tools button

at the top of the Places pane and choose Add remote server tospecify a server's connection settings.
Item

Description

Server name

Type a name to identify the server. This name will be displayed in the
Remote Devices list in the Places pane.

WORKING WITH LIBRARIES

25

Item

Description

ProtocolChoose a setting from the drop-down list to indicate whether you'll connect
to the server via an FTP or FTPS (Explicit) connection.

Address/Port

Type the address or host name of the server and the port.

Folder

If you want to connect to a specific folder on the server, type its name here.
Leave this box blank to connect to the root of the device.

User name

Type the user name that you want to use to connect to the server.

Password

Type the password for the specified user name.

Disconnecting from or reconnecting to a server
To disconnect from a server, select the server in the Places pane and click the

button:To reconnect to a server, select the server in the Places pane and click the button:

Editing a server's settings
To edit the settings for a connected server, select it and then click the Tools button at the top of
the Places pane and choose Edit remote server.

Removing a server
To remove a remote server from the Remote Devices list, select it and then click the Tools
button at the top of the Places pane and choose Remove remote server.

Browsing the contents of an FTP device
1. Connect to the FTP device. For more information, see "Connect to an FTP device" on page25.

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2. In the Places pane, select your FTP device. The contents of the device are displayed in thecenter pane.

3. In the center pane, select a clip.
n

You can use the Inspector pane to view the selected clip's metadata. For more
information, see "Viewing and editing metadata" on page 105.
Audio and video preview are not available over FTP connections.

nRight-click the selected clip and choose Rename to edit the clip's name.

n

Right-click the selected clip and choose Delete to remove the selected clip from thedevice.

Copying, renaming, or deleting clip lists to SxS media and USB storage on the PZW4000 is not supported.

WORKING WITH LIBRARIES

27

Copying clips from an FTP device to your library or computer
Working with clips from an FTP server is as simple as working with clips from your local
computer or an external drive. After you connect to an FTP device, it will be displayed in a
Remote Devices list in the Places pane, and you can browse it in the same way you browse
other volumes.
1. Connect to the FTP device. For more information, see "Connect to an FTP device" onpage 25.
2. In the Places pane, select your FTP device. The contents of the device are displayed in
the center pane.

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3. In the center pane, select the clip you want to copy to your library.
Audio and video preview are not available over FTP connections.

WORKING WITH LIBRARIES

29

4. Click the Copy button

at the top of the Catalyst Prepare window.

5. Use the Copy pane to choose a destination for your files.
Select the Copy clips to library radio button to copy the selected clips to the current
library, or select Copy clips to custom destination and click Browse to browse to anotherfolder.
6. Use the copy pane to choose copy options, and then click the Copy button to start
copying.
For more information about the controls in the Copy pane, please see "Copying clips to a
device" on page 42.

Copy clips to a Sony FTP device
1. Connect to the FTP device where you want to copy the clips. If your source clips are also
on an FTP device, also connect to the source FTP device. For more information, see"Connect to an FTP device" on page 25.
2. In the Places pane, select the source device from which you want to copy clips. The
contents of the device are displayed in the center pane.

3. In the center pane, select the clip you want to copy to your library.

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Audio and video preview are not available over FTP connections.

4. Click the Copy button

at the top of the Catalyst Prepare window.

5. Use the Copy pane to choose a destination for your files.
Select the Copy clips to custom destination radio button, click Browse, select yourFTP device in the Copy To dialog, and then click OK.

WORKING WITH LIBRARIES

31

6. Use the copy pane to choose copy options, and then click the Copy button to start
copying.
For more information about the controls in the Copy pane, please see "Copying clips to a
device" on page 42.
Notes:The Create subfolder check box is not available when copying to a known folder
structure.
The Copy clips only check box is not available when copying to a Sony FTP device.
The Use fast device-to-device copy check box is not available when using FTPS
protocol.

Copy clips to a non-Sony FTP device
1. Connect to the FTP device where you want to copy the clips. If your source clips are also
on an FTP device, also connect to the source FTP device. For more information, see"Connect to an FTP device" on page 25.

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2. In the Places pane, select the source device from which you want to copy clips. The
contents of the device are displayed in the center pane.

The source must be a Sony device.
3. In the center pane, select the clip you want to copy to your library.
Audio and video preview are not available over FTP connections.

WORKING WITH LIBRARIES

33

4. Click the Copy button

at the top of the Catalyst Prepare window.

5. Use the Copy pane to choose a destination for your files.
Select the Copy clips to custom destination radio button, click Browse, select yourFTP device in the Copy To dialog, and then click OK.

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6. Use the copy pane to choose copy options, and then click the Copy button to start
copying.
For more information about the controls in the Copy pane, please see "Copying clips to a
device" on page 42.
Notes:The Create subfolder check box is not available when copying to a known folder
structure.
Only the Copy clips only option is available when copying from a Sony FTP device toa third-party FTP device.
The Use fast device-to-device copy check box is only available when copying from aSony device using FTP protocol (FTPS protocol is not supported).
The Preserve source UMID check box is not available when copying too a thirdparty FTP device.

Transcoding clips
Transcoding clips allows you to convert clips to another format. The original clips are not affected(overwritten, deleted, or altered) during the exporting process.

WORKING WITH LIBRARIES

35

1. Select the clips you want to export in Organize or Edit mode.
The left pane allows you to navigate the folders in your library, and the middle pane
displays the contents of the selected foldernClick a file to select it.

nHold Shift and click the first and last file you want to select to select a range offiles.

n

Hold Ctrl (Windows) or ⌘ (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard

modifiers.
An

on a thumbnail indicates a clip that spans multiple files due to file-size

limitations but is displayed in Catalyst Prepare as a single virtual clip.
Spanned XDCAM EX clips can be transcoded directly, but AVCHD clips must
be copied first.
To transcode spanned AVCHD clips, first copy them to a new folder. After the
copy is complete, theindicator is removed, and the clips are combined ina new clip that you can transcode. For more information, see "Transcoding
clips" on page 35.
2. Click the Export button

at the top of the Catalyst Prepare window, and use the Export

pane to choose a destination and format for your exported files.
3. The Export clips to box displays the path to the folder where the selected files will be
exported. You can type a path in the box or click the Browse button to choose a folder.
4. If you want to rename files, select the Rename files check box. Renaming ensures thatsource files will not be overwritten.
nType a string in the Prefix box if you want to start all file names with the same text.

nChoose a setting from the Numbering drop-down list to indicate whether you wantto number clips or use their original file names.

n36Type a string in the Suffix box if you want to end all file names with the same text.

CHAPTER 2

For example, if you wanted to name clips using a convention such as
Commercial_001_Camera1.mxf, you would type Commercial_ in the Prefix box,
choose 3 digits from the Numbering drop-down list, and type _Camera1 in the
Suffix box.
If you're exporting a still-image sequence for use in an editor that has specificfile-naming requirements, you can use the Rename files controls to ensure
your exported files are compliant with your editor's requirements.
5. The Source Metadata section shows you the file name, color space format, frame size,and frame rate of the selected clip.
Source metadata is not displayed when a storyboard or clip list is selected.
Click the Reset buttonin the Source Metadata heading in the Inspector pane toreset the Color Space based on the clip's metadata or the selected SR Live
metadata source. For more information, see "SR Live for HDR settings" on page174.
6. Use the Transcode Settings section to choose the format for your exported files. If you
need to reset the transcode settings to their default values, click the Reset button.

a. If you want to use a transcode preset to choose the settings for your exported files,
choose a setting from the Transcode preset drop-down list, and then click Export.
If you want to choose custom transcoding settings, choose Custom from theTranscode preset drop-down list and continue to step b.
For more information, see "Transcoding presets" on page 51.
When you select a video processing device other than your CPU in theapplication settings dialog, high-quality deinterlacing and upscaling areapplied to convert SD and HD sources to modern progressive HD and UHD
assets. For more information, see "Choosing a video processing device" onpage 169.
oHigh-quality upscaling is applied during transcoding when you choose an
HD or UHD render preset.

oPlease note that some systems with limited GPU memory are notsupported.

WORKING WITH LIBRARIES

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b. When exporting to a video format, choose a setting from the Output color space
drop-down list to choose the color space that will be used for rendering the newfiles.
You can choose Same as preview or Same as external monitor (if an externalmonitor is enabled) to match the output color space and color adjustments to yourvideo preview or external monitor setting. For more information, see "Editing
Catalyst Prepare options" on page 169.
If the selected color space includes color adjustments, the color adjustments
icon

is displayed in white and a ToolTip notifies you that color

adjustments will be included. If the selected color space does not include
color adjustments, the color adjustments icon

is displayed in gray and a

ToolTip notifies you that color adjustments will be excluded.
If the selected output color space is not compatible with the source color
space, a warning is displayed to notify you that the clip cannot be exported
using the current settings.
SR Live settings are applied only when the Output color space drop-down is
set to Same as preview or Same as external monitor. For more information,
see "SR Live for HDR settings" on page 174.
c. Choose a setting from the Format drop-down list to indicate the file format you
want to use for your exported files.
Format settings that are not supported by the selected Output color space will
not be available.
When transcoding to DPX format, you can type a value in the Starting frame
index box to append a numeric index to transcoded file names.
OpenEXR is available only for S-Gamut, RAW, or X-OCN sources when
Output color space is set to ACES, Rec.2020/Linear, S-Gamut/Linear or SGamut3/Linear.
ProRes is available on macOS only.
d. Choose a setting from the Frame size drop-down list to choose the dimensions of
the rendered frame, or choose Same as source to match the selected clip.
e. Choose a setting from the Frame rate drop-down list to choose the number offrames per second for the rendered clip, or choose Same as source to match the38

CHAPTER 2

selected clip.
f. Choose a setting from the Render preset drop-down list to choose the settings
that will be used for the exported files.
Choose the Best match preset if you want Catalyst Prepare to choose themost appropriate preset for each selected clip.
Render preset settings that are not supported by the selected Output color
space and Format will not be available.
Please note that the XAVC Long 422 3840x2160 200 Mbps (Sony) renderpresets require 16 GB or more RAM. If you're using a dedicated GPU, thepresets also require 4 GB or more GPU memory.
g. If you want to create a file with segmented body partitions from a single bodypartition, select the Create Sony Professional Disc partitions or Create segmented
body partitions check box. When the check box is cleared, body partitions are notmodified.
The Create Sony Professional Disc partitions check box is available only
when XDCAM is selected in the Format drop-down list. Create segmented
body partitions is available only when XAVC Intra or XAVC Long is selectedin the Format drop-down list.
Files created with segmented body partitions may not be recognized properly
by some Sony camcorders, decks, or servers.
7. Enable the Use advanced settings switch if you need to adjust additional transcoding
settings.
a. Choose a setting from the Crop type drop-down list to choose the aspect ratio foryour transcoded file:oNone (letterbox/pillarbox): if the source frame is wider than the destination
frame, black bars are displayed at the top and bottom (letterbox). If thesource frame is narrower than the destination frame, black bars are
displayed on the sides of the frame (pillarbox).

oCenter crop (cut edges): if the source frame does not match the output
frame, the frame is centered, and the edges are cropped as needed.

WORKING WITH LIBRARIES

39

o

Use masking ratio: crops the frame to the masking ratio selected in the Clip
Settings menu. For more information, see "Playing media" on page 103.

b. Choose a setting from the Encode mode drop-down list to choose whether you
want to optimize image quality or transcoding speed.
c. Choose a setting from the Audio channels drop-down to choose how audio will berendered in the output file.
oSame as source: the rendered file will contain the same number of audio
channels as the source clip.

o

Map audio channels: you can choose how audio channels from the source
clip will be mapped to audio channels in the rendered file.
Each channel in the rendered file will be displayed with a drop-down list so
you can choose which source channel should be rendered to that channel.

d. Select the Stitch clips check box if you want to combine the selected clips into asingle continuous clip. The order of the clips in the new clip will match the order
they are displayed in Organize or Edit mode.
If you want the new clip to include continuous timecode based on the source clips'
timecode, select the Use continuous timecode check box. Clip order will be
adjusted as needed, and black frames will be added between clips to ensure thetimecode in the new clip is not interrupted. For more information, see "Stitchingclips" on page 128.
e. Select the Add custom metadata check box if you want to include custom
metadata items for the exported files. For each item that you define, an edit box isdisplayed to allow you to type the desired value for that metadata item. Custom
metadata is saved in a sidecar .json file.
The Add custom metadata check box is only displayed if you have created acustomMetadataExport.json file to define the items you want to export. For
more information, see "Exporting custom metadata" on page 109.
f. Select the Burn in timecode check box if you want to include timecode in thetranscoded video.
Click the position control below the check box to indicate where timecode will bepositioned in the frame.
The transcoded file will include the source clip's timecode. If you're transcoding astoryboard, each clip will display its source timecode.

40

CHAPTER 2

g. Select the Burn in clip name check box if you want to include the clip name in thetranscoded video.
Click the position control below the check box to indicate where the clip name will
be positioned in the frame.
If you rename a clip, the custom name will be displayed. For more information, see"Renaming clips" on page 21.
If you're transcoding a storyboard, each clip will display its source clip name.
h. If the Burn in timecode and/or Burn in clip name check boxes are selected, you
can select the Allow burn in within letterbox/pillarbox area check box if your output
format will include letterboxing or pillarboxing and you want to allow thetimecode/clip name to be placed in the letterbox/pillarbox area.
When the check box is cleared, the timecode/clip name will be limited to thesource frame area.
i. Select the Add watermark check box if you want to include a watermark image inthe transcoded video.
Click Browse to choose a JPEG or PNG image file.
Drag the Opacity slider to set the transparency/opacity of the watermark image.
Click the position control below the Opacity slider to indicate where the watermark
image will be positioned in the frame:o

If you need to render multiple frame sizes, create a full-frame transparent
PNG using the dimensions of your largest target frame size, and thewatermark image will be scaled as needed for the smaller frame sizes.

o

If your watermark image is smaller than the target frame size, no scaling isapplied and the image will be anchored at the selected position control.

j. Select the Use flip, rotate, and desqueeze settings check box if you're working
with rotated video or video that was filmed with an anamorphic lens and want topreserve the Flip horizontal, Flip vertical, rotation, and Anamorphic desqueeze
settings when transcoding. When the check box is not selected, letterboxing will
be applied.
For more information, see "Playing media" on page 103.
k. Select the Repair flash bands automatically check box if want to automaticallydetect and repair flash bands when transcoding.

WORKING WITH LIBRARIES

41

For more information, see "Repairing flash bands" on page 129.
l. Select the Use mark in/out points check box if you want to transcode only the
portion of the video between the mark in and mark out points. For more
information, see "Marking in and out points for playback" on page 100.
m. Select the Add padding to clips check box and type a number in the Seconds box
if you want to preserve media before the mark in/mark out points.
n. Select the Transcode using proxy source clip check box if you want to use theproxy as the source clip when transcoding. When you're transcoding a lowerresolution clip, using the proxy as your source media is faster.
o. Select the Override start timecode check box and type a number in the edit box tospecify the starting timecode for your transcoded clip. When the check box iscleared, the clip's timecode is used.
The Override start timecode check box is available when transcoding MXF
clips to DNxHD, SStP, XAVC-I, XAVC-L, and XDCAM formats.
If you want to save your transcoding settings, click the Transcode Tools buttonin the Transcode Settings heading and choose Save transcode preset.
For more information, see "Transcoding presets" on page 51.
8. Click Export.
If multiple clips are selected, the Export button at the bottom of the Export pane isdisplayed as Batch Export.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. Each
export job can contain multiple files if you have multiple files selected in step 2 above. If
you have multiple export jobs queued, a separate progress indicator is displayed for eachjob.

Copying clips to a device
Copying clips allows you to copy clips (or clip lists) from your library to another location. The
original clip name and format are preserved if possible, and color correction is not applied to the
copied clips.
You can drag a clip to a folder on a drive or device in the Places pane to copy the entire clip
(with no transcoding, color correction, or renaming).

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CHAPTER 2

1. Select the clips you want to copy in Organize or Edit mode.
The left pane allows you to navigate the folders in your library, and the middle pane
displays the contents of the selected foldernClick a file to select it.

nHold Shift and click the first and last file you want to select to select a range offiles.

n

Hold Ctrl (Windows) or ⌘ (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard

modifiers.
An

on a thumbnail indicates a clip that spans multiple files due to file-size

limitations but is displayed in Catalyst Prepare as a single virtual clip. Afteryou copy a spanned AVCHD clip, theindicator is removed, and the clips

are combined in a new clip that you can transcode. For more information, see"Transcoding clips" on page 35.
2. Click the Copy button

at the top of the Catalyst Prepare window.

3. Use the Copy pane to choose a destination for your files.
a. Choose where you want to copy the selected files:oSelect the Copy clip to library radio button to copy the selected files to thecurrent library.

oSelect Copy clip to custom destination radio button to choose a folder
where the selected files will be copied. You can type a path in the box orclick the Browse button to choose a folder.
Select the Create subfolder check box if you want to copy the selected clips
to a subfolder in the destination.
n

If you want to name the subfolder based on the date and time you
copied the files, choose Time stamped from the drop-down list.

WORKING WITH LIBRARIES

43n

If you want to name the subfolder yourself, choose Custom folder
name from the drop-down list and type a name in the box.
The Create subfolder check box is not available when copying
to a known folder structure.
For more information about working with FTP devices, pleasesee " Working with FTP devices" on page 25.

b. Select the Add to bin check box and choose a bin from the drop-down list if you
want to add the selected clips to a bin in your library.
For more information, see "Adding bins to a library" on page 17.
c. If you want to rename files, select the Rename files check box. Renaming ensuresthat source files will not be overwritten.
oType a string in the Prefix box if you want to start all file names with thesame text.

oChoose a setting from the Numbering drop-down list to indicate whether
you want to number clips or use their original file names.

oType a string in the Suffix box if you want to end all file names with thesame text.
For example, if you wanted to name clips using a convention such as
Commercial_001_Camera1.mxf, you would type Commercial_ in thePrefix box, choose 3 digits from the Numbering drop-down list, and type _Camera1 in the Suffix box.
If you're exporting a still-image sequence for use in an editor that has
specific file-naming requirements, you can use the Rename files
controls to ensure your exported files are compliant with your editor's
requirements.

d. Select the Copy all related media radio button if you want to copy all media related
to the selected clips (metadata, proxy clips, and extra files).
When SR Live metadata source is set to External file in the Options pane,.srm files are not included with the copy operation. For more information, see"SR Live for HDR settings" on page 174.

44

CHAPTER 2

Only the Copy all related media option is available when the destination
volume is a Sony device.
If you need to copy all files from a volume, you can use the Back Up Sourcecommand. For more information, please see "Backing up a volume" on page53.
e. Select the Copy clips only radio button if you want to copy only full-resolution clips.
Only the Copy clips only option is available when copying to a non-Sony
device.
f. Select the Copy proxy only radio button if you want to copy only proxy-resolution
clips and all media related to the selected clips (metadata, proxy clips, and extra
files).
When you edit the metadata for a proxy file, the metadata for the fullresolution clip is updated when you copy the proxy clip back to the device.
For more information, see "Viewing and editing metadata" on page 105.
g. Select the Copy only between mark points check box if you want to copy only the
media between the in and out points when copying files. For more information,
see "Marking in and out points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported forsome clip formats. Those clips will be transcoded using the Default transcodeformat setting in Options. For more information, see "Marking in and out
points for playback" on page 100 or "Editing Catalyst Prepare options" onpage 169.
Copy only between mark points is not available when copying to or from an
FTP device.
h. If you want to create a file with segmented body partitions from a single bodypartition, select the Create Sony Professional Disc partitions or Create segmented
body partitions check box. When the check box is cleared, body partitions are notmodified.
The Create Sony Professional Disc partitions / Create segmented bodypartitions check box is not available during FTP copy.

WORKING WITH LIBRARIES

45

Files created with segmented body partitions may not be recognized properly
by some Sony camcorders, decks, or servers.
i. Select the Use fast device-to-device copy check box if you want to copy clips
directly between devices via FTP (FTPS protocol is not supported).
When this check box is selected, clips are copied directly between the devices
without copying to your computer.
Device access is not available during a fast device-to-device copy:oCopy progress is not displayed.

oDevice-to-device copy operations cannot be canceled.

j. Select the Copy with verification check box if you want to verify clips as they are
copied.
The Copy with verification controls are not available when the source ordestination volume is an FTP device or when the destination volume is a
Professional Disc Drive unit.
oChoose a setting from the Verification mode drop-down list to choose
whether you want to verify the write operation only or also verify reading thesource file.
Verify read/write is not available when the source volume is a
Professional Disc Drive unit.

oChoose a setting from the Hash type drop-down list to choose the method(MD5, SHA1, CRC32, or xxHash64) that will be used to verify your copied
clips.

k. Select the Override start timecode check box and type a number in the edit box tospecify the starting timecode for your transcoded clip. When the check box iscleared, the clip's timecode is used.
The Override start timecode check box is available when copying MXF clips.
The Override start timecode check box is not available when copying to/froman FTP device.
l. Select the Preserve source UMID check box if you want to preserve a clip's UMID
(Unique Material Identifier) when copying it to an FTP device. When the check box
is cleared, the clip's UMID may be changed when it is copied to the device.

46

CHAPTER 2

The Preserve source UMID check box is available when copying from a local
drive to a Sony FTP device.
4. Click Copy.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. Eachcopy job can contain multiple files if you have multiple files selected in step 2 above. If
you have multiple jobs queued, a separate progress indicator is displayed for each job.

Rendering a storyboard as separate files
You can convert a storyboard's clips to another format. A separate file is created for each clip, andthe original clips are not affected (overwritten, deleted, or altered) during the exporting process.
1. Click a storyboard in the Storyboards section of the left pane.
2. Select the clips you want to export.
3. Click the Export button

at the top of the Catalyst Prepare window.

4. Select the Render clips as separate files radio button.
5. Use the controls in the Export pane to choose a destination and format for your exported
files. For more information about the controls, please see "Transcoding clips" on page35.
6. Click Export.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. Each
export job can contain multiple files if you have multiple files selected in step 2 above. If
you have multiple export jobs queued, a separate progress indicator is displayed for eachjob.

Rendering a storyboard as a single clip
In addition to exporting individual storyboard clips, you can convert a storyboard to a single media
file. The original clips are not affected (overwritten, deleted, or altered) during the exporting
process.
1. Click a storyboard in the Storyboards section of the left pane.
2. Click the Export button

at the top of the Catalyst Prepare window.

3. Select the Render storyboard as single file radio button.

WORKING WITH LIBRARIES

47

4. Use the controls in the Export pane to choose a destination and format for your exported
file. For more information about the controls, please see "Transcoding clips" on page 35.
5. Click Export.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. If you
have multiple export jobs queued, a separate progress indicator is displayed for each job.

Exporting a storyboard to another editor
You can convert a storyboard to a project that you can edit in a video editor.
1. Click a storyboard in the Storyboards section of the left pane.
2. Click the Export button

at the top of the Catalyst Prepare window.

3. Select the Export storyboard as project radio button.
4. The Export project to box displays the path to the folder where the project will be
exported. You can type a path in the box or click the Browse button to choose a folder.
5. Type a name in the File name box to set the file name that will be used for your exported
project file.
6. Choose an export format from the Project format drop-down list:nApple Final Cut Pro X (*.fcpxml)nAdobe Premiere (*.prproj)n

Avid Media Composer (*.aaf)nVegas Pro EDL (*.txt)

7. Choose transcoding options:n

If you want to link to the original clips in the original locations, clear the Transcodemedia check box.

n

If you want to transcode the storyboard's media to another format when exporting,select the Transcode media check box and use the Transcode Settings controls tochoose transcoding options.
For more information about the controls, please see "Transcoding clips" on page35.

8. Click Export.

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Progress is displayed in the activity pane at the top of the Catalyst Prepare window. If you
have multiple export jobs queued, a separate progress indicator is displayed for each job.
An HTML report file is created in the same folder as the exported project with details
about the export. Any warnings or errors will be displayed in the report.

Uploading files to Ci Workspace
1. Select the files you want to upload in Organize or Edit mode.
2. Click the Share button

at the top of the Catalyst Prepare window.

3. From the Upload clip to drop-down list, choose Ci Workspace.
4. Use the Share pane to log on to your Ci account and follow the on-screen instructions to
upload the selected files to your Ci workspace.
Choose a setting from the Login method drop-down list to choose whether you want to log inwith a username/email or a Contributor Code.
If your account has multiple workspaces available, you can use the Workspace dropdown to choose the workspace that will be used by default.
5. Select the Upload original clips radio button if you want to upload the source clips, or selectTranscode clips before upload and choose your transcoding settings if you want to convert
the clips to another format before uploading.
nWhen you upload the original clips, the source format is preserved, and no color
adjustments are applied.

n

When you transcode before uploading, you can choose file format and coloradjustment settings for the uploaded files. For more information about the controls,
please see "Transcoding clips" on page 35.

6. Click Upload.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. If you
have multiple upload jobs queued, a separate progress indicator is displayed for each job.

Uploading files to YouTube
1. Select the files you want to upload in Organize or Edit mode.
2. Click the Share button

at the top of the Catalyst Prepare window.

3. From the Upload clip to drop-down list, choose YouTube.

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49

4. Use the Share pane to log on to your Google account and follow the on-screen instructions
to upload the selected file.
a. Rename your uploads if needed:oWhen you're uploading a single clip, the Title box displays the file name of theselected clip. You can type a new title to identify your video.

oWhen you're uploading multiple clips, select the Rename files check box.
nType a string in the Prefix box if you want to start all file names with thesame text.

nChoose a setting from the Numbering drop-down list to indicate
whether you want to number clips or use their original file names.

nType a string in the Suffix box if you want to end all file names with thesame text.
For example, if you wanted to name clips using a convention such as
Commercial_001_Camera1, you would type Commercial_ in the Prefix
box, choose 3 digits from the Numbering drop-down list, and type _Camera1 in the Suffix box.

b. Type a description of your movie in the Description box.
c. Type keywords you want to associate with your movie in the Tags box. Use words
that relate to your movie and describe its content. These tags will be used whensearching YouTube. Use commas to separate multiple keywords.
d. From the Privacy drop-down list, choose a setting to set broadcast options for yourmovie. Public videos can be seen by any YouTube user; private videos can be seen
only by members you specify; unlisted videos can be seen by anyone who has a linkto the video, but they are not included in YouTube searches.
e. Choose a setting from the Category drop-down list. The category you choose is used
to classify videos on the YouTube site.
f. Choose a setting from the Frame size drop-down list to choose the frame size of thevideo.
g. Choose a setting from the Frame rate drop-down list to the frame rate of the video.
h. Enable the Use advanced settings switch if you need to adjust additional transcoding

50

CHAPTER 2

settings. For more information about the controls, please see "Transcoding clips" onpage 35.
5. Click Upload.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. If you
have multiple upload jobs queued, a separate progress indicator is displayed for each job.

Transcoding presets
Transcode presets make it easy to transcode multiple files with the same settings.
Presets are saved in the following folder:nWindows: C:\Users\<user>\Documents\Sony\Catalyst\Transcode Presets\nmacOS: /Users/<user>/Documents/Sony/Catalyst/Transcode Presets/

Importing transcode presets
If you're transferring preset files across computers, copy the .ctranscode files from the source
computer to the destination computer. Presets are saved in the following folder:nWindows: C:\Users\<user>\Documents\Sony\Catalyst\Transcode Presets\nmacOS: /Users/<user>/Documents/Sony/Catalyst/Transcode Presets/

Close and restart the application to load the new presets.

Saving transcoding presets
Saving a preset allows you to reuse transcoding settings easily and transfer settings acrosscomputers.
1. Click the Export button

at the top of the Catalyst Prepare window.

2. Use the Transcode Settings section of the Export pane to adjust your settings as needed.
For more information, see "Exporting media from a library" on page 25.
3. Click the Transcode Tools buttonin the Transcode Settings.

4. Click Save transcode preset in the Transcode Tools menu.
5. Type name for your preset in the File name box and click OK.

WORKING WITH LIBRARIES

51

Preset files are saved in the following folder:nWindows: C:\Users\<user>\Documents\Sony\Catalyst\TranscodePresets\n

macOS: /Users/<user>/Documents/Sony/Catalyst/Transcode Presets/

Deleting transcoding presets
Deleting a preset removes it from your computer.
1. Click the Export button

at the top of the Catalyst Prepare window.

2. From the Transcode preset drop-down list, select the preset you want to delete.
3. Click the Transcode Tools buttonin the Transcode Settings.

4. Click Delete transcode preset in the Transcode Tools menu.
5. When prompted to confirm deleting the preset, click Delete.

52

CHAPTER 2

Relinking library media
Relinking allows you to relink media files within a library when you move a library to a different driveor use media from an external drive.
1. Open a library. For more information, see "Creating or opening a library" on page 9.
2. In the Places pane, click the Library buttonand choose Relink from the menu.

3. For each clip, the Relink Clips dialog displays the original clip and its linked clip.
Click a folder path and browse to a new location to choose a new location for your source
clips.
Click Locate Folder or Locate File (if a clip is missing) or a clip's path and browse to a new
file to choose a replacement file.
Click thebutton to display the full path.

4. Click Relink. The paths to the library clips are replaced, and your library is updated.

Backing up a volume
Catalyst Prepare allows you to create verified backups of your discs and cards. A backup is anexact replica of the original storage media — with all files and volume structure — backed up forlong-term safety and storage.
1. Click the Organize button at the top of the Catalyst Prepare window.
The Places pane on the left side of the Catalyst Prepare window displays a list of theavailable volumes.
2. Select a volume in the Places pane.
3. Click the Back Up Source button

at the bottom of the Places pane.

4. The Destination folder box displays the path to the parent folder where the backup will becreated. You can type a path in the box or click the Browse button to choose a folder.
5. The Subfolder box displays the name of the folder where the backup will be created.
6. Choose a setting from the Verification mode drop-down list to choose the method (MD5,
SHA1, CRC32, or xxHash64) that will be used to verify your backup file, or choose None to

WORKING WITH LIBRARIES

53

skip verification.
7. Click OK to start the backup.

54

CHAPTER 2

Chapter 3
Finding media
Organize mode allows you to browse your computer for media files that you want to add to yourmedia libraries, organize the clips in your media libraries, export clips to additional volumes ordevices, and transcode files.
For more information, see "Adding media to a library" on page 10 or "Organizing media in a library"on page 15.

FINDING MEDIA

55

An

on a thumbnail indicates that an error was detected with the clip.

A

indicates a clip from an Optical Disc Archive volume.

Anon a thumbnail indicates a clip that contains LUT metadata. For more information, see"Editing Color Adjustments controls" on page 131.
An

on a thumbnail indicates a clip that contains lens breathing metadata. For more

information, see "Correcting lens breathing."An

on a thumbnail indicates a clip that contains stabilization metadata. For more

information, see "Stabilizing clips" on page 123.
The stabilize icon is not displayed for clips on FTP devices, XDCAM Station volumes via
CIFS, XDCAM decks, XDCAM Drive units, or Optical Disc Archive volumes.
An

on a thumbnail indicates a rotated clip. For more information, see "Working withrotated clips."An

on a thumbnail indicates that a clip spans multiple discs on an Optical Disc Archive

volume. When you play a clip that spans discs, an indicator is displayed in the timeline toidentify the point where the clip switches discs:

An

on a thumbnail indicates a clip that spans multiple files due to file-size limitations but isdisplayed in Catalyst Prepare as a single virtual clip. Spanned XDCAM EX clips can betranscoded directly, but AVCHD clips must be copied first.
To transcode spanned AVCHD clips, first copy them to a new folder. After the copy iscomplete, theindicator is removed, and the clips are combined in a new clip that you cantranscode. For more information, see "Exporting media from a library" on page 25 or"Exporting media from a library" on page 25.
An

on a thumbnail indicates a proxy clip that does not have a full-resolution clip available.

Clip lists and spanned clips are not supported in Catalyst Prepare libraries.

56

CHAPTER 3

Connect to a device via FTP
You can use Catalyst Prepare to work with clips on a remote server using FTP/FTPS in muchthe same way you work with clips on your computer's drives.
For more information, see " Working with FTP devices" on page 25.

Format a USB drive for PZW-4000
Select a USB drive in the Devices tab, click the Tools button, and choose Format for PZW-

4000 from the menu.
If the drive you want to format is not displayed in the Devices tab, you may need to format it
using your computer's operating system first.
After formatting the drive, the drive will be treated as read-only media by the PZW-4000.
Catalyst Prepare can write to the drive, and the PZW-4000 can import clips to its internal drive.
If you want to create the XDROOT folder on a formatted drive, select a USB drive in Organize
mode, click the Tools button, and choose Create XDROOT folder from the menu.

FINDING MEDIA

57

Displaying files in a list or thumbnail mode
Click the button to toggle thumbnail
In thumbnail mode (In list mode (and listmode.

), the Media Browser displays thumbnail images and file names.

), you can click the headings in the Media Browser to sort the file list by various

attributes. Click the heading again to sort in ascending or descending order. An arrow isdisplayed to indicate the current sorting method:

58

CHAPTER 3

Searching for clips
1. Select the folder you want to search. Subfolders will be included in your search.
2. Click the Search button

to display the Search bar at the top of the Media Browser.

3. Type your search terms in the Search bar. The Media Browser displays all clips in theselected folder that contain your search terms in the file name or Summary metadata.
Select a clip and click Go to folder
Click the Close button

to navigate to a clip's folder.

to close the Search bar and clear the search results from theMedia Browser.
Select a different folder to clear your search terms and start a new search in the selected
folder.

Filtering clips
You can use the Filter button

to filter the contents of the Media Browser. You can filter files by

file type, file format, date created, or flag metadata.
1. Select the folder you want to view.
2. Click the Filter button

to display the Filter By menu at the top of the Media Browser.

3. Enable the Filter switch at the top of the menu to enable the filter.
4. Select the check box for each filter you want to apply.

FINDING MEDIA

59

For the Type, Format, and Flag filters, you can choose is or is not to indicate whether files
that match the filter should be included or excluded from the Media Browser.
For the Date Created filter, you can choose to display files created on or before a date, on orafter a date, or between two dates.
To turn off the filter and display all files in the Media Browser, turn off the Filter switch at the
top of the menu.
Using filtering, you can quickly find and select clips that you had tagged OK during
shooting and copy or transcode the filtered clips. For more information, see"Transcoding clips" on page 35 or "Copying clips to a device" on page 42.

Selecting filesnClick a file to select it.
Growing MXF files are displayed with the following icon:

Copying is not available when growing and nongrowing files are selected.
nHold Shift and click the first and last file you want to select to select a range of files.

n

Hold Ctrl (Windows) or Command (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard modifiers.

Showing source clips
1. Select a file.
2. Click the File/Clip button

at the bottom of the Media Browser and choose Show in

Finder (macOS) or Show in Explorer (Windows) to view the source clip in its containing
folder.

Managing SxS and Professional Disc volumes
If you need to format an SxS card, please use the Memory Media Utility.
If you need to format or finalize an XDCAM Professional Disc volume, please use the XDCAM
Drive Software.

60

CHAPTER 3

Supported video formats for reading
Catalyst Prepare supports reading the following video formats from volumes or as independent
clips:XDCAM
SD format
Format

Frame

Frame

Field

Size

Rate

Order

DV

720x480

59.94iLower

DV

25 CBR

4x16 bitDV

720x576

50i

Lower

DV

25 CBR

4x16 bit

MPEG IMX

720x51259.94i

Upper

MPEG-2 Intra

30, 40,4x24 bit /50 CBR

8x16 bit30, 40,4x24 bit /50 CBR

8x16 bit

90 CBR

4x24 bit /MPEG IMX

720x608

Uncompressed

720x486

50i

59.94i

Upper

Upper

Video Codec

Bit Rate

Audio
Channels

MPEG-2 Intra

Uncompressed

8x16 bit
Uncompressed

720x576

50i

Upper

Uncompressed

90 CBR

4x24 bit /8x16 bit

HD format
FormatFrame Size

Pixel

Frame Rate

Video Codec

Bit Rate

50p, 59.94p

MPEG-225 CBR

Aspect
Ratio
MPEG

1280x720

1.0

HD
MPEG

Long GOP
1280x720

1.050p, 59.94p

HD
MPEG

1280x720

1.050p, 59.94p

HD

MPEG-250 CBR

Long GOP
1440x1080

1.333

HD
MPEG

35 VBR

Long GOP

HD
MPEG

MPEG-21440x1080

1.333

23.976p, 25p, 29.97p,

MPEG-2

50i, 59.94i

Long GOP

23.976p, 25p, 29.97p,

MPEG-2

50i, 59.94i

Long GOP

17.5 CBR

25 CBR

FINDING MEDIA

61

FormatFrame Size

Pixel

Frame Rate

Video Codec

Bit Rate

23.976p, 25p, 29.97p,

MPEG-235 CBR

50i, 59.94i

Long GOP

23.976p, 25p, 29.97p,

MPEG-2

Over CrankLong GOP

23.976p, 25p, 29.97p,

MPEG-2

Over CrankLong GOP

23.976p, 25p, 29.97p,

MPEG-2

Over CrankLong GOP

23.976p, 25p, 29.97p,

MPEG-235 CBR,

50i, 59.94i

Long GOP

50 CBR

23.976p, 25p, 29.97p,

MPEG-225 CBR

Over CrankLong GOP

Aspect
Ratio
MPEG

1440x1080

1.333

HD
MPEG

1440x540

0.667

HD
MPEG

1440x540

0.667

HD
MPEG

1440x540

0.667

HD
MPEG

1920x1080

1.0

HD422
MPEG

1920x540

0.5

HD422

8.75 CBR

12.5 CBR

17.5 CBRXDCAM EX
FormatFrame Size

Pixel

Frame Rate

Aspect

Field

Video

Audio

Bit

Order

Codec

Codec

Rate

Lower

DV

PCM,

25

48 kHz,

CBR

Ratio
DV

720x4800.909159.94p16 bitDV

720x576

1.0926

50i

Lower

DV

PCM,

25

48 kHz,CBR

16 bit
MPEG

23.976p, 25p,

MPEG-2

PCM,

35

HD (EX-

29.97p, 50p,

Long

48 kHz,

VBR

HQ)

59.94pGOP

16 bit50i, 59.94i

MPEG-2

PCM,

25

HD (EX-Long

48 kHz,

CBR

SP)

GOP

16 bit23.976p, 25p,

MPEG-2

PCM,

35

HD (EX-

29.97p, 50i,

Long

48 kHz,

VBR

HQ)

59.94i

GOP

16 bit

MPEG

MPEG

62

1280x720

1440x1080

1440x1080

CHAPTER 3

1.0

1.333

1.333

FormatFrame Size

Pixel

Frame Rate

Field

Video

Audio

Bit

Order

Codec

Codec

Rate

23.976p, 25p,

MPEG-2

PCM,

35

HD422

29.97p, 50i,

Long

48 kHz,VBR(EX-HQ)59.94i

GOP

16 bitAspect
Ratio
MPEG

1920x1080

1.0

FINDING MEDIA63

XAVC Intra
FormatFrame Size

Pixel

Frame Rate

Aspect

Video

Audio

Bit

Codec

Channels

Rate

Ratio

(PCM, 48
kHz, 24 bit)XAVC Intra

1440x1080

1.333

50i, 59.94i,

MPEG-423.976p, 25p,

AVC Intra

8

CBG
50

29.97pXAVC Intra

1920x1080

1.050i, 59.94i,

MPEG-423.976p, 25p,

AVC Intra

8, 16

CBG
100

29.97p, 50p,
59.94pXAVC Intra

1920x1080

1.050i, 59.94i,

MPEG-423.976p, 25p,

AVC Intra

8

CBG
200

29.97p, 50p,
59.94pXAVC Intra

1920x1080

1.0

HFR
XAVC Intra

2048x1080

1.050p, 50i,

MPEG-459.94p, 59.94i

AVC Intra

23.976p, 24p,

MPEG-425p, 29.97p,

AVC Intra

0

CBG
100

8

VBR

8, 16

CBG

50p, 59.94p
XAVC Intra

2048x1080

1.0

23.976p, 24p,

MPEG-425p, 29.97p,

AVC Intra

100

50p, 59.94p
XAVC Intra

3840x2160

1.0

23.976p, 25p,

MPEG-429.97p, 50p,

AVC Intra

8

VBR

8, 16

CBG

59.94pXAVC Intra

3840x2160

1.0

23.976p, 25p,

MPEG-429.97p, 50p,

AVC Intra

300

59.94pXAVC Intra

4096x2160

1.0

23.976p, 24p,

MPEG-425p, 29.97p,

AVC Intra

8

VBR

8, 16

CBG

50p, 59.94p
XAVC Intra

4096x2160

1.0

23.976p, 24p,

MPEG-425p, 29.97p,

AVC Intra

50p, 59.94p

64

CHAPTER 3300

XAVC Long-GOP
FormatFrame Size

Pixel

Frame

Video

Audio

Bit Rate

Aspect

Rate

Codec

50p,

MPEG-44-channel

80

59.94p

AVC Long,

PCM, 48(Maximum)High 422

kHz, 24 bit

Ratio
XAVC Long

1280x720

1.0

ProfileXAVC Long

1920x1080

1.0

23.976p,

MPEG-44-channel

80

25p,

AVC Long,

PCM, 48(Maximum)29.97p,High 422

kHz, 24 bit

50p, 50i,

Profile59.94p,59.94iXAVC Long

3840x2160

1.0

23.976p,

MPEG-44-channel

200

25p,

AVC Long,

PCM, 48(Maximum)29.97p,High Profile

kHz, 24 bit

23.976p,

MPEG-4MPEG-425p,

AVC Long,

AAC, 229.97p,High Profile

channels,

50p,
59.94pXAVC Long

480x270

1.0

Proxy

50p,

48 kHz,59.94p

256 kbps

1 or .5 Mbps

MPEG-4
AAC, 6(5.1)
channels,
48 kHz,640 kbps
XAVC Long
Proxy

640x360

1.0

23.976p,

MPEG-4MPEG-425p,

AVC Long,

AAC, 229.97p,High Profile

channels,

50p,

48 kHz,59.94p

256 kbps

3 MbpsFINDING MEDIA

65

FormatFrame Size

Pixel

Frame

Video

Aspect

Rate

Codec

Audio

Bit Rate

Ratio
MPEG-4
AAC, 6(5.1)
channels,
48 kHz,640 kbps
XAVC Long

1280x720

Proxy

1.0

23.976p,

MPEG-4MPEG-425p,

AVC Long,

AAC, 229.97p,High Profile

channels,

50p,

48 kHz,59.94p

256 kbps
MPEG-4
AAC, 6(5.1)
channels,
48 kHz,640 kbps

66

CHAPTER 3

9 MbpsXAVC S
FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
XAVC Long

480x270

1.0

Proxy

XAVC Long

640x360

1.0

Proxy

XAVC Long

1280x720

1.0

23.976p,

MPEG-4 AVC

MPEG-425p,

Long, High

AAC, 229.97p,Profilechannels,

50p,

48 kHz,59.94p

256 kbps

23.976p,

MPEG-4 AVC

MPEG-425p,

Long, High

AAC, 229.97p,Profilechannels,

50p,

48 kHz,59.94p

256 kbps

23.976p,

MPEG-4 AVC

2-channel

25p,

Long, Main

PCM, 48

29.97p,Profile or High

kHz, 16 bit

50p,

Profile59.94p410404-channel
PCM, 48
kHz, 24 bit

XAVC Long

1280x720

1.0

Proxy

XAVC Long

1280x720

1.0

23.976p,

MPEG-4 AVC

MPEG-425p,

Long, High

AAC, 229.97p,Profilechannels,

50p,

48 kHz,59.94p

256 kbps

100p,

MPEG-4 AVC

2-channel

119.88p

Long, Main

PCM, 48

Profile or High

kHz, 16 bit

Profile16

80

4-channel
PCM, 48
kHz, 24 bit

XAVC Long

1440x1080

1.0

23.976p,

MPEG-4 AVC

2-channel

25p,

Long, Main

PCM, 48

29.97p,Profile or High

kHz, 16 bit

50p,

Profile80

4-channel

FINDING MEDIA

67

FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
59.94p

PCM, 48
kHz, 24 bit

XAVC Long

1920x1080

1.0

23.976p,

MPEG-4 AVC

2-channel

25p,

Long, Main

PCM, 48

29.97p,Profile or High

kHz, 16 bit

50p,

Profile59.94p80

2/4channel
PCM, 48
kHz, 24 bit

XAVC Long

1920x1080

1.0

100p,

MPEG-4 AVC

2-channel

119.88p

Long, Main

PCM, 48

Profile or High

kHz, 16 bit

Profile150

2/4channel
PCM, 48
kHz, 24 bit

XAVC Long

1920x1080

1.0

Proxy

XAVC Long

1920x1080

1.0

23.976p,

MPEG-4 AVC

MPEG-425p,

Long, High

AAC, 229.97p,Profilechannels,

50p,

48 kHz,59.94p

256 kbps

25p, 30p

AVC S Long

MPEG-4

4:2:0 8-bit MP4

AAC, 2channels,

25

16
50

48 kHz,256 kbps
XAVC Long

1920x1080

1.050p, 60p

AVC S Long

MPEG-4

4:2:0 8-bit MP4

AAC, 2channels,

25
50

48 kHz,256 kbps
XAVC Long

1920x1080

1.0

24p

AVC S Long

MPEG-4

4:2:0 8 bit-MP4

AAC, 2channels,

68

CHAPTER 3

50

FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
48 kHz,256 kbps
XAVC Long

1920x1080

1.0

100p,

AVC S Long

MPEG-4120p

4:2:0 8 bit-MP4

AAC, 2channels,

60
100

48 kHz,256 kbps
XAVC Long

1920x1080

1.024p, 25p,

XAVC S Long

2-channel

30p,50p,

4:2:2 10-bit

PCM, 4860p

MP4kHz, 16 bit

50

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

1920x1080

1.0

24p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit89

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

1920x1080

1.0

25p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

93

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

1920x1080

1.0

30p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

111

2/4channel

FINDING MEDIA

69FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
PCM, 48
kHz, 24 bit
XAVC Intra

1920x1080

1.0

50p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

185

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

1920x1080

1.0

60p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

222

2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.0

23.976p,

MPEG-4 AVC

2-channel

25p,

Long, Main

PCM, 48

29.97pProfile or High

kHz, 16 bit

Profile188

2/4channel
PCM, 48
kHz, 24 bit

XAVC Long

3840x2160

1.0

50p,

MPEG-4 AVC

2-channel

59.94pLong, Main

PCM, 48

Profile or High

kHz, 16 bit

Profile200

2/4channel
PCM, 48
kHz, 24 bit

XAVC Long70

3840x2160

CHAPTER 3

1.0

100p,

MPEG-4 AVC

2-channel

119.88p

Long, Main

PCM, 48

Profile or High

kHz, 16 bit200

FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
Profile2/4channel
PCM, 48
kHz, 24 bit

XAVC Long

3840x2160

1.024p, 25p,

XAVC S Long

2-channel

30p

4:2:0 8-bit MP4

PCM, 48
kHz, 16 bit

60
100

2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.050p, 60p

XAVC S Long

2-channel

4:2:0 8-bit MP4

PCM, 48

150

kHz, 16 bit
2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.0

100p,

XAVC S Long

2-channel

120p

4:2:0 8-bit MP4

PCM, 48

200

kHz, 16 bit
2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.0

24p

XAVC S Long

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit100

2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.025p, 30p

XAVC S Long

2-channel

140

FINDING MEDIA

71

FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit
2/4channel
PCM, 48
kHz, 24 bit

XAVC Long

3840x2160

1.050p, 60p

XAVC S Long

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

200

2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.0

100p,

XAVC S Long

2-channel

120p

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

280

2/4channel
PCM, 48
kHz, 24 bit
XAVC Long

3840x2160

1.0

24p

XAVC S Long

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit100

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

3840x2160

1.0

24p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit
2/4channel
PCM, 48

72

CHAPTER 3

240

FormatFrame Size

Pixel

Frame

AspectRate

Video Codec

Audio

Bit
Rate

Ratio
kHz, 24 bit
XAVC Intra

3840x2160

1.0

25p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

250

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

3840x2160

1.0

30p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

300

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

3840x2160

1.0

50p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

500

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

3840x2160

1.0

60p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

600

2/4channel
PCM, 48
kHz, 24 bit
XAVC Intra

4096x2160

1.0

24p

XAVC S Intra

2-channel

4:2:2 10-bit

PCM, 48

MP4

kHz, 16 bit

230

FINDING MEDIA73

XAVC HS
FormatFrame Size

Pixel

Frame Rate

Aspect

Video

Audio

Codec

Bit
Rate

Ratio
HEVC

1920x1080

1.0

Proxy

HEVC

HEVC

HEVC

HEVC

HEVC

HEVC

HEVC

HEVC

HEVC

HEVC

74

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

CHAPTER 3

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

23.976p, 30p,

HEVC2-channel

50p, 59.94,

Long, 10-

PCM, 48 kHz,

100p, 119,98p

bit, 4:2:0

16 bit or 24 bit

23.976pHEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:0

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:0

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:0

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:0

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:0

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:2

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:2

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:2

16 bit or 24 bit

HEVC

2/4-channelLong, 10-

PCM, 48 kHz,bit, 4:2:2

16 bit or 24 bit

HEVC

2/4-channel

50p

59.94p100p119.88p

23.976p

50p

59.94p100p119.88p

16

30

45

78

200

200

60

200

100

280

280

FormatFrame Size

Pixel

Frame Rate

Aspect

Video

Audio

Codec

Bit
Rate

Ratio

HEVC

3840x2160

1.0

24p

Long, 10-

PCM, 48 kHz,bit, 4:2:2

16 bit or 24 bit

XAVC

2-channel

HS Long

PCM, 48 kHz,

4:2:0 10-bit

16 bitMP42/4-channel

30
50
100

PCM, 48 kHz,24 bitHEVC

3840x2160

1.050p, 60p

XAVC

2-channel

HS Long

PCM, 48 kHz,

4:2:0 10-bit

16 bitMP42/4-channel

45
75
150

PCM, 48 kHz,24 bitHEVC

3840x2160

1.0100p, 120p

XAVC

2-channel

HS Long

PCM, 48 kHz,

4:2:0 10-bit

16 bitMP4200

2/4-channel
PCM, 48 kHz,24 bitHEVC

3840x2160

1.0

24p

XAVC

2-channel

HS Long

PCM, 48 kHz,

4:2:2 10-bit

16 bit

MP4

50
100

2/4-channel
PCM, 48 kHz,24 bitHEVC

3840x2160

1.050p, 60p

XAVC

2-channel

HS Long

PCM, 48 kHz,

4:2:2 10-bit

16 bit

MP4

100
200

2/4-channel
PCM, 48 kHz,24 bit

FINDING MEDIA

75

FormatFrame Size

Pixel

Frame Rate

Aspect

Video

Audio

Bit

Codec

Rate

Ratio
HEVC

3840x2160

1.0100p, 120p

XAVC

2-channel

HS Long

PCM, 48 kHz,

4:2:2 10-bit

16 bitMP4280

2/4-channel
PCM, 48 kHz,24 bitHEVC

HEVC

7680x4320

7680x4320

1.0

1.0

23.976p, 25p,

HEVC

2/4-channel

29.97pLong, 10-

PCM, 48 kHz,

204

bit, 4:2:0

16 bit or 24 bit

23.976p, 25p,

HEVC

2/4-channel

260,

29.97pLong, 10-

PCM, 48 kHz,520

bit, 4:2:2

16 bit or 24 bit

XAVC H76

FormatFrame Size

Bits

Frame Rate

Quality

HEVC Long

7680x4320

1023.976p, 25p, 29.97p

520 Mbs

HEVC Intra

7680x4320

1023.976p, 25p, 29.97p

SQ, HQHEVC Intra

8192x4320

1023.976p, 24p, 25p、29.97p

SQ, HQCHAPTER 3XAVC Proxy
FormatFrame Size

Frame Rate

Video Codec

Audio

Bit
Rate

XAVC ProxyXAVC ProxyXAVC ProxyXAVC ProxyXAVC Proxy

480x270

640x360

720x480

720x576

23.976p, 25p,

MPEG-4 AVC

MPEG-4 AAC,

29.97p, 50p,

Long, Main

2 channels, 48

59.94pProfilekHz, 256 kbps

23.976p, 25p,

MPEG-4 AVC

MPEG-4 AAC,

29.97p, 50p,

Long, Main

2 channels, 48

59.94pProfilekHz, 256 kbps

59.94i

MPEG-4 AVC

MPEG-4 AAC,

Long, Main

2 channels, 48

ProfilekHz, 256 kbps

MPEG-4 AVC

MPEG-4 AAC,

Long, Main

2 channels, 48

ProfilekHz, 256 kbps

23.976p, 25p,

MPEG-4 AVC

MPEG-4 AAC,

29.97p, 50p,

Long, Main

2 channels, 48

59.94pProfile or High

kHz, 256 kbps

50i

1280x720

4

10

10

10

28

ProfileXAVC Proxy

1920x1080

50i, 59.94i,

MPEG-4 AVC

MPEG-4 AAC,

23.976p, 25p,

Long, Main

2 channels, 48

29.97p, 50p,

Profile or High

kHz, 256 kbps

59.94pProfile28

X-OCN
FormatFrame Size

Bits

Frame Rate

Quality

X-OCN

2048x1080

16

23.976p, 24p, 25p, 29.97p, 50p, 59.94p, HFR

LT, ST,(max. 240)

XT

23.976p, 24p, 25p, 29.97p, 50p, 59.94p, HFR

LT, ST,(max. 120p)

XT

23.976p, 24p, 25p, 29.97p

LT, ST,

X-OCN

X-OCN

3840x2160

4096x1716

16

16

XT
X-OCN

4096x2160

16

23.976p, 24p, 25p, 29.97p, 50p, 59.94p, HFR

LT, ST,(max. 120p)

XT

FINDING MEDIA

77

FormatFrame Size

Bits

Frame Rate

Quality

X-OCN

4096x3024

1623.976p, 24p, 25p, 29.97p,

LT, ST,
XT

X-OCN

4096x3432

16

23.976p, 24p, 25p, 29.97p

LT, ST,
XT

X-OCN

6048x2534

16

23.976p, 24p, 25p, 29.97p

LT, ST,
XT

X-OCN

6054x3192

16

23.976p, 24p, 25p, 29.97p

LT, ST,
XT

X-OCN

5674x3192

16

23.976p, 24p, 25p, 29.97p

LT, ST,
XT

X-OCN

5760x3036

16

23.976p, 24p, 25p, 29.97p, 50p, 59.94p

LT

X-OCN

5760x3240

16

23.976p, 25p, 29.97p, 50p, 59.94p

LT

X-OCN

6052x3192

16

23.976p, 24p, 25p, 29.97p, 50p, 59.94p

LT

X-OCN

6052x3404

16

23.976p, 25p, 29.97p, 50p, 59.94p

LT

X-OCN

6054x3272

16

23.976p, 24p, 25p, 29.97p

LT, ST,
XT

X-OCN

6048x4032

16

23.976p, 24p, 25p

LT, ST,
XT

X-OCN

8632x4552

16

23.976p, 24p, 25p, 29.97p

LT

X-OCN

8632x4856

1623.976p, 25p, 29.97p

LT

RAW
FormatFrame Size

Bits

Frame Rate

Compression

F5/F55RAW

2048x1080

16

23.976p, 24p, 25p, 29.97p, 50p,

SQ

59.94p, HFR (max. 240)
F5/F55RAW

3840x2160

16

23.976p, 24p, 25p, 29.97p, 50p,

SQ

59.94p, HFR (max. 120p)
F5/F55RAW

4096x2160

16

23.976p, 24p, 25p, 29.97p, 50p,

SQ

59.94p, HFR (max. 120p)
F65RAW

4096x2160

16

23.976p, 24p, 25p, 29.97p, 50p,

Lite, SQ

59.94p, HFR (max. 120)
FS700RAW

78

CHAPTER 3

2048x1080

16

23.976p, 25p, 29.97p, 50p, 59.94p,

SQ

FormatFrame Size

Bits

Frame Rate

Compression

HFR (max. 240)
FS700RAW

4096x2160

16

23.976p, 25p, 29.97p, 50p, 59.94p,

SQ

HFR (max. 120)

HDCAM SR (SStP)
FormatFrame Size

Bits

Color

Pixel

Space

AspectFrame Rate

Compression(Mbps)

Ratio
SSTP

1280x720

10

YUV

1.0

50p, 59.94p

Lite(220), SQ

422
SSTP

1920x1080

10

YUV

(440)
1.0

422

50i, 59.94i,

Lite(220), SQ

23.976p, 24p, 25p,

(440)29.97p, 50p,
59.94p
SSTP

1920x1080

10

RGB

1.0

444

50i, 59.94i,

SQ(440), HQ

23.976p, 24p, 25p,

(880)

29.97p, 50p,
59.94p
SSTP

1920x1080

12

RGB

1.0

444

50i, 59.94i,

HQ(880)23.976p, 24p, 25p,
29.97p, 50p,
59.94pSSTP

2048x1080

10

YUV

1.0

50p, 59.94p

Lite(220), SQ

422
SSTP

2048x1080

10

RGB

(440)
1.0

444

50i, 59.94i,

SQ(440)23.976p, 24p, 25p,
29.97pSSTP

2048x1080

10

RGB

1.0

444
SSTP

2048x1080

12RGB

23.976p, 24p, 25p,

HQ(880)29.97p1.044450i, 59.94i,

SQ(440)23.976p, 24p, 25p,
29.97pSSTP

2048x1080

12

RGB
444

1.0

23.976p, 24p, 25p,

HQ(880)29.97p, 50p,

FINDING MEDIA

79

FormatFrame Size

Bits

Color

Pixel

Space

AspectFrame Rate

Compression(Mbps)

Ratio
59.94pSSTP

2048x1080

12

RGB

1.0

444
SSTP

2048x1080

12RGB

23.976p, 24p, 25p,

SQ(440)29.97p1.0

44423.976p, 24p, 25p,

HQ(880)29.97p, 50p,
59.94pSSTP

2048x1556

10

RGB
444

80

CHAPTER 3

1.0

23.976p, 24p, 25p

HQ(880)NXCAM
FormatFrame Size

Pixel

Frame Rate

Video Codec

Audio

Bit

Codec

Rate

H.264/MPEG-4

Dolby AC-3

28

AVC

or PCM

Mbps

Aspect
Ratio
AVCHD

1920x1080

1.059.94p, 50p,

2 channels,
48 kHz, 16
bit
AVCHD

1920x1080

1.059.94i, 50i,

H.264/MPEG-4

Dolby AC-3

24 or

29.97p, 25p,

AVC

or PCM17

2 channels,

Mbps

23.976p

48 kHz, 16
bit
AVCHD

1280x720

1.0

59.94p, 50p

H.264/MPEG-4

Dolby AC-3

24 or

AVC

or PCM17

2 channels,

Mbps

48 kHz, 16
bit
AVCHD

1440x1080

1.333

59.94i, 50i

H.264/MPEG-4

Dolby AC-3

9 or 5AVC

or PCMMbps

2 channels,
48 kHz, 16
bit
MPEG-2

720x480SD0.909123.976p,or

29.97p,

MPEG-2

Dolby AC-3
2 channels,

1.212159.94i48 kHz, 16

9 Mbpsbit
MPEG-2SD

720x576

1.092625p, 50i

MPEG-2

Dolby AC-3or

2 channels,

1.456848 kHz, 16

9 Mbpsbit

FINDING MEDIA

81

AVC H.264/MPEG-4
FormatFrame Size

ScreenFrame Rate

AspectVideo

Audio Codec

Codec

Rate

Ratio
H.264/MPEG-4

1280x720

16:9

AVC

50p, 100p,
120p,

AVC,
8-bit,
4:2:0

H.264/MPEG-4

1920x1080

16:9

AVC

24p, 25p,
30p, 48p,
50p, 60p

H.264/MPEG-4

1920x1440

4:3

AVC

24p, 25p,
30p, 48p

AVC,
8-bit,
4:2:0
AVC,
8-bit,
4:2:0

H.264/MPEG-4

3840x2160

16:9

AVC

4096x2160

17:9

12p

4:2:0
AVC,

4:2:0
16:9

25p, 30p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

2704x1440

17:9

24p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4
AVC

1280x960

4:3

48p, 100p

AVC,
8-bit,
4:2:0

82

CHAPTER 3

w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGC

AAC

8-bit,

2704x1524

compression

25p, 29.97p,

AVC

H.264/MPEG-4

AAC

Mono, 48kHz,

50p, 59.94p

H.264/MPEG-4

Mono, 48kHz,

23.97p. 24p, AVC,
8-bit,

Bit

compression
w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGCFormatFrame Size

ScreenFrame Rate

AspectVideo

Audio Codec

Codec

Bit
Rate

Ratio
H.264/MPEG-4

848x480

16:9

240p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

640x480

4:3

25p, 30p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

240x180

25p, 29.97p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

320x180

25p, 29.97p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

320x240

25p, 29.97p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

480x270

25p, 29.97p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

640x480

25p, 29.97p

AVC

AVC,
8-bit,
4:2:0

H.264/MPEG-4

1280x720

AVC

50p, 60p,
100p,120p

AVC,
8-bit,
4:2:0

H.264/MPEG-4
AVC

1280x960

48p,
100p,120p

AVC,
8-bit,

Mono, 48kHz,
AAC
compression
w/ AGC
Mono, 48kHz,
AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC

FINDING MEDIA83

FormatFrame Size

ScreenFrame Rate

AspectVideo

Audio Codec

Codec

Rate

Ratio
4:2:0

compression
w/ AGC

H.264/MPEG-4

1920x1080

AVC

24p, 25p,
29.97p, 48p,
50p, 60p

H.264/MPEG-4

1920x1440

AVC

24p, 25p,
29.97p, 48p

AVC,
8-bit,
4:2:0
AVC,
8-bit,
4:2:0

H.264/MPEG-4

2704x1524

AVC

24p, 25p,
29.97pAVC,
8-bit,
4:2:0

H.264/MPEG-4

3840x2160

AVC

4096x2160

12p

4:2:0
AVC,

4:2:0
59.94i

AVC (HVO)

AVC,
8-bit,
4:2:0

H.264/MPEG-4
AVC (HVO)

720x57650i

AVC,
8-bit,
4:2:0

84

CHAPTER 3

w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC

bit, AAC

8-bit,

720x480

compression

2 channels, 16

AVC

H.264/MPEG-4

bit, AAC

25p, 29.97p,
50p, 59.94p

H.264/MPEG-4

2 channels, 16

23.97p. 24p, AVC,
8-bit,

Bit

compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGC
2 channels, 16
bit, AAC
compression
w/ AGCAS-11 DPP MXF
FormatFrame Size

Frame

Video Codec

Audio Codec

Rate
IMX-50720x576

25

Bit
Rate

MPEG-2 Intra

PCM, 48 kHz, 24
bit

XAVC Intra

1920x1080

25

MPEG-4

PCM, 48 kHz, 24

AVC Intrabit

FINDING MEDIA

85

Avid DNxHD®
Container: MOV or MXF
Audio Codec: PCM 44.1 kHz or 48 kHz, 16 bit or 24 bit
Frame Size

Family Name

Color

Frame Rate/Maximum Bit Rate

Space/Bits
1920x1080

Avid DNxHD®

4:4:4 10 bit

444
1920x1080

Avid DNxHD®

29.97p @ 440 Mbps, 25p @ 365 Mbps, 24p@ 350 Mbps, 23.976p @ 350 Mbps

4:2:2 10 bit

220x

60p @ 440 Mbps, 59.94p @ 440 Mbps, 50p@ 365 Mbps, 59.94i @ 220 Mbps, 50i @ 185
Mbps, 29.97p @ 220 Mbps, 25p @ 185 Mbps,
24p @ 175 Mbps, 23.976p @ 175 Mbps

1920x1080

Avid DNxHD®

4:2:2 8 bit

220

60p @ 440 Mbps, 59.94p @ 440 Mbps, 50p@ 365 Mbps, 59.94i @ 220 Mbps, 50i @ 185
Mbps, 29.97p @ 220 Mbps, 25p @ 185 Mbps,
24p @ 175 Mbps, 23.976p @ 175 Mbps

1920x1080

Avid DNxHD®

4:2:2 8 bit

145

60p @ 290 Mbps, 59.94p @ 290 Mbps, 50p@ 240 Mbps, 59.94i @ 145 Mbps, 50i @ 120
Mbps, 29.97p @ 145 Mbps, 25p @ 120 Mbps,
24p @ 115 Mbps, 23.976p @ 115 Mbps

1920x1080

Avid DNxHD®

4:2:2 8 bit

59.94i @ 145 Mbps, 50i @ 120 Mbps

4:2:2 8 bit

59.94i @ 100 Mbps, 50i @ 85 Mbps, 29.97p

145(subsampled
to 1440x1080)
1920x1080

Avid DNxHD®
100@ 100 Mbps, 25p @ 85 Mbps, 24p @ 80

(subsampled

Mbps, 23.976p @ 80 Mbps

to 1440x1080)
1920x1080

Avid DNxHD®

4:2:2 8 bit

36

60p @ 90 Mbps, 59.94p @ 90 Mbps, 50p @75 Mbps, 29.97p @ 45 Mbps, 25p @ 36
Mbps, 24p @ 36 Mbps, 23.976p @ 36 Mbps

1280x720

Avid DNxHD®

4:2:2 10 bit

220x

59.94p @ 220 Mbps, 50p @ 175 Mbps,
29.97p @ 110 Mbps, 25p @ 90 Mbps,
23.976p @ 90 Mbps

1280x720

86

Avid DNxHD®

CHAPTER 3

4:2:2 8 bit

59.94p @ 220 Mbps, 50p @ 175 Mbps,

Frame Size

Family Name

Color

Frame Rate/Maximum Bit Rate

Space/Bits
220

29.97p @ 110 Mbps, 25p @ 90 Mbps,
23.976p @ 90 Mbps

1280x720

Avid DNxHD®

4:2:2 8 bit

145

59.94p @ 145 Mbps, 50p @ 115 Mbps,
29.97p @ 75 Mbps, 25p @ 60 Mbps, 23.976p@ 60 Mbps

1280x720

Avid DNxHD®

4:2:2 8 bit

59.94p @ 100 Mbps, 50p @ 85 Mbps, 29.97p

100@ 50 Mbps, 25p @ 45 Mbps, 23.976p @ 50

(subsampled

Mbps

to 960x720)

FINDING MEDIA

87

Apple ProRes
Container: MOV
Audio Codec: PCM
FormatFrame Size

Frame Rate

Video Codec

ProRes720x486

59.94i, 30p, 29.97p, 24p,

422 (proxy), 422 (LT), 422, 422

23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes720x576

50i, 25p

422 (proxy), 422 (LT), 422, 422(HQ), 4444, 4444 XQ (Windows
only)

ProRes960x720

60p, 59.94p, 50p,

422 (proxy), 422 (LT), 422, 422

30p,29.97p, 24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes

1280x720

60p, 59.94p, 50p,

422 (proxy), 422 (LT), 422, 422

30p,29.97p, 24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes

1280x1080

59.94i, 30p, 29.97p, 24p,

422 (proxy), 422 (LT), 422, 422

23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes1440x1080

59.94i, 50i, 30p, 29.97p, 25p,

422 (proxy), 422 (LT), 422, 422

24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes

ProRes1920x1080

2048x1080

60p, 59.94p, 50p, 59.94i, 50i,

422 (proxy), 422 (LT), 422, 422

30p, 29.97p, 25p, 24p,

(HQ), 4444, 4444 XQ (Windows

23.976p

only)

60p, 59.94p, 50p, 30p,

422 (proxy), 422 (LT), 422, 422

29.97p, 25p, 24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes2048x1556

60p, 59.94p, 50p, 30p,

422 (proxy), 422 (LT), 422, 422

29.97p, 25p, 24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes

3840x2160

60p, 59.94p, 50p, 30p,

422 (proxy), 422 (LT), 422, 422

29.97p, 25p, 24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

88

CHAPTER 3

FormatFrame Size

Frame Rate

Video Codec

ProRes4096x2160

60p, 59.94p, 50p, 30p,

422 (proxy), 422 (LT), 422, 422

29.97p, 25p, 24p, 23.976p(HQ), 4444, 4444 XQ (Windows
only)

ProRes5120x2160

60p, 59.94p, 50p, 30p,

422 (proxy), 422 (LT), 422, 422

29.97p, 25p, 24p, 23.976p(HQ), 4444 , 4444 XQ (Windows
only)

HDV
Container: MPEG-2 Transport Stream (Windows), MOV (macOS)
Audio Codec: MPEG-1 Audio Layer-2 (Windows). 2 channels, 48 kHz, 16 bit
FormatFrame Size

Pixel Aspect Ratio Frame Rate Interlace

Video Codec

HDV

1440x1080

1.333

MPEG-2 MP@H14

50i, 59.94i

Upper

FINDING MEDIA89

DVContainer: AVI (Windows), MOV (macOS)
Audio Codec: PCM, 2 channels, 32 kHz, 16 bit
FormatDV (SD)

DV (SD)

90

Frame

Frame

Field

Video

Bit

Size

Rate

Order

Codec

Rate

720x480

59.94i

Lower

DV

25

2 channels, 32 kHz,CBR

16 bit25

2 channels, 32 kHz,CBR

16 bit720x576

CHAPTER 3

50i

Lower

DV

Audio Channels

DPX
FormatFrame Size

Frame Rate

Image Sequence

Any

Any

FINDING MEDIA

91

OpenEXR
FormatFrame Size

Frame Rate

Image Sequence

Any

Any

Supported video devices
Catalyst Prepare supports the following video volumes and devices:
Folder Structure

Storage Media

Root Folder

Supported Format

XAVC-XD-StyleSxS memory

XDROOTXDCAM HD/HD422/IMX/DVCAM,

card (exFAT)

SStP, XAVC Intra, XAVC Long

XQD memory
card
XAVC-M4-StyleSxS memory

M4ROOTXAVC S, XAVC HS

card (exFAT)XQD memorycard
SD card
XAVC-PX-Style

SD cardPXROOTXAVC Proxy

AXS-Style

AXS memory

CINEROOT

F55RAW, F5RAW, FS700RAW, X-

card
SRM-Style

SR memory

OCN
Media root

F65RAW, SStPMedia root

XDCAM HD/HD422/IMX/DVCAM,

card
XD-Style

Professional
Disc

XAVC IntraSxS memory
card (UDF)
BPAV-StyleSxS memoryBPAV

XDCAM EX (MPEG HD, DVCAM)

AVCHD/BDMV

AVCHD

card (FAT32)
SD card
AVCHD structure92

CHAPTER 3

SD cardChapter 4
Playing media
When you double-click a file in Organize mode, the file is loaded in Edit mode, where you canpreview the file, log mark in and mark out points, and apply color correction. For more information
about using Organize mode, please see "Organizing media in a library" on page 15.

You can use the toolbar at the top of the pane to adjust and monitor audio levels, select audio
channels for preview, scale the video preview, view metadata, and adjust clip settings.
You can use the transport toolbar below the video to choose the playback mode, scrub the video,and control playback.

Previewing video
When you double-click a file in Organize mode, the file is loaded in Edit mode, where you canpreview the file, log mark in and mark out points, and apply color correction. For more information
about using Organize mode, please see "Organizing media in a library" on page 15.
You can also choose to display the video preview in a secondary window that you can position
anywhere on your screen or on a secondary display. For more information, see "Editing Catalyst
Prepare options" on page 169.

PLAYING MEDIA93

If you have multiple clips selected in the Media Browser on the left side of the window, theselected clips will play sequentially in the order they are displayed. The file name of thecurrent file will be displayed above the video preview, and a vertical line in the timeline
indicates where each selected clip begins:

If the current clip contains discontinuous timecode, an indicator is displayed in the timeline toidentify the discontinuity:A

indicates a clip from an Optical Disc Archive volume.

Anon a thumbnail indicates that a clip spans multiple discs on an Optical Disc Archive

volume. When you play a clip that spans discs, an indicator is displayed in the timeline toidentify the point where the clip switches discs:

Enable the Preview using proxy clips switch in Options if you want to use proxy clips forplayback if they are available. During playback, a Proxy indicator is displayed above the video
preview. For more information, see "Editing Catalyst Prepare options" on page 169.
Click the Playbutton to start playing the current video. Playback will start from the playback

position indicator and continue until the Mark Out position or the end of the file.
You can click the trackbar below the transport controls to set the play position indicator:

You can use the shuttle control on the transport toolbar to seek forward or backward or adjust the
playback speed. For more information, see "Playing media" on page 98.
For information about flipping and rotating video, enabling anamorphic desqueezing, anddisplaying safe zone and mask guides, please see "Playing media" on page 103.

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Changing the preview mode

When you're adjusting color correction, you can change the preview mode to allow you tocompare adjusted clips to the original source. For more information, see "Editing Color
Adjustments controls" on page 131.
Click the Preview button in the top-right corner of the video preview to choose a preview mode.
Split-screen previews allow you to split the video preview and waveform/histogram/vectorscope
monitor so you can see your affected and unaffected video at the same time.

n

Before: full-frame video is displayed in its original state.

nAfter: full-frame video is displayed in its color-corrected state.

nSplit: a single frame is displayed in a split-screen view with the original video on theleft and the color-corrected video on the right.

PLAYING MEDIA95

If you want to move the split location, hover over the preview frame. When the split
point is displayed, you can drag the handles at the top of bottom of the screen toadjust where the preview is split:n2 Up: two full frames are displayed in a split-screen view with the original video on
the left and the color-corrected video on the right.

Scaling the video preview
Click the magnifying glass to adjust the size of the video preview.

96nClick Fit to scale the video to fill the Video pane.

n

Click a preset to scale the video to a predefined magnification level.

CHAPTER 4

When the level is below 100%, you can drag the blue rectangle to pan and adjust thevisible portion of the frame.
nDrag the slider or click thenClick the thumbnail and roll your mouse wheel to zoom in or out.

andbuttons to choose a custom zoom level.

Toggling full-screen playback
Click

to display the Video pane in full-screen mode. Press Esc or click the Close button toexit full-screen mode.

Adjusting playback settings
Click the Playback Settings button to the left of the transport controls to display the Playback
Settings controls.
Speed/Quality
Select Speed if you want decoding to be optimized to preserve the frame rate.
Select Quality if you want decoding to be optimized to preserve video quality.
When using a device other than your CPU, high-quality deinterlacing and upscaling areapplied to convert SD and HD sources to modern progressive HD and UHD assets.
nHigh-quality deinterlacing is applied to interlaced source media when playback ispaused, during transcoding, and during playback when the Playback Settings
Speed/Quality setting is set to Quality.

nPlease note that some systems with limited GPU memory are not supported.

Real Time/All Frames
Select Real Time if you want to play the clip using its source frame rate. Audio is played at its
recorded rate, and video frames are skipped if necessary to preserve the playback rate.
Select All Frames if you want to ensure that all video frames are played. The frame rate may
be reduced if needed to ensure all frames are played. Audio is unavailable in this mode.
If XAVC S and XAVC HS playback is not smooth, we recommend using the All Frames
playback setting.

PLAYING MEDIA

97

n

Real Time/Speed:nReal Time/Quality:n

All Frames/Speed:n

All Frames/Quality:

Using the transport controls
The transport controls below the video preview allow you to control playback:ButtonDescription
Go to Start

Moves the playback position indicator to the Mark In position. Click again
to move to the beginning of the selected file.

Previous

Moves the playback position indicator one frame or field to the left.

Frame
Play

Playback will start from the playback position indicator and continue until
the Mark Out position or the end of the file.

Next

Moves the playback position indicator one frame or field to the right.

Frame
Go to End

Moves the playback position indicator to the Mark Out position. Clickagain to move to the end of the selected file.

Loop

Plays only the area between the Mark In and Mark Out points in a

Playback

continuous mode.
For more information, see "Marking in and out points for playback" onpage 100.

Navigating the timeline
After you open a file in View mode, drag the shuttle control to seek forward or backward from theplay position indicator to find an edit point. As you drag toward the ends of the shuttle control,
playback speed increases. Release the shuttle control to stop playback:You can also press the J, K, or L keys to use the keyboard as a shuttle control.

98

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Press and hold K while pressing J or L to emulate a shuttle knob mode. Press K+J to scrub left
or K+L to scrub right.
Item

Description

J

Scrub reverse mode. Press again to accelerate the playback rate.

K

Pause.

L

Scrub forward mode. Press again to accelerate the playback rate.

PLAYING MEDIA

99

Marking in and out points for playback
If you want to play only a portion of a video, you can use the Mark In and Mark Out buttons to selectthe portion of the video you want to play.
If mark in and out points have been set in an MXF clip, Catalyst Prepare will read the markin/out points from metadata. After you add a clip to the library, you can choose whether tosynchronize mark in/out points with the source clip:n

If you want to save mark in and mark out points with the library, clear the Synchronize
mark points with file check box on the Summary tab in the Inspector. For more
information, see "Viewing and editing metadata" on page 105.

nWhen the Synchronize mark points with file check box is cleared, mark in and mark out
points for MXF clips are saved back to the source media when you edit them in Catalyst
Prepare, and your library will be updated if the mark in and out points are edited on
disk.

1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a file in Organize mode to load it in Edit mode.
You can also use the Preview pane in Organize mode to adjust mark points.
3. Click the Logging button at the bottom of the Catalyst Prepare window.
4. Click the trackbar below the transport controls to set the play position indicator:

If the current clip contains discontinuous timecode, an indicator is displayed in the timeline
to identify the discontinuity:

5. Click the Mark In button.
6. Click the trackbar below the transport controls to set the play position indicator.
7. Click the Mark Out button.

100

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When you click the Playbutton, playback will start from the playback position indicatorand continue until the Mark Out position or the end of the file.
If you want to play the Mark In/Mark Out region in a continuous loop, select the Loop
Playback button.

You can quickly log mark in/out points by clicking the In, Out, and Length boxes at thebottom of the Catalyst Prepare window and typing new timecode values. (Not available
for MXF proxy-only clips with embedded timecode.)Type new values in the Mark in and Mark out boxes on the Summary tab in the
Inspector to edit the clip's mark in and mark out points. (Not available for MXF proxyonly clips with embedded timecode.) For more information, see "Viewing and editing
metadata" on page 105.
You can adjust mark in/out points by dragging the indicators above the trackbar.
To reset mark in/out points, click the More button and choose Reset mark in/out points.
If the current file contains essence marks, they will be displayed on the timeline asdiamonds . Essence marks are displayed in the Mark Points tab in metadata mode.
For more information, see "Viewing and editing metadata" on page 105.
When browsing your library, an indicator is displayed to represent a clip's mark in/out
points:Creating a snapshot of a frame
If you want to create a snapshot of the current frame, click the Snapshot buttonand choose

Copy snapshot to clipboard or Save snapshot.

PLAYING MEDIA

101

Copying a frame to the clipboard
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a file in Organize mode to load it in Edit mode.
3. Click the trackbar below the transport controls to set the play position indicator:

4. Click the Snapshot buttonand choose Copy snapshot to clipboard from the menu.

Press Ctrl+C (Windows) or ⌘ -C (macOS).
When the Catalyst Prepare window is resized, the snapshot commands are available in
the More Actions menu.
The current frame is copied to the clipboard using the standard resolution that is closest to
the preview resolution.

Saving a frame to a file
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a file in Organize mode to load it in Edit mode.
3. Click the trackbar below the transport controls to set the play position indicator:

4. Click the Snapshot buttonand choose Save snapshot from the menu.

Press Shift+S.
The current frame is copied to the clipboard using the standard resolution that is closest to
the preview resolution.

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You can save the location and format used for saving the file in Options. Click the Snapshot
buttonand choose Snapshot options from the menu. For more information, see"Editing Catalyst Prepare options" on page 169.

Adjusting and monitoring audio levels
Click the speaker in the activity pane at the top of the Catalyst Prepare window to display audio
controls.

Drag the Master Volume fader to increase or decrease audio levels. During preview, the meters
allow you to monitor the level of each audio channel.
If you want to choose which audio channels will be played, you can use the Channel Routing checkboxes. In the example above, the 1st, 3rd, and 5th channels are played through the left speaker
and the 2nd, 4th, and 6th channels are played through the right speaker.
Catalyst Prepare supports only stereo output devices.

Editing clip settings
Click thebutton above the video preview to edit clip playback settings.

PLAYING MEDIA

103

Select the Use flip, rotate, and desqueeze settings check box in the Export pane if you're
working with video that was filmed with an anamorphic lens and want to preserve the Fliphorizontal and Flip vertical, Rotate preview, and Anamorphic desqueeze settings whentranscoding. When the check box is not selected, letterboxing will be applied.
For more information, see "Exporting media from a library" on page 25.
Item

Description

Flip horizontal

Click the Flip horizontal or Flip vertical switch to flip the left-to-

Flip vertical
Rotate preview(degrees)right or top-to-bottom orientation of the video frame.
Select a button to rotate the video preview image.
Select Auto to use the clip-rotation metadata setting if available,or select 0, 90, 180, or 270 to specify the desired clip rotation.

Anamorphic
desqueezeShow safe areas

Select a desqueeze button to apply anamorphic stretching towidescreen video, or click Off to turn off stretching.
Click the switch to enable safe area guides and a center point in
the video preview.
When Show safe areas is enabled, Catalyst Prepare displays
rectangles marking 90% (action safe area) and 80% (title safearea) of the frame to serve as guidelines for framing.
Overlays are not displayed when using full-screen preview.

Masking ratio

Choose a setting from the drop-down list to enable shading in
the video preview to indicate how your content will appear.
Overlays are not displayed when using full-screen preview.
Aspect markers from Sony cameras are supported andpreserved even when the clip is rotated.
Select Use masking ratio from the Crop type drop-down listin the Export pane if you want to preserve the selectedmasking ratio when transcoding.
For more information, see "Exporting media from a library"on page 25.

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Chapter 5
Working with clips
Catalyst Prepare gives you control over your individual media clips.

Viewing and editing metadata
When you're in Organize or Edit mode, click the Inspector buttonin the toolbar to display

metadata for the currently selected file in the Inspector pane.
Click the Summary tab to view summary information associated with the file or configure audio
channels.
Click the File tab to view details about the source media and its metadata, including GPS
information (if present).
When a file contains GPS metadata, you can click the Latitude and Longitude values todisplay a map using the map service selected in the Open GPS links with drop-down list in the
Options menu. Links are not available when multiple clips are selected.
Click the Mark Points tab to view essence marks embedded in the file.
If the current file contains essence marks, they will be displayed on the timeline as a diamond .
If the current clip contains discontinuous timecode, an indicator is displayed in the timeline toidentify the discontinuity:

When Catalyst creates new non-realtime (NRT) metadata during MXF copy operations, metadata
for discontinuous timecode and essence marks is created.
New non-realtime metadata is not created when the source clip contains NRT metadata.

Setting the frame rate for a DPX or OpenEXR image sequence
1. Select a DPX or OpenEXR image sequence in the Media Browser.
2. Click the Summary tab.
3. Choose a value from the Frame rate drop-down list boxes to set the frame rate for playing
the selected image sequence.

WORKING WITH CLIPS

105

Editing mark in/out points
Click the Summary tab.
Type new values in the Mark in and Mark out boxes to edit the clip's mark in and mark out
points. For more information, see "Marking in and out points for playback" on page 100.
If you want to save mark in and mark out points with the library, clear the Synchronize markpoints with file check box.
When the Synchronize mark points with file check box is cleared, mark in and mark out
points for MXF clips are saved back to the source media when you edit them in Catalyst
Prepare, and your library will be updated if the mark in and out points are edited on disk.

Editing summary metadata
1. Click the Summary tab.
Click the Unlock button

to enable editing summary information for the selected files.

2. In the Logging section of the Summary tab, edit the Flag, Title, Creator, and Description
settings as needed.
When editing metadata for multiple selected files, (multiple values) is displayed if the files'
metadata does not match. Editing the value will replace the metadata for all selected files.
3. Click Saveto save the edited metadata values, or click Revert

edits.
Not all media formats support summary metadata.

106

CHAPTER 5

to discard your

When a clip has Flag metadata, an OK, NG (no good), or Keep indicator is displayed in
Organize mode:

You can also use Flag metadata to filter the contents of the Media Browser. For more
information, see " Filtering clips" on page 59.

Assigning audio channels
Assigning audio channels allows you to set up your clips for use in Catalyst Edit.
The Channel Assignment controls are not editable when multiple files with differing channel
counts are selected.
Channel Assignment controls are not available when no library is opened. For more
information, see "Working with libraries" on page 9.
Channel Assignment controls are not available when a spanned clip

is selected.

Channel Assignment controls are not available when editing a storyboard.
Click the speaker icon to turn a channel onor off.

Click the Mono/Stereo button to indicate whether a channel is a mono channel or part of astereo pair. Enabling Stereo will pair the channel with the next channel in the list.
Type a name in the edit box to identify the channel. For example, you might type Lav1 to identify
audio from a lavalier microphone.

WORKING WITH CLIPS107

If you want to save the current channel configuration as a preset, click the Channel Tools
iconand choose Save preset from the menu.

If you want to apply a preset channel configuration to the selected file, as a preset, click the
Channel Tools icon

and choose Load preset from the menu.

If you want to copy channel assignments between files, select the source file, click the
Channel Tools icon

, and choose Copy from the menu. Next, select the destination files,

click the Channel Tools icon

, and choose Paste from the menu.

If you want to set all of a clip's channels at once, click the Channel Tools buttonandchoose Set all to mono, Set all to stereo, or Reset.

Editing essence marks
1. Select a clip to display its metadata.
2. Click the Mark Points tab.
3. Click an essence mark's label or timecode value to type a new value.
Adding and editing essence marks is supported only for clips with non-realtime (NRT)
metadata and requires write access to the volume.
Editing essence marks is not available when FTP-based clips are selected.

Adding a mark point
1. Select a clip to display its metadata.
2. Click the Mark Points tab.
3. Click the trackbar below the video preview to set the cursor position where you want to add amark point(or click the timecode display to move the cursor to a specific location).
4. Click the Add Point button or press E.
Adding and editing essence marks is supported only for clips with non-realtime (NRT)
metadata and requires write access to the volume.

108

CHAPTER 5

Deleting a mark point
1. Select a clip to display its metadata.
2. Click the Mark Points tab.
3. Click an essence mark's label or timecode to select it.
4. Click the Delete button, and then choose Delete to delete the selected mark point, or

choose Delete All to delete all mark points.
The Delete command is not available when FTP-based clips are selected.

Exporting custom metadata
Catalyst Prepare allows you to include custom metadata when exporting clips.

Defining the metadata you want to export
To enable custom metadata export, you'll create a configuration file named
customMetadataExport.json in the following folder:
1. Close Catalyst Prepare.
2. Using a text editor, create your configuration file. The file should be structured like thefollowing example to include the key, value pairs that you want to make available ascustom metadata. The key is the metadata item, and the value will be used as the default
value:{"Slug": "Election","Type":"News","Source": "","Shot Date": ""}3. Save the file in the following folder:
Windows: C:\Users\<user>\Documents\Sony\Catalyst\
macOS: /Users/<user>/Documents/Sony/Catalyst

WORKING WITH CLIPS

109

4. Start Catalyst Prepare. The application will detect the customMetadataExport.json fileduring startup and enable custom metadata export.

Exporting custom metadata
1. Select the clips you want to export in Organize or Edit mode.
The left pane allows you to navigate the folders in your library, and the middle pane
displays the contents of the selected foldernClick a file to select it.

nHold Shift and click the first and last file you want to select to select a range offiles.

n

Hold Ctrl (Windows) or ⌘ (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard

modifiers.
2. Click the Export button

at the top of the Catalyst Prepare window.

3. Enable the Use advanced settings switch in the Export pane.
4. Select the Add custom metadata check box. An edit box is displayed for each metadata
item you defined in your customMetadataExport.json file.
Type the desired value for each metadata item that you want to include for the renderedfile. Custom metadata is saved in a sidecar .json file.
Use the controls in the Export pane to choose a destination and format for your exported
file. For more information about the controls, please see "Exporting media from a library"on page 25..
If the customMetadataExport.json file is empty or incorrectly formatted, the Add
custom metadata check box is unavailable. Please see "Defining the metadata you
want to export" on page 109.

Working with clip lists
You can create and edit clip lists for the following media types:

110n

XDCAM media in an XD root foldern

XAVC media in an XD root folder

CHAPTER 5.
.

n

RAW media in an AxS folder.

A clip list is a PD-EDL (.smi) file that allows you to create a video project that is comprised ofmultiple, shorter video clips.
Clip lists are a helpful part of a proxy workflow when working with limited bandwidth: copy the proxyclips to your computer, create a clip list using the proxy clips, and then copy the clip list back to thecamera or deck. The deck will then play the clip list using your full-resolution source.
If you need to create a project for other media types and don't need to write back to a camera or
device, you can create a storyboard. For more information, see "Working with storyboards" onpage 114.
When viewing a clip list,

indicates spanned clips from the same volume, andindicates

spanned clips from different volumes.
Clip lists and spanned clips are not supported in Catalyst Prepare libraries.

Creating a clip list
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Navigate to the root folderorthat contains the clips you want to use.

3. Select the files you want to include in your clip list. You can hold Shift or Control (Windows) /⌘ (macOS) to select multiple files.
4. Click the Tools button

at the bottom of the Catalyst Prepare window and choose New

clip list from selection from the menu.
If you want create a clip list without choosing clips, click the Tools button

at thebottom of the Catalyst Prepare window and choose New empty clip list from the menu.
5. Type a name for the new clip list and click OK.
6. Catalyst Prepare loads your new clip list in View mode.

Opening a clip list
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.

WORKING WITH CLIPS

111

2. Navigate to the root folderorthat contains the clip list you want to open.

3. Double-click the clip list (.smi file) to open it.

Rearranging clips
In Clip List mode, you can add, remove, and arrange clips in the clip list. Click the Clip List
button at the bottom of the Catalyst Prepare window to switch to Clip List mode.
You can drag clips within the clip list to rearrange them. Drag a clip and drop it to a new positionon the clip list to change its position.

Adding clips
In Clip List mode, you can add, remove, and arrange clips in the clip list. Click the Clip List
button at the bottom of the Catalyst Prepare window to switch to Clip List mode.
You can only add clips from the folder where the clip list (.smi) file is saved.
Click the add button at the end of the clip list to display a media browser, where you can selectadditional clips for your clip list.

You can click the Add button at the bottom of the Catalyst Prepare window when you're in
Clip List mode.
When you add a clip, a vertical line is added to the timeline to indicate where each clip
begins:112

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Removing clips
In Clip List mode, you can add, remove, and arrange clips in the clip list. Click the Clip List
button at the bottom of the Catalyst Prepare window to switch to Clip List mode.
Select a clip and click the Remove button

at the bottom of the Catalyst Prepare window.

Editing clips
In Clip mode, you can log mark in and out points for your clips.
You cannot add, delete or rearrange clips in Clip mode. Use Clip List mode for clip list
editing.
1. Open the clip list you want to edit.
2. Click the Clip button at the bottom of the Catalyst Prepare window to switch to Clip mode.
You can also double-click a clip in Clip List mode to switch to Clip mode.
3. Select the clip you want to edit.
4. Use the Mark In and Mark Out buttons to adjust the mark in and out points for theselected clip.
For more information, see "Marking in and out points for playback" on page 100.

Viewing metadata for clip lists
When you're in Organize or Edit mode, click the Inspector buttonin the toolbar to display

metadata in the Inspector pane.
In Browse mode, the Metadata pane displays additional information about the currently selected
clip list.
In View (Clip List or Clip) mode, the Metadata pane displays information about the selectedsubclip.
For more information, see "Viewing and editing metadata" on page 105.

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Writing a clip list back to a device
Select a clip list in Organize mode and click the Copy button

at the top of the Catalyst

Prepare window to write a clip list back to a device. For more information, see "Exporting media
from a library" on page 25.

Working with storyboards
You can create and edit storyboards to create a video project that is comprised of multiple, shorter
video clips.
Storyboards are saved with the current media library.
When no library is opened, storyboard support is not available. For more information, see"Creating or opening a library" on page 9.
If you need to create a project that can be written back to a camera or device, you can create a PDEDL clip list. For more information, see "Working with clip lists" on page 110.

Creating a storyboard
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Navigate to the folder that contains the clips you want to use.
3. Select the files you want to include in your clip list. You can hold Shift or Control (Windows) /⌘ (macOS) to select multiple files.
4. Click the Storyboard button

at the bottom of the Catalyst Prepare window and choose

Create from selection from the menu.
The Create from selection command is not available when a clip list, spanned clip (),

or an FTP-based clip is selected.
If you want create a storyboard list without choosing clips, click the Storyboard button at
the bottom of the Catalyst Prepare window and choose Create empty from the menu.
5. Type a name for the storyboard and click OK.

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Opening a storyboard
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Edit button to load your storyboard in Edit mode.
When viewing a storyboard,

indicates spanned clips from the same volume, andindicates spanned clips from different volumes.

Rearranging clips
In Edit mode, you can add, remove, and arrange clips.
You can drag clips within the storyboard to rearrange them. Drag a clip and drop it to a newposition to move it.

Adding clips
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.

WORKING WITH CLIPS115

When the Add To button at the bottom of the Catalyst Prepare window is selected, you
can quickly add a clip to the selected storyboard by selecting it and clicking the Add
button (or pressing Enter). Use the Add clip to storyboard drop-down list to select astoryboard.
When you add a clip, a vertical line is added to the timeline to indicate where each clip
begins:

You can also drag clips from the Organize pane to a bin or storyboard in the Placespane.
3. Click the Edit button to load your storyboard in Edit mode.
4. Click the add button at the end of the clip list or the Add button at the bottom of the Catalyst
Prepare window to display a media browser, where you can select additional clips for yourstoryboard.

Removing clips
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Edit button to load your storyboard in Edit mode.
Select a clip and click the Remove button

at the bottom of the Catalyst Prepare

window.

Editing clips
In Clip mode, you can log mark in and out points for your clips.

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You cannot add, delete, or rearrange clips in Clip or Adjust Color mode. Use Storyboard
mode for clip list editing.
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Edit button to load your storyboard in Edit mode.
4. Click the Clip button at the bottom of the Catalyst Prepare window to switch to Clip mode.
You can also double-click a clip in Storyboard mode to switch to Clip mode.
5. Select the clip you want to edit.
6. Use the Mark In and Mark Out buttons to adjust the mark in and out points for theselected clip.
For more information, see "Marking in and out points for playback" on page 100.
Editing a storyboard clip's mark in and out points does not affect other storyboards
that use the same clip.

Adjusting color correction for clips
In Adjust Color mode, you can adjust color correction settings for each clip in a storyboard.
You cannot add, delete, or rearrange clips in Clip or Adjust Color mode. Use Storyboard
mode for clip list editing.
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Edit button to load your storyboard in Edit mode.
4. Click the Adjust Color button at the bottom of the Catalyst Prepare window to switch to
Adjust Color mode. In this mode, Catalyst Prepare displays awaveform/histogram/vectorscope monitor, a video preview, and color controls that you
can use to adjust the appearance of your video.
5. Select the clip you want to edit.

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6. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible. In the Adjust Color workspace, the Inspector pane provides controls that you will
use to adjust color-grading settings.
The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your progress as you adjust color values. For more information, see "Editing
Color Adjustments controls" on page 131.

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Previewing storyboards
When you double-click a storyboard in Organize mode, the storyboard is loaded in Edit mode,
where you can preview the file in the same way you preview other clips. For more information,
see "Playing media" on page 93.
You can select a clip to set the starting point for playback, and the clip selection will follow thecursor during playback.

Exporting storyboards
When you select a storyboard in Organize mode, you can export the storyboard in one of threeways:n

You can render each of the storyboard's clips to a new format.

n

You can render the storyboard as a single media file.

n

You can export the storyboard as a project for use in another video editor.

For more information, see "Exporting media from a library" on page 25, "Exporting media from alibrary" on page 25, or "Exporting media from a library" on page 25.

Using Catalyst Prepare storyboards in Catalyst Edit
Catalyst Edit provides native support for Catalyst Prepare storyboards:
1. In the Catalyst Edit Media Browser, double-click a .cpreplib file (). When you open a

Catalyst Prepare library, the Media Browser displays all the media contained in thatlibrary sorted in bins.
The default location for .cpreplib files is C:\Users\<username>\Videos\ on
Windows and /Users/<username>/Movies/ on macOS.
2. Drag a storyboard bin to the Catalyst Edit timeline to add it.

Viewing metadata for storyboards
Click the Inspector buttonin the toolbar to display metadata in the Inspector pane. The

Inspector pane displays information about the selected subclip.
For more information, see "Viewing and editing metadata" on page 105.

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Renaming a storyboard
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Storyboard button

at the bottom of the Catalyst Prepare window and choose

Rename from the menu.
4. Type a name for the storyboard and click OK.

Deleting a storyboard
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Storyboard button

at the bottom of the Catalyst Prepare window and choose

Delete from the menu.

Working with EDLs
You can use Catalyst Prepare to import an EDL.

Importing an EDL
1. Click the Tools button

at the bottom of the Catalyst Prepare window and choose

Import EDL. The Import EDL dialog is displayed.
2. Select the EDL you want to import.
3. Choose a setting from the Frames per second drop-down list to set the frame rate of the
EDL.
4. Click Import. The EDL Import workspace is displayed with the contents of the EDL.

Linking and unlinking clips
After you import an EDL, you can use the EDL Import workspace to link and unlink clips.

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To link your clips, select a clip, click the Link button(or double-click an unlinked clip's

thumbnail) and browse for the source media.
If other unlinked clips exist in the folder, they will be linked automatically. If you want tolink only the selected clip, clear the Automatically link clips check box.
To unlink a clip, select it and click the Unlink button. If you want to unlink all clips, click

the More button and choose Unlink all from the menu.

Replacing clips
You can use the Replace media command to replace a clip in an EDL with a different media
file.
1. Select a clip in the EDL.
2. Click the More button and choose Replace media from the menu.
3. Browse to the new clip and click OK.

Catalog export
Catalyst Prepare can export a PDF or CSV (comma-separated value) list of clips in a folder.
The Generate PDF catalog and Generate CSV catalog commands are not available for clips
on FTP devices, XDCAM Station volumes via CIFS, XDCAM decks, XDCAM Drive units, orOptical Disc Archive volumes.

Generating a PDF catalog
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Select the folder or clips you want to catalog.
3. Perform either of the following actions to generate a catalog from the selected folder:n

Click the Tools button

at the bottom of the Catalyst Prepare window and choose

Generate PDF catalog from the menu.
nRight-click the folder and choose Generate PDF catalog from the shortcut menu.

The Export Catalog dialog is displayed.

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121

4. In the Title box, type a title to identify your catalog. This title will be displayed at the top of thegenerated catalog.
5. In the Description box, type a description of the catalog. The description will be displayed
below the title in the generated catalog and can help you identify the clips in the catalog.
6. In the Export PDF to box. type the path to the folder where you want to save the generated
catalog, or click Browse to choose a folder.
7. Select a Layout radio button to choose the appearance of the catalog:nText with 1 thumbnail: Displays metadata text with a thumbnail of the first frame.

nText with 3 thumbnails: Displays metadata text with thumbnails of the first, middle
and end frames.
The space below the radio buttons displays a sample of the selected layout.

8. In the Metadata list, select the check boxes for the metadata values you want to include in
the catalog.
Click the Tools button

at the top of the Metadata list and choose Reset to default or

Clear all to clear the current selection.
9. Click Export to generate the catalog with the selected content.

Generating a CSV catalog
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Select the folder or clips you want to catalog.
3. Perform either of the following actions to generate a catalog from the selected folder:n

Click the Tools button

at the bottom of the Catalyst Prepare window and choose

Generate CSV catalog from the menu.
nRight-click the folder and choose Generate CSV catalog from the shortcut menu.

The Export Catalog dialog is displayed.
4. Navigate to the folder where you want to save the CSV file and type a file name in the Filename box.
5. Click OK to generate the catalog with the selected content.

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Combining relay clips
You can use Catalyst Prepare to combine AVCHD relay-recorded clips into a single clip.
A relay clip is a continuous recording that spans multiple media cards.
Before combining relay clips, copy them to a single folder. For more information, see"Exporting media from a library" on page 25.
1. Select the clips you want to combine.
Clips must be of the same operating point and the timecode must be sequential.
2. Click the Tools button

at the bottom of the Catalyst Prepare window and choose

Combine relay clips. The Combine Relay Clips dialog is displayed.
The Combine relay clips command is not available when FTP-based clips are selected.
3. In the Combined file name box, type the name you want to use for the new clip.
4. Click OK.

Synchronizing multicamera clips
You can use Catalyst Prepare to synchronize audio in clips from a multicamera shoot.
When you synchronize clips, the mark-in points of the selected clips are adjusted as needed toallow the clips to play in synchronization. Synchronizing your clips in Catalyst Prepare streamlines
the process of editing multicamera video in a nonlinear editor.
1. Select the clips you want to synchronize.
2. Click the Tools button

at the bottom of the Catalyst Prepare window and choose

Synchronize multicam clips.
Progress is displayed while the clips are analyzed and synchronized.
The Synchronize multicam clips command is not available when FTP-based clips are
selected.

Stabilizing clips
Catalyst Prepare allows you to use metadata from clips to stabilize the image.

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123

1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Select the clip you want to stabilize. An

on a thumbnail indicates a clip that contains

stabilization metadata.
The stabilize icon is not displayed for clips on FTP devices, XDCAM Station volumes
via CIFS, XDCAM decks, XDCAM Drive units, or Optical Disc Archive volumes.
For information about camera settings for enabling stabilization using metadata, pleasesee Information on Software Applications.
Clip stabilization is not supported when changing camera settings or detaching the lensduring clip recording.
3. Perform any of the following actions to display the Correct clip workspace:nnClick the Stabilize button

at the bottom of the Catalyst Prepare window.

Right-click the clip in the Organize pane and choose Stabilize clip from the shortcutmenu.

The Stabilize button

is not available when multiple clips are selected.

When the Catalyst Prepare window is resized, the Adjust color
compensationmenu, and Stabilize clip

, Lens breathing

buttons are available in the Adjustments.

4. Use the Correct clip workspace to preview and adjust stabilization settings for the selected
clip:
a. Set the Mark In/Out points to indicate the portion of the clip you want to correct. For
more information, see "Marking in and out points for playback" on page 100.
b. Choose a Stabilization mode setting:oSelect the Auto button in the Inspector to adjust stabilization automatically.
The graph below the preview helps you visualize the stabilization. Please notethat the graph is not displayed when multiple clips are selected.

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n

The curve (1) represents the amount of stabilization that is required
based on clip analysis.

n

The solid line (2) represents the Auto cropping amount after analysis.

n

The dashed line (3) represents the Maximum cropping amount setting.

Click the Graph buttonnto customize the display of the graph:

Turn on the Scale graph to clip switch to adjust the vertical scale of
the graph to match the current clip.

n

When Scale graph to clip is off, you can drag the Graph scaleslider to set the vertical scale of the graph.

Item

Description

Auto

After the clip is analyzed, this indicator represents the amount

croppingof cropping that will be used to stabilize the clip.

amountMaximum

Drag the slider — or the dashed line (3) in the graph — to set

cropping

the amount of cropping that can be applied to stabilize a clip.

amountn

If the automatic adjustment results in a clip that islarger than the maximum cropping amount, theMaximum cropping amount will be used.

n

If the automatic adjustment results in a clip that issmaller than the Maximum cropping amount setting,the automatic adjustment results will be used.

This setting is persisted when changing the selected clip or
exiting the Correct clip workspace.

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Item

Description
When stabilizing a clip using a Maximum cropping
amount setting that is too large, clips with significant
camera shake may exhibit a black border around theframe. We recommend using a setting that is close to thedefault cropping size in manual mode. To check thedefault manual cropping size, click the Manual button or
double-click the Cropping amount slider handle to reset
the setting to its default.

SourceDisplays the dimensions of the source media before cropping

resolution

is applied.

Corrected

Displays the dimensions of the stabilized frame after cropping

crop

is applied.

resolution
Minimum

Displays the minimum dimensions of the stabilized frame

crop

based on the Maximum cropping amount setting.

resolution
If source clips captured with Active image stabilization mode exhibit
blurring when using Auto mode, choose Manual mode and decrease the
Cropping amount setting.
oSelect the Manual button if you want to adjust stabilization settings:
The graph below the preview helps you visualize the stabilization. Please notethat the graph is not displayed when multiple clips are selected.

n

The curve (1) represents the amount of stabilization that is required
based on clip analysis.

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The dashed line (2) represents the Cropping amount setting.

Click the Graph buttonnto customize the display of the graph:

Turn on the Scale graph to clip switch to adjust the verticalscale of the graph to match the current clip.

n

When Scale graph to clip is off, you can drag the Graphscale slider to set the vertical scale of the graph.

n

Region (3) indicates the minimum cropping amount without displaying
black borders around the frame.

Item

Description

Cropping

Drag the slider — or the line (2) in the graph — to set theamountamount of cropping that is applied to stabilize a clip.
This setting is persisted when changing the selected clip.
When stabilizing a clip using a Cropping amount setting
smaller than the default value, clips with significant
camera shake may exhibit a black border around theframe. We recommend using a Cropping amount settingthat is close to the default value. You can double-click theslider handle to reset the setting to its default.

SourceDisplays the dimensions of the source media before cropping

resolution

is applied.

Corrected

Displays the dimensions of the stabilized frame after cropping

crop

is applied.

resolution
1. Click the Analyze button to analyze the selected clip and update the preview to show thestabilized clip.
After analysis, the Summary section of the Info panel displays the corrected crop resolution.
If you change the selected clip, the preview will indicate that the clip has not been
analyzed. Click the Analyze button at the bottom of the workspace to analyze theselected clip and update the preview to show the corrected clip.
2. Click the Before/After button at the top of the video preview to choose a preview mode so
you can compare your original and stabilized video before applying the changes, and thenuse the transport controls above the timeline to preview the clip.

WORKING WITH CLIPS

127

n

Before: the clip is displayed in its original state.

nAfter: the cropped and stabilized clip is displayed.

n

2 Up: two full frames are displayed in a split-screen view with the original videoon the left and the stabilized video on the right.

3. To save a clip with the stabilization settings, click the Export button

at the top of theCatalyst Prepare window, and use the Export pane to choose a destination and format foryour exported files. Click the Export button at the bottom of the Export pane to start
exporting the selected clip.
If multiple clips are selected, the Export button at the bottom of the Export pane is displayed
as Batch Export. Click to display a confirmation dialog that lists all selected clips. You canselect or clear check boxes to add or remove clips from the selection. Click OK to begin
exporting the selected clips using the current settings.
For more information about the controls, please see "Exporting media from a library" onpage 25.

Stitching clips
Catalyst Prepare allows you to use combine several clips to create a single clip.
1. Select the clips you want to export in Organize or Edit mode.
The left pane allows you to navigate the folders in your library, and the middle pane displays
the contents of the selected foldernClick a file to select it.

nHold Shift and click the first and last file you want to select to select a range of files.

n

Hold Ctrl (Windows) or ⌘ (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard

modifiers.
2. Click the Export button

at the top of the Catalyst Prepare window.

3. Enable the Use advanced settings switch in the Export pane.
4. Select the Stitch clips check box to combine the selected clips into a single continuous clip.
The order of the clips in the new clip will match the order they are displayed in Organize or

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Edit mode.
If you want the new clip to include continuous timecode based on the source clips' timecode,
select the Use continuous timecode check box. Clip order will be adjusted as needed, andblack frames will be added between clips to ensure the timecode in the new clip is notinterrupted.
Use continuous timecode is not available if the selected clips contain overlapping
timecode, if interlaced and progressive clips are selected, if clips with mixed frame
sizes or frame rates are selected, or if clips with drop and non-drop timecode are
selected.
Use continuous timecode can change the order of the selected clips. For example,
assume you selected the following three clips:
n1.mxf 00:00:10;00 - 00:00:20;00

n2.mxf 00:00:40;00 - 00:00:50;00

n

3.mxf 00:00:30;00 - 00:00:40;00

When Use continuous timecode is not selected, the clips would be rendered in thefollowing order: 1.mxf, 2.mxf, 3.mxf.
When Use continuous timecode is selected, the clips would be rendered in thefollowing order: 1.mxf, 10 seconds of black frames, 3.mxf, 2.mxf.
Use the controls in the Export pane to choose a destination and format for your exported file.
For more information about the controls, please see "Exporting media from a library" onpage 25.

Repairing flash bands
When a camera flash is fired, it can create a band of light in your video.
Catalyst Prepare can detect and remove flash bands.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Select the clip you want to repair.
3. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Repair

flash bands. The Flash Band workspace is displayed.
4. Use the Flash Band workspace to identify the flash bands you want to repair:

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129

a. Set the Mark In/Out points to indicate the portion of the clip you want to scan. For
more information, see "Marking in and out points for playback" on page 100.
b. Click the Detect buttonmarkerto scan the clip and mark flash bands automatically. A

is added to the timeline, and an entry is created in the Inspector.

Automatic flash band detection is available only for MXF clips. To mark a flash
band manually, click the trackbar below the transport controls to set the playposition indicator and click the Add buttonin the Inspector.

Please note that automatic and manual flash-band repair can yield different
results.
To remove a flash band marker, select it in the Inspector and click the Delete
button.

Click the Before/After button in the top-right corner of the video preview to choose a preview
mode so you can compare your original and repaired video before applying the changes.
nBefore: full-frame video is displayed in its original state.

nAfter: full-frame video is displayed in its repaired state.

1. Click Repair. The transcode dialog is displayed to allow you to choose settings for the
repaired file.

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Chapter 6
Applying color correction
If you've used multiple cameras within a project or if the lighting varies between shots, the resulting
clips can look noticeably different. You can use color correction to minimize the differences or toapply an artistic look to your clips.
Color-correction settings are stored with each clip in the library and do not affect your source
media.
When no library is opened, color adjustments are applied globally to all clips for previewing. If
you want to save your color-correction settings, you can transcode clips to create new files.
For more information, see "Exporting media from a library" on page 25.
Color adjustments to clip lists or spanned clips are not available when a library is open. For
more information, see "Working with libraries" on page 9.

Editing Color Adjustments controls
You can use the Color Adjustments controls in the Inspector

to perform color grading forindividual clips in your library.
After you edit a clip's color adjustments, those settings will be loaded each time you load theclip.

Loading a clip/clip list for color adjustments and configuring the waveform, histogram, and vectorscope monitors
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Perform any of the following actions to display the Adjust color workspace:n

Select a clip in the Organize pane, and click the Adjust color button

at the bottomof the Catalyst Prepare window.

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131

When the Catalyst Prepare window is resized, the Adjust color
breathingmenun, and Stabilize clip

, Correct lensbuttons are available in the Adjustments.

Right-click the image in the Organize pane and choose Adjust color from the shortcut
menu.

n

Double-click a clip in the Media Browser to load the clip in Edit mode. When you loada clip, the color adjustments saved with the clip are loaded. Click the Adjust Colorbutton at the bottom of the Catalyst Prepare window.
In the Adjust Color workspace, Catalyst Prepare displays awaveform/histogram/vectorscope monitor, a video preview, and color controls thatyou can use to adjust the appearance of your video.

3. The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your adjustments as you edit color values.
The Preview color space setting in Options is also applied to the waveform, histogram, andvectorscope so you can to check your video using scopes. For more information, see"Editing Catalyst Prepare options" on page 169.
n

Click the Waveform button

at the bottom of the window to toggle the waveform

monitor.
The waveform monitor displays the luminance values (brightness or Y component) of
your video signal. The monitor plots luminance values on the vertical axis and thewidth of the current frame on the horizontal axis.
You can use the buttons at the top of the waveform monitor to display overlaid (or separate () RGB waveforms and isolate colors.

Waveform settings
Click the Settings button

to open the Waveform Settings menu. You can use the

Waveform Settings menu to change the scale of the waveform monitor and enable
AIR matching when grading HDR clips.

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The Settings button

is available only when the Working color space drop-

down is set to Rec-2020/S-Log3 (HDR) and the Preview color space drop-down
is set to Rec.2020/S-Log3, Rec.2020/HLG, Rec.2020/HLG AIR Matching,
Rec.2020/HLG (bypass OOTF), Rec.2020/PQ, Rec.2020/PQ AIR Matching, orRec.2020/PQ (bypass OOTF).
For more information, see "Color management settings" on page 171 or "Editing
Catalyst Prepare options" on page 169.
You can click the % or Nits button to change the units displayed in the waveform.
When the Preview color space is set to Rec.2020/HLG, Rec.2020/HLG AIR
Matching, or Rec.2020/HLG (bypass OOTF), the Nits value is calculated for apeak luminance of 1000 cd/m2.
When the Preview color space drop-down is set to Rec.2020/S-Log3, you can use
the AIR Matching switch to toggle AIR (Artistic Intent Rendering) matching to achievea consistent look between Rec.2020/S-Log3-based grading and a configured HLG(hybrid log-gamma) or PQ (perceptual quantizer) monitor.
The AIR Matching switch is automatically turned on when the Preview color
space drop-down is set to Rec.2020/HLG AIR Matching orRec.2020/PQ AIR Matching.
n

Click the Histogram button

at the bottom of the window to toggle the histogram

monitor.
The histogram monitor displays the number of pixels that exist for each color
intensity. The vertical axis represents the number of pixels, and the horizontal axis
represents the RGB color range from 0 to 255.
You can use the buttons at the top of the histogram monitor to display overlaid (or separate (n) RGB histograms and isolate colors

Click the Vectorscope button).

at the bottom of the window to toggle thevectorscope monitor.
The vectorscope monitor allows you to monitor the chroma values (color content) of
your video signal. The monitor plots hue and saturation on a color wheel.
The vectorscope displays targets for broadcast-legal saturations of red (R), magenta(Mg), blue (B), cyan (Cy), green (G), and yellow (Yl). Individual colors in your videoAPPLYING COLOR CORRECTION

133

signal are displayed as dots in the vectorscope. A dot's distance from the center ofthe scope represents its saturation, and the angle of the line from the dot to the centerof the scope represents its hue.
For example, if an image has a blue cast, the distribution of dots in the vectorscope
will be concentrated toward the blue portion of the color wheel. If the image includes
out-of-range blue values, the vectorscope display will extend beyond the blue target.
You can use the vectorscope to calibrate color between scenes. Without calibration,
you may see noticeable color differences between scenes from multicamera shoots.
Click the Settings button

to open the Vectorscope Settings menu.

The Vectorscope Settings menu allows you to toggle a monochrome view of thescope, change the scale of the scope, adjust the brightness of the colors displayed in
the scope, and adjust the brightness of the scope's guide (graticule).
Use the 75% Scale setting when your source media uses 75% color bars, or use
the 100% setting your source media uses 100% color bars.
n

The video preview window displays the current frame at the playback positionindicator.

Click the Preview button in the top-right corner of the video preview to choose a preview
mode. Split-screen previews allow you to split the video preview andwaveform/histogram/vectorscope monitor so you can see your affected and unaffectedvideo at the same time.

134nBefore: full-frame video is displayed in its original state.

nAfter: full-frame video is displayed in its color-corrected state.

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nSplit: a single frame is displayed in a split-screen view with the original video on
the left and the color-corrected video on the right.
If you want to move the split location, hover over the preview frame. When the
split point is displayed, you can drag the handles at the top of bottom of thescreen to adjust where the preview is split:n2 Up: two full frames are displayed in a split-screen view with the original videoon the left and the color-corrected video on the right.

Adjusting the color wheels
In the Adjust Color workspace, the bottom of the Catalyst Prepare window provides color
wheels for Lift, Gamma, and Gain. The wheels provide a visual representation of the current
adjustments and allow you to adjust color quickly. As you adjust the controls, thewaveform/histogram/vectorscope monitor and video preview will update in real time to allow you
to check your adjustments.
The color wheels are used to edit ASC-CDL (American Society of Cinematographers Color
Decision List) parameters.
Click the Wheels button

to show or hide the color wheels.

Drag the point in the center of the color wheel to pick the hue and saturation you want to add tothe video, or drag the slider on the side of the color wheel to increase luminance for all RGB
components simultaneously. You can double-click the point to reset the color wheel or doubleclick the slider handle to reset the luminance.

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You can also adjust color wheels with a Tangent control. For more information, see "Using a
Tangent control" on page 145.
When you drag the color correction controls, they move in fine increments. To movecontrols in larger increments, hold Shift while dragging.

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Choosing a color space
Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't already visible.

In the Adjust Color workspace, the Color Space section in the Inspector pane provides color
space controls that you can use to choose the source and conversion color spaces.
If the selected color space is not compatible with the source color space and cannot beexported, a warning is displayed to notify you.

Choosing a source color space
Click the Unlock buttonand choose a setting from the Source drop-down list to choose

the color space that should be applied to the source media. When you choose a setting, thevideo preview is updated. The source color space should be detected automatically anddoes not need to be changed in most cases.
The Unlock button

Click the Reset button

is not used when editing RAW or X-OCN video.

at the bottom of the Inspector pane to reset the Source color

space based on the clip's metadata or the selected SR Live metadata source. For more
information, see "SR Live for HDR settings" on page 174.

Converting between HDR/wide color gamut color spaces
When an HDR or wide color gamut color space is selected in the Source drop-down list, you
can choose a different HDR/WCG color space from the Convert to drop-down list to apply
grading in the selected color space or apply a look profile that is available in the selectedcolor space.
Furthermore, when the source is [S-Gamut/S-Log2], selecting [Convert to] > [709(800)]
allows you to convert HDR/WCG clips to Rec.709 as well. The [709(800)] setting applies a
1D curve. When using a 3D LUT to transform HDR/WCG clips, it is necessary to apply a lookprofile.

The Convert to drop-down is available only when the Working color space setting isRec.709, Log, or ACES and you're working with S-Gamut, RAW, and X-OCN source
media.

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For more information, see "Applying a look profile" on page 140, "Grading with hypergamma
conversion" on page 148,or "Applying color correction" on page 151.

Viewing the working color space
The Working box displays the color space that will be used for color grading. Click the
Options

button and choose a setting from the Working color space drop-down list tochange the setting.

Viewing the color space for the video preview
The Preview box displays the color space that will be used for the Catalyst Prepare video
preview window. Click the Options

button and choose a setting from the Preview color

space drop-down list to change the setting.

Viewing the color space for the external monitor
If an external monitor is enabled, the External monitor box displays the color space that will
be used for the external monitor. Click the Options

button and choose a setting from theExternal monitor color space drop-down list to change the setting.
If a second external monitor is connected, it will use the Preview color space.

Adjusting exposure, temperature, and tint
Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't already visible.

In the Adjust Color workspace, the Source Settings section in the Inspector pane provides the
Exposure, Temperature, and Tint sliders to adjust the color content of your clip.
Exposure, temperature, and tint are not available for all color spaces.

Exposure Index (EI)
When clip with a supported source color space is selected, the EI mode controls are displayed.
Click an EI mode button to choose how you want to apply exposure index settings:

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Files that include EI metadata display the EI on the File tab of the Inspector pane.
Mode

Description

Metadata

Choose Metadata to automatically apply exposure metadata based on
camera settings. The Exposure bar (1) and EI indicator (2) display the EI
value.
This mode is selected by default when you choose a clip with EI metadata.

The ISO and EI values display the current frame values when
playback is stopped.
ManualChoose Manual to adjust exposure manually.
This mode is selected by default when you choose an HDR clip that does
not include supported EI metadata.
The Exposure slider (1) will show the EI metadata value of the current
frame as a black line, and an EI indicator (2) is displayed below the current
value.
Drag the slider to adjust the overall brightness of your video (a fixed value
is applied to all frames).

Off

Choose Off to turn off exposure adjustment. The adjustment slider andexposure values are not displayed, and the original sensitivity is used.

Temperature
Drag the Temperature slider to adjust the color temperature (in Kelvin) of your video. Adjusting
the temperature modifies the red and blue gain by adding an offset to the temperature setting
saved in a clip's metadata.
If your camera does not store color temperature metadata, Catalyst Prepare will use adefault setting of 3200K.

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Tint
Drag the Tint slider to adjust color balance of your video. Adjusting the tint allows you to modify
the magenta and green gain to supplement the color temperature.
Double-click a control to reset its value.

Applying a look profile
You can use the Look controls to apply a look profile/LUT to an HDR clip when the Working
color space setting is Rec.709 or Log.
Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't already visible.

In the Adjust Color workspace, the Look section in the Inspector pane contains controls to apply
a LUT automatically based on metadata, manually, or to turn off LUT processing.
For information about adding custom look profiles, see Manual mode in the following table.
Click a LUT mode button to choose how you want to apply a look:Mode

Description

Metadata

Choose Metadata to automatically apply LUT metadata based on camera
settings. The Embedded LUT box displays the LUT metadata.
This mode is only available for clips with supported embedded metadata and isselected by default when you choose a clip with LUT metadata.
Files that include LUT metadata display abadge in the Organize paneand display the LUT on the File tab of the Inspector pane.
ManualChoose Manual to choose LUT settings manually:n

Convert to: Choose a setting from the drop-down list to convert the clip toa different color space.

n

Look profile: When Convert to is set to an HDR color space — such as SGamut3.Cine/S-Log3, S-Gamut3/S-Log3, Rec.2020/S-Log3,
Rec.2020/HLG, Rec.2020/PQ, or Rec.709/HLG — you can choose thelook profile you want to apply.

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Mode

Description
To add look profiles (including .cube files) to Catalyst Prepare, savethem in the following folder and then close and restart theapplication:
Windows:
C:\Users\<user>\Documents\Sony\Catalyst\Color\Looks\
macOS:/Users/<user>/Documents/Sony/Catalyst/Color/Looks/oThe sgamut-slog2 subfolder is used for S-Gamut/S-Log2
sources.

o

The sgamut3cine-slog3 subfolder is used for SGamut3.Cine/S-Log3 sources or Convert to choices.

o

The sgamut3-slog3 subfolder is used for S-Gamut3/S-Log3
sources or Convert to choices.

o

The rec709-hlg subfolder is used for Rec.709/HLG sources.

o

The rec2020-hlg subfolder is used for Rec.2020/HLG
sources.

o

The rec2020-pq subfolder is used for Rec.2020/PQ sources.

o

The rec2020-slog3 subfolder is used for Rec.2020/S-Log3
sources.

If you want to set a default look profile to be applied when no lookprofile is specified in a clip's metadata, click the Manual button,choose a setting from the Look profile drop-down list, click the Look
Tools buttonin the LOOK heading, and choose Make default.

To replace the clip's current look profile with the default, click the
Manual button, click the Look Tools button, and choose Reset todefault.
Off

Choose Off to turn off Look settings.
Click the Reset button

at the bottom of the Inspector pane to reset the Look profile

based on the clip's metadata.

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Adjusting the tone curve
Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't already visible.

In the Adjust Color workspace, the Tone Curve section in the Inspector pane contains a color
curve you can use to adjust the red, green, and blue channels graphically. As you adjust thecontrols, the waveform/histogram/vectorscope monitor and video preview will update in realtime to allow you to check your adjustments.
n

Select the channel you want to adjust by clicking the Red, Green, or Blue button below thecolor curve, or click the White button to adjust all RGB components

simultaneously.
n

Click the curve to add a control point.

nSelect a control point and drag it to adjust it.

n

As you adjust the controls, the waveform/histogram/vectorscope monitor and video preview
will update in real time to allow you to check your adjustments. Click Delete Point

toremove the selected control point.
n

Click the Reset button

at the bottom of the Inspector pane to remove all control points.

Adjusting the color correction sliders
Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't already visible.

In the Adjust Color workspace, the Color Correction section in the Inspector pane provides
Brightness, Contrast, Saturation, Lift, Gamma, and Gain sliders you can use to adjust video
levels. As you adjust the controls, the waveform/histogram/vectorscope monitor and video
preview will update in real time to allow you to check your adjustments.
The sliders are used to edit ASC-CDL (American Society of Cinematographers Color Decision
List) parameters.
For precise control, you can hold Ctrl (Windows) or ⌘ (macOS) while dragging or click thenumeric value to type a new value.
Drag the Brightness slider to adjust the overall lightness of your video.
Drag the Contrast slider to adjust the overall contrast of your video.

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Brightness and contrast are not saved explicitly with ASC-CDL files. When exporting an
ASC-CDL file, the Brightness and Contrast settings are incorporated with the other colorcorrection values. When you reload an exported ASC-CDL file, the Brightness andContrast settings will be set to 0.
When exchanging color settings with Catalyst Browse and Catalyst Prepare, click the Tools
buttonat the bottom of the Catalyst Prepare window and choose Save preset from themenu to preserve Brightness and Contrast settings.
For more information, see "Exporting color-correction settings" on page 160 and "Applying
color correction" on page 143.
Drag the Saturation slider to adjust the overall intensity of the color in your video.
To adjust lift, gamma, and gain, drag the R, G, B sliders to adjust the red, green, and blue
components of the each parameter, or drag the Y slider to adjust luminance for all RGB
components simultaneously.
Double-click a control to reset its value.
Click the Undo

and Redo

buttons to step forward or backward through your recent

edits.
Click the Reset button

at the bottom of the Inspector pane to reset all color correction.

Applying color-correction settings
You can use the Tools button

at the bottom of the Catalyst Prepare window to load color

presets or ASC-CDL (American Society of Cinematographers Color Decision List) files toexchange color-grading information.

Applying a color preset
Color presets include the source settings (exposure, temperature, and tint), look profile, tone
curve, and ASC-CDL settings. For more information, see "Editing Color Adjustments controls"
on page 131.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.

APPLYING COLOR CORRECTION143

If you want to apply color correction to multiple clips, select the clips, click the Tools
buttonat the bottom-left of the Catalyst Prepare window, and choose Apply color

preset from the menu.
The Apply color preset command is not available when a clip list or spanned clip () isselected.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible.
5. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Load

preset from the menu.
6. In the Load Preset dialog, choose a Catalyst color (.ccolor) file.
Presets are saved in the following folders by default:
Windows: C:\Users\<user>\Documents\Sony\Catalyst\Color\
macOS: /Users/<user>/Documents/Sony/Catalyst/Color
7. Click Load.
The selected color settings are loaded and applied to the current clip.

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Applying an ASC-CDL file
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
If you want to apply color correction to multiple clips, select the clips, click the Tools
buttonat the bottom-left of the Catalyst Prepare window, and choose Apply ASC-CDL from the menu.
The Apply ASC-CDL command is not available when a clip list or spanned clip () isselected.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible.
5. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Load

ASC-CDL from the menu.
6. In the Load ASC-CDL dialog, choose a *.cdl file.
7. Click Load.
The selected color settings are loaded and applied to the current clip.

Using a Tangent control
You can use Tangent Element Tk, Kb, Bt, Mf, Vs, or Tangent Wave control panels to adjust color
circles and other parameters.
Tangent Element panels must be connected to your computer via USB. When using Tangent
Element-Vs on a tablet, your tablet and the computer running Catalyst Prepare must beconnected to the same network.
To enable control, Tangent Hub must be installed on the computer.
For more information about using and configuring Tangent hardware and software, please refer tothe Tangent documentation.

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For information about control mappings, please see the control's display or use the Tangent
Mapper application.

Video-style (Rec.709) color grading
Use the following workflow when adjusting color grading for video sources.

Grading with Rec.709 gamma
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.
The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your progress as you adjust color values. For more information, see "Editing Color
Adjustments controls" on page 131.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible. In the Adjust Color workspace, the Inspector pane provides controls that you will use
to adjust color-grading settings.
5. The Source drop-down list displays the color space that is applied to your source media.
Click the Unlock buttonand choose a setting from the Source drop-down list to choose

the color space that should be applied to the source media. When you choose a setting, thevideo preview is updated.
The source color space should be detected automatically and does not need to bechanged in most cases.
nChoose S-Gamut/S-Log2 for S-Log2, RAW, or X-OCN sources.

nChoose S-Gamut3.Cine/S-Log3 or S-Gamut3/S-Log3 for S-Log3, RAW, or X-OCN
sources.

6. The Working box displays the color space that should be applied to color grading
adjustments. Click the Options

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button and choose Rec.709 from the Working colorspace drop-down list to change the setting if necessary.
7. If your source video is set to S-Gamut/S-Log2, S-Gamut3.Cine/S-Log3, S-Gamut3/S-Log3,
Rec.2020/S-Log3, Rec.2020/HLG, or Rec.2020/PQ, you can use the Source Settings
controls to adjust the Exposure, Temperature, and Tint of your clip. For more information,
see "Editing Color Adjustments controls" on page 131.
8. You can use the Look controls to convert an HDR clip to Rec.709 (full). For more
information, see "Applying a look profile" on page 140.
9. Use the color wheels and controls in the Inspector pane to adjust your colors as needed. For
more information, see "Editing Color Adjustments controls" on page 131.
10. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu if you want to export your settings as a 3D LUT file.
3D LUT export is available only when the Source drop-down list is set to an S-Log,
RAW, or X-OCN format.

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Grading with hypergamma conversion
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.
The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your progress as you adjust color values. For more information, see "Editing Color
Adjustments controls" on page 131.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible. In the Adjust Color workspace, the Inspector pane provides controls that you will use
to adjust color-grading settings.
5. The Source drop-down list displays the color space that is applied to your source media.
Click the Unlock buttonand choose a setting from the Source drop-down list to choose

the color space that should be applied to the source media. When you choose a setting, thevideo preview is updated.
The source color space should be detected automatically and does not need to bechanged in most cases.
nChoose S-Gamut/S-Log2 for S-Log2, RAW, or X-OCN sources.

nChoose S-Gamut3.Cine/S-Log3 or S-Gamut3/S-Log3 for S-Log3, RAW, or X-OCN
sources.

6. The Working box displays the color space that should be applied to color grading
adjustments. Click the Options

button and choose Rec.709 from the Working color

space drop-down list to change the setting if necessary.
7. You can use the Look controls to choose conversion settings to 709(800), HG8009G33, or
HG8009G40. For more information, see "Applying a look profile" on page 140.

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8. If your source video is set to S-Gamut/S-Log2, S-Gamut3.Cine/S-Log3, S-Gamut3/S-Log3,
Rec.2020/S-Log3, Rec.2020/HLG, or Rec.2020/PQ, you can use the Source Settings
controls to adjust the Exposure, Temperature, and Tint of your clip. For more information,
see "Editing Color Adjustments controls" on page 131.
9. Use the color wheels and controls in the Inspector pane to adjust your colors as needed. For
more information, see "Editing Color Adjustments controls" on page 131.
10. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu if you want to export your settings as a 3D LUT file. For more
information, see "Exporting color-correction settings" on page 160.

Log (cinematic) color grading
Use the following workflow when adjusting color grading for Log sources.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.
The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your progress as you adjust color values. For more information, see "Editing Color
Adjustments controls" on page 131.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible. In the Adjust Color workspace, the Inspector pane provides controls that you will use
to adjust color-grading settings.

5. The Source drop-down list displays the color space that is applied to your source media.
Click the Unlock buttonand choose a setting from the Source drop-down list to choose

the color space that should be applied to the source media. When you choose a setting, thevideo preview is updated.

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n

Choose S-Gamut/S-Log2 for S-Log2, RAW, or X-OCN sources.

nChoose S-Gamut3.Cine/S-Log3 or S-Gamut3/S-Log3 for S-Log3, RAW, or X-OCN
sources.

6. The Working box displays the color space that should be applied to color grading
adjustments. Click the Options

button and choose Log from the Working color space

drop-down list to change the setting if necessary.
7. If your source video is set to S-Gamut/S-Log2, S-Gamut3.Cine/S-Log3, or S-Gamut3/SLog3, you can use the Source Settings controls to adjust the Exposure, Temperature, andTint of your clip. For more information, see "Editing Color Adjustments controls" on page131.
8. Use the color wheels and controls in the Inspector pane to adjust your colors as needed. For
more information, see "Editing Color Adjustments controls" on page 131.
9. You can use the Look controls to convert an HDR clip to Rec.709 (full). For more
information, see "Applying a look profile" on page 140.
10. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu if you want to export your settings as a 3D LUT file. For more
information, see "Exporting color-correction settings" on page 160.

Advanced cinematic (ACES) color grading
Use the following workflow when adjusting color grading in the Academy Color Encoding System(ACES) color space.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.

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The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your progress as you adjust color values. For more information, see "Editing Color
Adjustments controls" on page 131.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible. In the Adjust Color workspace, the Inspector pane provides controls that you will use
to adjust color-grading settings.
5. The Source drop-down list displays the color space that is applied to your source media.
Click the Unlock buttonand choose a setting from the Source drop-down list to choose

the color space that should be applied to the source media. When you choose a setting, thevideo preview is updated.
nChoose S-Gamut/S-Log2 for S-Log2, RAW, or X-OCN sources.

nChoose S-Gamut3.Cine/S-Log3 or S-Gamut3/S-Log3 for S-Log3, RAW, or X-OCN
sources.

6. The Working box displays the color space that should be applied to color grading
adjustments. Click the Options

button and choose ACES from the Working color space

drop-down list to change the setting if necessary.
7. If your source video is set to S-Gamut/S-Log2, S-Gamut3.Cine/S-Log3, or S-Gamut3/SLog3, you can use the Source Settings controls to adjust the Exposure, Temperature, andTint of your clip. For more information, see "Editing Color Adjustments controls" on page131.
8. Use the color wheels and controls in the Inspector pane to adjust your colors as needed. For
more information, see "Editing Color Adjustments controls" on page 131.
9. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu if you want to export your settings as a 3D LUT file.
Output will be Rec.709 (full).
For more information, see "Exporting color-correction settings" on page 160.

High Dynamic Range (HDR) color grading
Use the following workflow to adjust color grading in the Rec.2020/S-Log3 color space and thenconvert to high dynamic range (Rec.2020/S-Log3, Rec.2020/HLG, or Rec.2020/PQ) or standard
dynamic range (Rec.2020 or Rec.709) color spaces for distribution.

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1. Adjust Catalyst Prepare options for HDR color grading:a. Click the Options button.

b. From the Working color space drop-down list, choose Rec.2020/S-Log3 (HDR).
When you choose Rec.2020/S-Log3 from the Working color space drop-down list,
the SR Live for HDR controls are displayed to allow you to convert between standardand high-dynamic-range content:

SR Live metadata source
Choose a setting from the SR Live metadata source drop-down list to choose how
SR Live metedata processing is performed:oWhen SR Live metadata source is set to None and Adjust SR Live settings
manually is off, no SR Live processing is performed.

oWhen SR Live metadata source is set to None and Adjust SR Live settings
manually is on, SR Live processing is performed only for the visible controls.

oWhen SR Live metadata source is set to Clip and Adjust SR Live settings
manually is off, metadata settings from the current clip are used whenconverting between standard- and high-dynamic-range content.

oWhen SR Live metadata source is set to Clip and Adjust SR Live settings
manually is on, metadata settings from the current clip and manual control
settings are used when converting between standard- and high-dynamicrange content. For more information, see "Adjust SR Live settings manually"on page 153.

o

When SR Live metadata source is set to External file and Adjust SR Livesettings manually is off, metadata settings from an external .srm file are used
when converting between standard- and high-dynamic-range content.

oWhen SR Live metadata source is set to External file and Adjust SR Livesettings manually is on, metadata settings from an external .srm file andmanual control settings are used when converting between standard- andhigh-dynamic-range content. For more information, see "Adjust SR Livesettings manually" on page 153.

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When SR Live metadata source is set to Clip or External file, Catalyst
Prepare uses recommended SR Live values for clips generated by Sonydevices even if SR Live metadata values are not present in the clip.
When SR Live metadata source is set to External file, the selected file'svalues are used as SR Live default values.

Adjust SR Live settings manually
Enable the Adjust SR Live settings manually switch to enable the SDR gain,
SDR knee, and Black adjustment switches to manually control settings for converting
between standard- and high-dynamic-range content.
When SR Live metadata source is set to Clip or External file and Adjust SR Livesettings manually is on, clip metadata and manual control settings are used forconversion.
Click the Load button to load settings from the selected clip and set the SDR gain,
SDR knee, and Black adjustment controls to match the clip settings. You can thenfine-tune the settings manually, and the manual adjustments will be used forconversion.
You can double-click a control to reset it to the default value. When SR Live
metadata source is set to External file, the selected file's values are used as
SR Live default values.
SR Live settings are applied in the following cases:oWhen exporting Rec.2020/S-Log3, S-Gamut3/S-Log3, S-Gamut3.Cine/SLog3, or Sony RAW/X-OCN source clips to Rec.2020/S-Log3, Rec.2020/HLG,
Rec.2020/PQ, or SDR formats when the Output color space drop-down is set
to Same as preview or Same as external monitor.

oWhen exporting Rec.2020/HLG clips to Rec.2020/HLG or SDR formats when
the Output color space drop-down is set to Same as preview or Same asexternal monitor.

oWhen exporting Rec.2020/PQ clips to Rec.2020/PQ or SDR formats when the
Output color space drop-down is set to Same as preview or Same as externalmonitor.

oWhen exporting SDR clips to Rec.2020/S-Log3, Rec.2020/HLG,

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Rec.2020/PQ, or SDR formats when the Output color space drop-down is set
to Same as preview or Same as external monitor.
When Use SR Live metadata is off and Adjust SR Live settings manually is off,color management uses default settings, and no SR Live processing is
performed.
When Output color space is set to Rec.2020/HLG AIR Matching, Rec.2020/HLG(bypass OOTF), Rec.2020/PQ AIR Matching, or Rec.2020/PQ (bypass OOTF)
in Options, no SR Live processing is performed.

Conversion mode
When External file is selected in the SR Live metadata source drop-down list, theConversion mode section displays conversion settings for the selected external .srm
file:oConversion mode displays the file's HDR/SDR conversion mode.

o

HDR look displays the file's look setting for source HDR content.

o

HDR black compression indicates whether black compression is enabled to
improve the appearance of low-luminance levels.

SDR gain
When the switch is enabled, you can drag the Gain slider to choose the gain that is
applied when reading SDR content or when exporting to an SDR format or displaying
on an SDR display.
For example, if you set the slider to -6.0 dB, a linear gain of +6.0 dB (2.0x) is applied
when reading SDR content, and a linear gain of -6.0 dB (0.5x) is applied whenexporting to an SDR format or displaying on an SDR display.

Black adjustment
Enable the Black adjustment switch to adjust black levels:oDrag the Master black slider to adjust the master black level.

oDrag the HDR black offset slider to apply an offset to the Master black valuefor HDR content.

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The Master black and HDR black offset values should match the settings
on the HDRC-4000 HDR Production Converter Unit.
On the HDRC-4000, the SETTING MODE should be set to
SONY SYSTEM CAMERA, and the ABS mode should be set to enabled.

Gamma settings
When External file is selected in the SR Live metadata source drop-down list, theGamma section displays gamma settings for the selected external .srm file:oTable displays the file's gamma table.
When a hypergamma value is selected, you must adjust the SDR gain value
manually:nHyper 1: Increase SDR gain by 5.0 dB. For example, if your clip's
original SDR gain value is -6.0 dB, you will need to increase SDR gain
by 5.0 dB for an SDR gain value of -1.0 dB.

nHyper 2: Increase SDR gain by 8.0 dB. For example, if your clip's
original SDR gain value is -6.0 dB, you will need to increase SDR gainby 8.0 dB for an SDR gain value of 2.0 dB.

nHyper 3: Increase SDR gain by 3.0 dB. For example, if your clip's
original SDR gain value is -6.0 dB, you will need to increase SDR gain
by 3.0 dB for an SDR gain value of -3.0 dB.

nHyper 4: Increase SDR gain by 6.0 dB. For example, if your clip's
original SDR gain value is -6.0 dB, you will need to increase SDR gain
by 6.0 dB for an SDR gain value of 0.0 dB.

oStep indicates the gamma strength in steps (0.35 to 0.90).

oLevel indicates the gamma strength in analog values from -100 to 100.

SDR knee
Select the SDR knee switch to apply a knee curve to the RGB output gain whenexporting HDR content to an SDR format or displaying on an SDR display. While theSDR gain setting applies a linear gain, a knee curve can help preserve midrange
colors and highlights.

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When using knee parameters on the Sony HDRC-4000 HDR Production
Converter Unit, please enable ABS mode and confirm the R, G, B values in the
HDRC-4000. Adjust the values in Catalyst Prepare to match. Using different R,
G, B values is not supported.
oDrag the Point slider to adjust the position of the knee point in the curve.

oDrag the Slope slider to adjust the slope of the curve above the knee point.

oTo adjust the color intensity in the output image, select the SDR knee
saturation switch and drag the Level slider. Increasing the saturation can help
compensate for decreased saturation around the knee curve.

White clip
When External file is selected in the SR Live metadata source drop-down list, theWhite clip section displays the white clip settings for the selected external .srm file:
White clip indicates whether the white clip level is used when exporting HDR content
to an SDR format or displaying on an SDR display.
Level indicates the white clip level: 0 is the default setting; lower settings decrease
the white clip level, and higher settings increase the clip level.
The File tab in the Inspector displays the SDR White Clip and SDR White Clip
Level settings for the selected clip.

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HDR knee
When External file is selected in the SR Live metadata source drop-down list, theHDR knee section displays information about the HDR knee curve for the selected
external .srm file. The HDR knee curve is applied to the luminance (Y) whenexporting HDR content to an SDR format or displaying on an SDR display. The HDR
knee value adjusts brightness to conform to SDR output.
When using knee parameters on the Sony HDRC-4000 HDR Production
Converter Unit, please enable ABS mode and confirm the R, G, B values in the
HDRC-4000. Adjust the values in Catalyst Prepare to match. Using different R,
G, B values is not supported.
o

Point indicates the position of the knee point in the curve.

oSlope indicates the slope of the curve above the knee point.

c. From the Preview color space drop-down list, choose the color space for the Catalyst
Prepare video preview window.
In most cases, choose Rec.709 for your computer monitor, or you can choose othersettings to check your video using scopes. For more information, see "Loading aclip/clip list for color adjustments and configuring the waveform, histogram, andvectorscope monitors" on page 131.
d. From the External monitor color space drop-down list, choose the setting thatmatches the EOTF (electro-optical transfer function) setting on your external monitor.

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You can use the AIR Matching (Artistic Intent Rendering) or bypass OOTF
settings to achieve a consistent look between external-monitor previews andrendered clips.

Using AIR Matching to monitor using the S-Log3 (Live HDR) EOTF
Sony BVM-X300 version 2.0 monitor settings:oColor Space: ITU-R BT.2020

o

EOTF: S-Log3 (Live HDR)oTransfer Matrix: ITU-R BT.2020oIn the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from theExternal monitor color space drop-down list.
Content mastered using these settings and rendered to HLG or PQ with
AIR Matching should have the same look on HLG or PQ monitors or
televisions.

Using bypass OOTF to monitor using the S-Log3 (HDR) EOTF
Sony BVM-X300 version 2.0 monitor settings:oColor Space: ITU-R BT.2020

o

EOTF: S-Log3 (HDR)oTransfer Matrix: ITU-R BT.2020oIn the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from theExternal monitor color space drop-down list.
Content mastered using these settings and rendered to HLG or PQ withbypass OOTF should have the same look on HLG or PQ monitors or
televisions.

Converting HDR media to SDR color spaces
When converting HDR media to standard dynamic range color spaces, use thefollowing settings to preserve your Rec.2020/S-Log3 grading (the dynamic
range of the HDR color space will be clamped to the BT.709 gamma curve):

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In Options, set the Working color space to Rec.2020/S-Log3 (HDR).

oIn Options, enable the SDR gain and SDR knee switches and adjust thecontrols to choose the gain and knee curve that will be applied whenexporting to an SDR format or displaying on an SDR display.

o

In Options, set the Preview color space for the video preview to Rec.709
or Rec.2020.

When converting HDR media to standard dynamic range color spaces, use thefollowing settings to preserve more of the dynamic range of the original HDR
media:o

In Options, set the Working color space to Rec.709.

oIn the Inspector, set the Convert to color space to 709(800), HG8009G33,
or HG8009G40.

e. From the External monitor device drop-down list, choose the device where you'veconnected a monitor that supports the Rec.2020 color gamut and an HDR luminancecurve, such as the Sony BVM-X300.
f. From the Monitor resolution drop-down list, choose the appropriate resolution foryour external monitor.
2. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
3. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
4. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.
The waveform/histogram/vectorscope monitor and video preview window allow you tomonitor your progress as you adjust color values. For more information, see "Editing Color
Adjustments controls" on page 131.
5. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible. In the Adjust Color workspace, the Inspector pane provides controls that you will use
to adjust color-grading settings.

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6. Use the color wheels and controls in the Inspector pane to adjust your colors as needed. For
more information, see "Editing Color Adjustments controls" on page 131.
7. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu if you want to export your settings as a 3D LUT file.
For more information, see "Exporting color-correction settings" on page 160.

Exporting color-correction settings
You can use the Tools button

at the bottom of the Catalyst Prepare window to export color-correction settings to cameras for on-set monitoring or to a nonlinear editor (NLE) for color grading.

Saving a color preset
Color presets include the source settings (exposure, temperature, and tint), look profile, tone
curve, and ASC-CDL settings. For more information, see "Editing Color Adjustments controls"
on page 131.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible.
5. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Save

preset from the menu.
6. In the Save Preset dialog, type a file name to identify your Catalyst color (.ccolor) file.
Presets are saved in the following folders by default:
Windows: C:\Users\<user>\Documents\Sony\Catalyst\Color\
macOS: /Users/<user>/Documents/Sony/Catalyst/Color
7. Click OK.

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Exporting an ASC-CDL file
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible and adjust your color settings as needed. For more information, see "Editing Color
Adjustments controls" on page 131.
Saturation and color wheel/slider settings are saved with ASC-CDL files. Tone curve
settings are not saved.
Brightness and contrast are not saved explicitly with ASC-CDL files. When exporting an
ASC-CDL file, the Brightness and Contrast settings are incorporated with the othercolor-correction values. When you reload an exported ASC-CDL file, the Brightness
and Contrast settings will be set to 0.
When exchanging color settings with Catalyst Browse and Catalyst Prepare, click the
Tools button

at the bottom of the Catalyst Prepare window and choose Save

preset from the menu to preserve Brightness and Contrast settings.
For more information, see "Exporting color-correction settings" on page 160 and"Applying color correction" on page 143.
5. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu.
6. Use the Export As dialog box to specify the folder, file name, and settings you want toexport:APPLYING COLOR CORRECTION

161

a. Use the browser to select the folder where you want to save your file.
b. In the File name box, type the path and file name you want to save your colorcorrection settings.
c. Choose ASC-CDL from the Format drop-down list.
7. Click Export.

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Exporting a 3D LUT
When the Working color space in Options is set to Rec.2020/S-Log3 (HDR), you can export a3D LUT (look-up table) to capture your color settings — including the application of SR Live
metadata — that can be applied in nonlinear editing software or a hardware LUT box.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load aclip, the color-correction settings saved with the clip are loaded.
Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, andcolor controls that you can use to adjust the appearance of your video.
4. Click the Inspector buttonin the toolbar to display the Inspector pane if it isn't alreadyvisible and adjust your color settings as needed. For more information, see "Editing Color
Adjustments controls" on page 131.
5. Click the Tools button

at the bottom of the Catalyst Prepare window and choose Export

color settings from the menu.
6. Use the Export As dialog box to specify the folder, file name, and settings you want toexport:a. Use the browser to select the folder where you want to save your file.
b. In the File name box, type the file name you want to use to save your 3D LUT.
When SR Live metadata source is set to External file in Options, the base nameof the selected SRM file is provided by default. For more information, see "SRLive for HDR settings" on page 174.
c. Choose a setting from the Format drop-down list to choose the type of 3D LUT you
want to create:oChoose 3D LUT (NLE .cube) to create a 3D LUT you can use with an NLE
such as Blackmagic Design DaVinci Resolve or Adobe Premiere Pro.
For more information, see "Applying a 3D LUT in Adobe Premiere Pro" on

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page 167 or "Applying a 3D LUT in Blackmagic Design DaVinci Resolve" onpage 166.
oChoose 3D LUT (SDI/SMPTE .cube) to create a 3D LUT you can use with ahardware LUT box.

d. If the input color space is S-Log2 or S-Log3 and the Format is set to 3D LUT (NLE
.cube), you can select the Extended S-Log input range check box and choose asetting from the Type drop-down list to specify an extended input range.
oChoose IRIDAS/Adobe to create a 3D LUT you can use with Adobe PremierePro.

oChoose DaVinci Resolve to create a 3D LUT you can use with DaVinci
Resolve.

The Extended S-Log input range check box is used to correct for cases where
an NLE treats files that use full range (such as S-Log3) as legal range. If the NLE
has an input range setting, such as newer versions of Resolve, you do not needto select the Extended S-Log input range check box.
e. Choose a setting from the Input color space drop-down list to specify the color spacethat will be used as the input of the LUT.
f. Choose a setting from the Output color space drop-down list to specify the color
space that will be used as the output of the LUT.
Output color space is available only when the Working color space is set toRec.2020/S-Log3 (HDR). For more information, see "Applying color correction"
on page 151.
g. Choose a setting from the Precision drop-down list box to choose a standard(33x33x33) or high-precision (65x65x65) LUT.
h. Select the Source settings check box if you want to include exposure, temperature,and tint settings with your LUT.
i. Select the Convert to setting check box if you want to export your LUT using theHypergamma setting selected in the Convert to drop-down list in the Inspector.
The Convert to setting check box is available only when the Working color spacein Options is set to Rec.709 and the Convert to drop-down in the Inspector paneis set to a Hypergamma conversion choice, such as 709(800) or HG8009G33.

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j. Select the Look profile check box if you want to include the selected look profile fromthe Inspector in your LUT.
The Look profile check box is displayed below the Convert to drop-down list
when the Working color space in Options is set to Rec.709 and the Convert todrop-down in the Inspector pane is not set to a Hypergamma conversion choice.
The Look profile check box is displayed below the Color correction check box
when the Working color space in Options is set to Log.
k. Select the Tone curve check box if you want to include the tone curve from theInspector in your LUT.
l. Select the Color correction check box if you want to include the color correction
adjustments from the Inspector in your LUT.
7. Click Export. The LUT file will be saved in the folder you selected in step 6a.

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Applying a 3D LUT in Blackmagic Design DaVinci Resolve
1. Follow the instructions in "Exporting a 3D LUT" on page 163 to save your 3D LUT file in 3D
LUT (NLE .cube) format.
2. Save the 3D LUT file in the following folder:nWindows: C:\ProgramData\Blackmagic Design\DaVinci
Resolve\Support\LUT\SonynmacOS: /macOS/Library/Application Support/Blackmagic Design/DaVinci
Resolve/LUT/SonyTips:o

To locate the LUT folder, choose File > Project Settings in Resolve, andthen click the Open LUT Folder button on the Color Management tab.

o

Use the 3D Lookup Table Interpolation drop-down list to set 3D LUT
interpolation to be Trilinear or Tetrahedral.

3. Ensure your project is set to use the intended output color space (typically Rec.709) on thetimeline:a. In Resolve, choose File > Project Settings.
b. Click the Color Management tab.
c. From the Color science drop-down list, choose DaVinci YRGB.
d. From the Timeline color space drop-down list, choose a Rec.709 color space, such
as Rec.709 (Scene).
e. Click Save.
4. To apply the LUT to a clip, right-click the media thumbnail, choose LUT from the shortcut
menu, choose Sony, and then choose the 3D LUT you want to use:
If the source media color space uses Legal range (such as HLG XAVC), no further actions
are required.
If the source media color space uses Full range (such as S-Log3, for example), you must tell
Resolve not to stretch the media range: right-click the media thumbnail, choose Clip
Attributes, and then change Data Levels to Full.

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Applying a 3D LUT in Adobe Premiere Pro
1. Follow the instructions in "Exporting a 3D LUT" on page 163 to save your 3D LUT file in 3D
LUT (NLE .cube) format.
2. Ensure your sequence is set to use the intended output color space (typically Rec.709) as
its working color space.
a. In Premiere Pro, choose Sequence > Sequence Settings.
b. From the Working Color Space drop-down list, choose Rec.709.
c. Click OK.
3. Right-click the media in the Premiere Pro media window, choose Modify from the shortcut
menu, and then choose Interpret Footage.
When working with S-Log3 and/or HLG files containing SR Live metadata in Premiere
Pro 2022, you can skip steps 3-6 if you want to convert from S-Log3/HLG to Rec.709. If
you want to use a specific 3D LUT in Premiere Pro 2022, please perform steps 3-6 andrefer to the Premiere Pro documentation for specific usage information.
4. In the Color Management section, open the Input LUT selector.
5. Select the 3D LUT file you want to use:n

To use an existing 3D LUT, choose it from the selector.

n

To add a new 3D LUT, choose Add LUTs and browse to the folder where you've
saved the 3D LUT you want to use.

6. Set the Color Space Override selector to match the output color space of the LUT (typically
Rec.709).

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Chapter 7
Editing Catalyst Prepare options
Click the Options

button to edit your application options.

If you need to reset all Catalyst Prepare options to their default values, hold Control + Shiftwhen starting the application.

Application settings
Choosing a video processing device
Choose a setting from the Video processing device drop-down list to enable or bypass GPUaccelerated video playback and transcoding.
Choose CPU if you want to turn off GPU acceleration, or choose a device from the list to enableGPU-accelerated playback.
The optimal GPU device is automatically selected. Changing this value is intended foradvanced users and may be useful for troubleshooting technical problems.
Computers equipped with CPUs that utilize Intel’s Quick Sync Video (QSV) technology see
improved processing performance for decoding H.264/AVC/MPEG-4 video files.
When using a device other than your CPU, high-quality deinterlacing and upscaling areapplied to convert SD and HD sources to modern progressive HD and UHD assets. Please
note that some systems with limited GPU memory are not supported.
nHigh-quality deinterlacing is applied to interlaced source media when playback ispaused, during transcoding, and during playback when the Playback Settings
Speed/Quality setting is set to Quality.

nHigh-quality upscaling is applied during transcoding when you choose an HD or UHD
render preset.

Enabling OpenCL/OpenGL interoperability
OpenCL/OpenGL interoperability allows OpenCL and OpenGL to share rendered frames andcan improve playback performance, but it can cause instability with some hardware and drivers.

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169

n

Select Performance to enable OpenCL and OpenGL interoperability. We recommend
using this setting in most cases for optimum playback performance.

nSelect Compatibility to turn off interoperability if you notice artifacts or corruption in
rendered frames.
After changing the OpenCL/OpenGL interoperability setting, please restart Catalyst
Prepare for the change to take effect.

Choosing a default transcoding format
Choose a setting from the Default transcode format drop-down list to choose the format that will
be used when copying partial clips that cannot be copied in their source format or when
uploading to Ci.
For more information, see "Exporting media from a library" on page 25 or "Organizing media in alibrary" on page 15.

Choosing a map service for GPS links
Choose a setting from the Open GPS links with drop-down list to choose the map service thatwill be used to display maps when you click GPS links in a clip's metadata.
For more information, see "Viewing and editing metadata" on page 105.

Enabling the secondary window
Enable the Secondary preview window switch if you want to show the video preview in asecondary window that you can position anywhere on your screen or on a secondary monitor.

Enable proxy clip playback
Enable the Preview using proxy clips switch if you want to use proxy clips for playback if they
are available.
If you're working on a system with limited processing power, creating a proxy file will allow you
to preview your media more efficiently.
Video proxy files are used for playback only.

Enable half-step timecode for 50p/60p sources
Enable the 50p/60p half-step timecode display switch if you want to display half-step timecodefor each field in 50p/60p sources. The timecode for field two will be displayed with an asterisk

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appended:
Field 1: 01:00:17:17
Field 2: 01:00:17:17*
Show or hide thumbnail frames
Enable the Show thumbnails switch if you want to display thumbnail images in the Media
Browser. Turning off the switch can improve performance on some slower storage devices.

Automatically rotate thumbnail frames
Enable the Automatically rotate thumbnails switch to detect clip rotation and adjust thumbnail
images in Organize mode.
For more information, see "Working with rotated clips."

Choosing snapshot settings
The Save snapshots to box displays the path to the folder where the files will be saved when
you save a snapshot of the current frame. You can type a path in the box or click the Browse
button to choose a folder.
Choose a setting from the Snapshot image format drop-down list to choose the file format thatwill be used for snapshots.
For more information, see "Creating a snapshot of a frame" on page 101.

Color management settings
Working color space
Choose a setting from the Working color space drop-down list to choose the color space that will
be used for color grading.
For more information, see "Applying color correction" on page 131.
When you choose Rec.2020/S-Log3 from the Working color space drop-down list, the SR Livefor HDR controls are displayed to allow you to convert between standard- and high-dynamicrange content. For more information, see "SR Live for HDR settings" on page 174.

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171

Video preview color space
From the Preview color space drop-down list, choose the color space for the Catalyst
Prepare video preview window.
In most cases, choose Rec.709 for your computer monitor, or you can choose other settings
to check your video using scopes. For more information, see "Loading a clip/clip list for color
adjustments and configuring the waveform, histogram, and vectorscope monitors" on page131.
For more information, see "Applying color correction" on page 131.

External monitor color space
Choose a setting from the External monitor color space drop-down list to choose the color
space that matches the EOTF (electro-optical transfer function) setting on your externalmonitor.
When using the Sony BVM-X300 version 2.0, please use the following monitor settings:
External monitor color space in

Color

Catalyst PrepareSpace

Rec.709

ITU-R

EOTF

Matrixi.e. 2.4

BT.709Rec.2020

ITU-R

ITU-R
BT.709i.e. 2.4

BT.2020
Rec.2020/S-Log-3

Transfer

ITU-R
BT.2020

ITU-R

S-Log3(Live HDR) or S-Log3

ITU-R

BT.2020(HDR)

BT.2020

Rec.2020/HLG,

ITU-R

HLG SG Variable(HDR), HLG

ITU-R

Rec.2020/HLG AIR Matching,

BT.2020

System Gamma 1.2

BT.2020

Rec.2020/PQ,

ITU-R

SMPTE ST 2084(HDR)

ITU-R

Rec.2020/PQ AIR Matching, or

BT.2020orRec.2020/HLG (bypass OOTF)

Rec.2020/PQ (bypass OOTF)

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BT.2020

When Rec.2020/S-Log3 (HDR) is selected from the Working color space drop-down list,
you can use the AIR Matching (Artistic Intent Rendering) or bypass OOTF settings toachieve a consistent look between external-monitor previews and rendered clips.

Using AIR Matching to monitor using the S-Log3 (Live HDR) EOTF
Sony BVM-X300 version 2.0 monitor settings:nColor Space: ITU-R BT.2020

n

EOTF: S-Log3 (Live HDR)nTransfer Matrix: ITU-R BT.2020n

In the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from theExternal monitor color space drop-down list.
Content mastered using these settings and rendered to HLG or PQ with
AIR Matching should have the same look on HLG or PQ monitors or televisions.

Using bypass OOTF to monitor using the S-Log3 (HDR) EOTF
Sony BVM-X300 version 2.0 monitor settings:nColor Space: ITU-R BT.2020

n

EOTF: S-Log3 (HDR)nTransfer Matrix: ITU-R BT.2020n

In the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from theExternal monitor color space drop-down list.
Content mastered using these settings and rendered to HLG or PQ with bypass
OOTF should have the same look on HLG or PQ monitors or televisions.

Converting HDR media to SDR color spaces
When converting HDR media to standard dynamic range color spaces, use the following
settings to preserve your Rec.2020/S-Log3 grading (the dynamic range of the HDRcolor space will be clamped to the BT.709 gamma curve):n

In Options, set the Working color space to Rec.2020/S-Log3 (HDR).

nIn Options, enable the SDR gain switch and adjust the Gain slider to choose thegain that will be applied when exporting to an SDR format or displaying on an

EDITING CATALYST PREPARE OPTIONS173

SDR display.
n

In Options, set the Preview color space to Rec.709 or Rec.2020.

When converting HDR media to standard dynamic range color spaces, use the following
settings to preserve more of the dynamic range of the original HDR media:n

In Options, set the Working color space to Rec.709.

n

In the Inspector, set the Convert to color space to 709(800), HG8009G33, or
HG8009G40.

For more information, see "Applying color correction" on page 151.

SR Live for HDR settings
When you choose Rec.2020/S-Log3 from the Working color space drop-down list, the SR Livefor HDR controls are displayed to allow you to convert between standard- and high-dynamicrange content:

SR Live metadata source
Choose a setting from the SR Live metadata source drop-down list to choose how SR Live
metedata processing is performed:nWhen SR Live metadata source is set to None and Adjust SR Live settings manually isoff, no SR Live processing is performed.

nWhen SR Live metadata source is set to None and Adjust SR Live settings manually is
on, SR Live processing is performed only for the visible controls.

nWhen SR Live metadata source is set to Clip and Adjust SR Live settings manually is off,
metadata settings from the current clip are used when converting between standard- andhigh-dynamic-range content.

nWhen SR Live metadata source is set to Clip and Adjust SR Live settings manually is on,
metadata settings from the current clip and manual control settings are used whenconverting between standard- and high-dynamic-range content. For more information,
see "Adjust SR Live settings manually" on page 175.

n

When SR Live metadata source is set to External file and Adjust SR Live settings
manually is off, metadata settings from an external .srm file are used when converting
between standard- and high-dynamic-range content.

174

CHAPTER 7

n

When SR Live metadata source is set to External file and Adjust SR Live settings
manually is on, metadata settings from an external .srm file and manual control settings
are used when converting between standard- and high-dynamic-range content. For more
information, see "Adjust SR Live settings manually" on page 175.
When SR Live metadata source is set to Clip or External file, Catalyst Prepare uses
recommended SR Live values for clips generated by Sony devices even if SR Live
metadata values are not present in the clip.
When SR Live metadata source is set to External file, the selected file's values areused as SR Live default values.

Adjust SR Live settings manually
Enable the Adjust SR Live settings manually switch to enable the SDR gain, SDR knee, andBlack adjustment switches to manually control settings for converting between standard- andhigh-dynamic-range content.
When SR Live metadata source is set to Clip or External file and Adjust SR Live settings
manually is on, clip metadata and manual control settings are used for conversion.
Click the Load button to load settings from the selected clip and set the SDR gain, SDR knee,
and Black adjustment controls to match the clip settings. You can then fine-tune the settings
manually, and the manual adjustments will be used for conversion.
You can double-click a control to reset it to the default value. When SR Live metadata
source is set to External file, the selected file's values are used as SR Live default values.
SR Live settings are applied in the following cases:n

When exporting Rec.2020/S-Log3, S-Gamut3/S-Log3, S-Gamut3.Cine/S-Log3, or Sony
RAW/X-OCN source clips to Rec.2020/S-Log3, Rec.2020/HLG, Rec.2020/PQ, or SDR
formats when the Output color space drop-down is set to Same as preview or Same asexternal monitor.

nWhen exporting Rec.2020/HLG clips to Rec.2020/HLG or SDR formats when the Output
color space drop-down is set to Same as preview or Same as external monitor.

nWhen exporting Rec.2020/PQ clips to Rec.2020/PQ or SDR formats when the Output
color space drop-down is set to Same as preview or Same as external monitor.

nWhen exporting SDR clips to Rec.2020/S-Log3, Rec.2020/HLG, Rec.2020/PQ, or SDR
formats when the Output color space drop-down is set to Same as preview or Same asexternal monitor.

EDITING CATALYST PREPARE OPTIONS

175

When Use SR Live metadata is off and Adjust SR Live settings manually is off, color
management uses default settings, and no SR Live processing is performed.
When Output color space is set to Rec.2020/HLG AIR Matching, Rec.2020/HLG (bypass
OOTF), Rec.2020/PQ AIR Matching, or Rec.2020/PQ (bypass OOTF) in Options, no SR
Live processing is performed.

Conversion mode
When External file is selected in the SR Live metadata source drop-down list, the Conversion
mode section displays conversion settings for the selected external .srm file:nConversion mode displays the file's HDR/SDR conversion mode.

n

HDR look displays the file's look setting for source HDR content.

n

HDR black compression indicates whether black compression is enabled to improve theappearance of low-luminance levels.

SDR gain
When the switch is enabled, you can drag the Gain slider to choose the gain that is applied
when reading SDR content or when exporting to an SDR format or displaying on an SDR
display.
For example, if you set the slider to -6.0 dB, a linear gain of +6.0 dB (2.0x) is applied whenreading SDR content, and a linear gain of -6.0 dB (0.5x) is applied when exporting to an SDR
format or displaying on an SDR display.

Black adjustment
Enable the Black adjustment switch to adjust black levels:nDrag the Master black slider to adjust the master black level.

nDrag the HDR black offset slider to apply an offset to the Master black value for HDR
content.
The Master black and HDR black offset values should match the settings on the
HDRC-4000 HDR Production Converter Unit.
On the HDRC-4000, the SETTING MODE should be set to
SONY SYSTEM CAMERA, and the ABS mode should be set to enabled.

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CHAPTER 7

Gamma settings
When External file is selected in the SR Live metadata source drop-down list, the Gamma
section displays gamma settings for the selected external .srm file:n

Table displays the file's gamma table.
When a hypergamma value is selected, you must adjust the SDR gain value manually:oHyper 1: Increase SDR gain by 5.0 dB. For example, if your clip's original SDR
gain value is -6.0 dB, you will need to increase SDR gain by 5.0 dB for an
SDR gain value of -1.0 dB.

oHyper 2: Increase SDR gain by 8.0 dB. For example, if your clip's original SDR
gain value is -6.0 dB, you will need to increase SDR gain by 8.0 dB for an
SDR gain value of 2.0 dB.

oHyper 3: Increase SDR gain by 3.0 dB. For example, if your clip's original SDR
gain value is -6.0 dB, you will need to increase SDR gain by 3.0 dB for an
SDR gain value of -3.0 dB.

oHyper 4: Increase SDR gain by 6.0 dB. For example, if your clip's original SDR
gain value is -6.0 dB, you will need to increase SDR gain by 6.0 dB for an
SDR gain value of 0.0 dB.

n

Step indicates the gamma strength in steps (0.35 to 0.90).

nLevel indicates the gamma strength in analog values from -100 to 100.

SDR knee
Select the SDR knee switch to apply a knee curve to the RGB output gain when exporting
HDR content to an SDR format or displaying on an SDR display. While the SDR gain setting
applies a linear gain, a knee curve can help preserve midrange colors and highlights.
When using knee parameters on the Sony HDRC-4000 HDR Production Converter Unit,
please enable ABS mode and confirm the R, G, B values in the HDRC-4000. Adjust thevalues in Catalyst Prepare to match. Using different R, G, B values is not supported.
nDrag the Point slider to adjust the position of the knee point in the curve.

nDrag the Slope slider to adjust the slope of the curve above the knee point.

n

To adjust the color intensity in the output image, select the SDR knee saturation switch
and drag the Level slider. Increasing the saturation can help compensate for decreased
saturation around the knee curve.

EDITING CATALYST PREPARE OPTIONS

177

White clip
When External file is selected in the SR Live metadata source drop-down list, the White clip
section displays the white clip settings for the selected external .srm file:
White clip indicates whether the white clip level is used when exporting HDR content to an SDR
format or displaying on an SDR display.
Level indicates the white clip level: 0 is the default setting; lower settings decrease the white clip
level, and higher settings increase the clip level.
The File tab in the Inspector displays the SDR White Clip and SDR White Clip Level
settings for the selected clip.

HDR knee
When External file is selected in the SR Live metadata source drop-down list, the HDR knee
section displays information about the HDR knee curve for the selected external .srm file. The
HDR knee curve is applied to the luminance (Y) when exporting HDR content to an SDR format
or displaying on an SDR display. The HDR knee value adjusts brightness to conform to SDR
output.
When using knee parameters on the Sony HDRC-4000 HDR Production Converter Unit,
please enable ABS mode and confirm the R, G, B values in the HDRC-4000. Adjust thevalues in Catalyst Prepare to match. Using different R, G, B values is not supported.

178nPoint indicates the position of the knee point in the curve.

nSlope indicates the slope of the curve above the knee point.

CHAPTER 7

Choosing an external video monitor device and resolution
Choose a setting from the External monitor device drop-down list to display your video preview
on an external monitor via a Blackmagic Design device:n

DeckLink 4K Extreme 12G, 4K Pro, 4K Extreme, Studio 4K, SDI 4K, HD Extreme,
Extreme 3D, and Mini Monitor.

nIntensity Shuttle, Pro 4K, and Pro.

n

UltraStudio 4K Extreme, 4K, Pro, SDI, Express, and Mini Monitor.

Choose a setting from the Monitor resolution drop-down list to choose the display resolution foryour monitor.
If you have a Blackmagic Design device that supports multiple displays (or have multiple
Blackmagic Design devices), you can enable two external monitors, allowing you tomonitor SDR and HDR output simultaneously.
n

You can set the display resolution for each display independently.

n

The first external monitor will use the External monitor color space setting, and thesecond external monitor will use the Preview color space setting.

EDITING CATALYST PREPARE OPTIONS

179

180

CHAPTER 7

Chapter 8
Keyboard shortcuts
Shortcut keys can help streamline your work with Catalyst Prepare software. The available shortcut
keys are arranged in tables according to function.

Global shortcuts
The following keyboard shortcuts are available when the Video or Media Browser pane has focus.
CommandEnter full-screen preview/playback

Windows

macOS

Shortcut

Shortcut

F11 or Ctrl+F⌘ -F or Control⌘ -F

Exit full-screen preview/playback

Esc, F11, orEsc, ⌘ -F, or

Ctrl+F

Control-⌘ -F

Switch between Organize/Edit workspaces

Alt+W

Option-W

Show/hide the Inspector/Copy/Export/Share pane

Ctrl+I⌘ -I

Show/hide the Inspector pane

Alt+1

Option-1

Show/hide the Copy pane

Alt+2

Option-2

Show/hide the Export pane

Alt+3

Option-3

Show/hide the Share pane

Alt+4

Option-4

Show/hide the secondary window

Alt+V

Option-V

Open application help

F1

Fn-F1 (F1 if the
Use all F1, F2,
etc. keys as
standardfunction keys
setting isselected)

KEYBOARD SHORTCUTS

181

Media Browser
The following keyboard shortcuts are available when the Media Browser pane has focus.
Command

Windows

macOS

Shortcut

ShortcutUp, Down, Left,

Up, Down, Left,or Right Arrowor Right Arrow

Open/close folder in tree view

Right/Left Arrow

Right/Left Arrow

Select all files

Ctrl+A⌘ -A

Deselect all files

Ctrl+D⌘ -DDelete selected files

DeleteDelete orNavigate files/folders

fn+Delete
Load file and start/pause playback

Spacebar

Spacebar

Open selected folder

Enter orReturn or ⌘ -Ctrl+Down Arrow

Down Arrow

Navigate up one level

Backspace⌘ -Up Arrow

Go to start/end of list

Home

Home

End

End

Page Up

Page Up

Page Down

Page Down

F2

Fn-F2 (F2 if theMove selection up/down one page

RenameUse all F1, F2,
etc. keys as
standard function
keys setting isselected)
Open library

Ctrl+O⌘ -O

New library

Ctrl+N⌘ -N

Editing
The following keyboard shortcuts are available when the Edit pane has focus.

182

CHAPTER 8

CommandWindows

macOS

Shortcut

Shortcut

`

`

~

~

[]

[]

Save a snapshot of the current frame to a file.

Shift+S

Shift-S

Reset mark in and mark out points to the beginning andShift+R

Shift-R

1/2/3/4

1/2/3/4

Show/hide the Media Browser in View mode

Ctrl+B⌘ -B

Create subclip from selection in Logging mode.

S

S

Add clip to selected storyboard (when the Add To bar isEnter

ReturnUndo color correction

Ctrl+Z⌘ -Z

Redo color correction

Ctrl+Shift+Z

Shift-⌘ -Z

Switch Logging/Storyboard/Clip/Adjust Colors

Load previous/next file in Edit mode.
Go to previous/next clip in Storyboard mode.

end of the clip.
Switch between Before/After/Split/2 Up video preview in
Adjust Color mode.

visible).

Ctrl+YKEYBOARD SHORTCUTS

183

Playback and preview
The following keyboard shortcuts are available when the Video pane has focus.
Command

Go to start

Windows

macOS

Shortcut

Shortcut

Ctrl+Home⌘ -HomeCtrl+Up Arrow⌘ -Up Arrow
Fn- Left Arrow

Go to end

Ctrl+End⌘ -EndCtrl+Down Arrow⌘ -Down ArrowEnd

Fn- Right Arrow

Go to previous frame

Left Arrow

Left Arrow

Go to next frame

Right Arrow

Right Arrow

Go to previous clip[[

Go to next clip]]

Start/pause playback

Spacebar

Spacebar

Start/stop playback

Enter

ReturnShuttle playback

J/K/L
Press J or L once for 1x playback.
Press J or L twice for 1.5x playback.
Press J or L three times for 2x
playback.
Press J or L four times for 4x
playback.
Press K to pause playback.
Press and hold K while pressing J or
L to emulate a shuttle knob mode:press K+J to turn the knob to the left
or K+L to turn the knob to the right.

Toggle looped playback

184

CHAPTER 8

Q

Q

CommandWindows

macOS

Shortcut

Shortcut

Ctrl+L⌘ -L

Set Mark In pointI

I

Set Mark Out pointOO

Add mark pointE

E

Go to Mark In point

Shift+I

Shift-I

Home

Home

Shift+O

Shift-OEnd

End

Save a snapshot of the current frame to a file.

Shift+S

Shift-S

Reset Mark In/Out points

Shift+R

Shift-R

Go to previous marker (including Mark In/Out)

Ctrl+Left Arrow⌘ -Left Arrow

Go to next marker (including Mark In/Out)

Ctrl+Right Arrow⌘ -Right Arrow

Copy current frame to clipboard

Ctrl+C⌘ -C

Enter full-screen playback

F11

⌘ -F

Ctrl+F

Control-⌘ -F

Show/hide the secondary window

Alt+V

Option-V

Zoom to fit

Ctrl+0⌘ -0Zoom to 100%

Ctrl+1⌘ -1

Zoom in

Ctrl++⌘ -+Zoom out

Ctrl+-⌘ --Go to Mark Out point

KEYBOARD SHORTCUTS

185

186

CHAPTER 8

Chapter 9
GesturesMedia Browser pane
GestureResultTap

Selects and loads a file.

Double-tap

Opens a file in the Video pane.

One-finger drag (touchscreen)

Scrolls the list vertically.

Two-finger drag (trackpad)
One-finger flick (touchscreen)

Scrolls the list with inertia.

Two-finger flick (trackpad)

Video pane
GestureResultDouble-tap

Toggles the zoom level between 100% and Fit.

One-finger drag (touchscreen)

Pans the image.

Two-finger drag (trackpad)
One-finger flick (touchscreen)

Pans the image with inertia.

Two-finger flick (trackpad)
Pinch

Zooms the image in and out.

GESTURES

187

IndexAIR matching 158, 173.

all frames playback 97
anamorphic stretch 104.ccolor files 143, 160

apply ASC-CDL 145.cube files 141

apply color preset 144.smi files 110, 114

ASC-CDL export 160
ASC-CDL files 142, 1451

assigning audio channels 107
audio channel assignment 107

1D LUT export 160

audio channels 107
Audio channels 40

3audio meters 103
auto cropping amount 125

3D LUT export 160

Automatically Added bin 11
Automatically rotate thumbnails 171

5

AVCHD relay clips 123
Avid Media Composer 48

50p half-step timecode 170

B

6
60p half-step timecode 170

backing up volumes 53
batch export 42, 128
bin export 18

A

bin location 11
Add custom metadata 110
Add custom metadata | Default.Prolog |[61] 40
add existing folder 11, 17
add padding to clips 42
Add to bin 12, 44

bins 17browse remote server 26, 57
burn in clip name 41
burn in timecode 40
BVM-X300 159
bypass OOTF 158, 173

Add to Favorites 16
add watermark 41
adding clips 112, 115
adding clips to bins 17
adding media to library 10
adding shot marks 108
address/port (FTP) 26
Adjust SR Live settings manually 153, 175
Adobe Premiere 48

C
card backup 53
catalog export 121
channel assignment 107
channel routing 103
Ci Workspace 49
CinemaScope overlay 104

INDEX

188

cleaning bins 18

creating clip lists 111

clip settings 103

creating storyboards 114

clip list from selection 111

creating subclips 24

clip lists 110

cropping ratio 127

clip name 41

CSV export 121

Clip rotation 104, 171

curves 142

clip stitching 40, 128

custom metadata export 40, 109

clip stitching | Default.Prolog,Default.Hidden,Default.Browser |D[230] 128
default look profile 141

Clips

default transcode format 170

rotation 104, 171
close growing MXF files 13

deinterlacing 37, 97, 169

closing the library 9

delete files 21

color correction 131

delete items older than X days 18

exporting 160

delete items that can no longer be found 18

loading 143

delete transcoding preset 52

color curves 142

deleting shot marks 109

color presets 143, 160

deleting subclips 25

color sliders 142

desqueeze 41, 104

color space 137

device copy 46

color temperature slider 138

disc backup 53

color wheels 135

disconnect FTP 26

combine clips 128

discontinuous timecode 94, 100, 105

combining relay clips 123

display CinemaScope overlay 104

consolidating library media 23

Display color space (external monitor) 172

continuous playback 94, 101

Display color space (video preview) 172

continuous timecode 40, 128

display mode 58-59

Converting HDR to SDR color spaces 158,

display secondary window 170
DPX frame rate 105

173
Copy all related media 44
copy channel assignments 108

E

Copy clips only 13, 45
copy clips to a device 42

Edit remote server 26

Copy only between mark points 45

editing clips 23

copy snapshot to clipboard 102

editing essence marks 108

copy to bin 44

editing summary metadata 106

copy to FTP 46

EDL

Copy with verification 13-14, 46

importing 120

Create subfolder 12, 43

linking clips 120

Create XDROOT folder 57

replacing clips 121

creating a library 9, 11, 15-16

unlinking clips 120

189

INDEX

embed NRT metadata 14

disconnecting 26

essence marks 101, 105reconnecting 26

export bins as folders 18

removing 26

export bins tp Final Cut Pro X 20

SxS media 27

export bins tp Premiere 19

USB storage 27

exporting clips 25

FTP protocol 26

exporting metadata 109

FTP server settings 26

exporting storyboards 47-48, 119

FTPS protocol 26

exposure slider 138

full-frame-rate playback 97

External file for SR Live metadata 152, 174

full-screen preview 97

external monitor color space 172
external monitor device 179
external monitor resolution 179

Ggestures 187
Go to End 98

F

Go to Start 98
fast copy 46

GPS information 105

Favorite Folders 16

GPS links 105, 170

file formats 61, 92

GPU acceleration 169

file information 105

grade in 171

filter by date created 59

grading color space 137, 171

filter by flag 59

Graph scale 125, 127

filter by fomat 59

graticule 134

filter by type 59

growing MXF files 12, 15, 60

filtering clips 59

growing MXF files, closing 13

Final Cut Pro X 48

gyroscope 123

finalizing Professional Disc volumes 60
finding media 55
fit 96

H

flash bands 41, 129

half-step timecode display 170

flip horizontal 104

HDR knee 157, 178

flip vertical 104

HDR Knee point 157, 178

folder (FTP) 26

HDR Knee slope 157, 178

formatting for PZW-4000 57

histogram monitor 133

formatting Professional Disc volumes 60
formatting SxS 60
frame rate 105

I

FTP 25, 57

Import only between in/out points 13

FTP copy 46

import transcode preset 51

FTP devices

importing a LUT 140

browsing 26

importing an EDL 120

connecting 25

interoperability 169

INDEX

190

Loop Playback 98

J

LTC 94, 100, 105
JKL shuttle 98

K

LUT export 160
LUT import 140

M
Kelvin temperature 138
keyboard shortcuts 181

magnifying glass 96
Make default look profile 141
map metadata 105, 170

Lmark in 100, 106
mark out 100, 106

library
add existing folder 11, 17
adding clips to bins 17
adding folders 17
adding media 10
cleaning bins 18
closing 9
consolidating 23
creating 9
creating subclips 24
deleting subclips 25
new folder 17
opening 9organizing 16
removing clips 21
removing folders 17
renaming bins 18
renaming clips 21
save as 23
library indicator 11
linking clips in an EDL 120
list view 58

Mask options 104
Masking ratio 104
master volume 103
maximum cropping amount 125
Media Browser pane 55
merge clips 128
metadata 105
metadata export 109
metadata for proxy clips 45
metadata, stabilization 123
meters 103
minimum cropping amount 125
minimum stabilized crop resolution 126
missing media 53
monitor color space 172
monitor resolution 179
mono channel 107
move clip to bin 17, 21
moving clips between library folders 21
multicam,synchronizing audio 123
multicamera clips, synchronizing 123

Load settings from current clip 153, 175
Load SR Live settings 153, 175
load transcode preset 51
loading a library 9
logging 100
logging metadata 106
look profile 140-141
look, default 141
loop playback 101

191

INDEX

N
navigating the timeline 98
new clip list from selection 111
new empty clip list 111
new empty storyboard 114
New Folder 17
new library 11, 15-16, 18-20

Next Frame 98

proxy preview 170

NRT metadata 14

PZW-4000 27, 57

numbering 13, 36, 44, 50

RO

real time playback 97

offline media 53

Rec.2020 172

open clip list 111

Rec.709 172

open GPS links with 105, 170

reconnect FTP 26

open MXF files 12, 15, 60

relay clips, combining 123

open MXF files, closing 13

relinking library media 53

open storyboard 115

remote server 57

OpenCL/OpenGL interoperability 169

remove clips 21

OpenEXR frame rate 105

Remove remote server 26

opening a library 9

removing clips 113, 116

options 169

Rename files 12, 36, 44, 50

ordering clips 112, 115

renaming clips 21

Organize 15

renaming folders 18

override source timecode 42, 46

rendering storyboards 47
reordering clips 112, 115
repairing flash bands 41, 129P

replace source media 121
partial copy 13, 19-20, 45

Reset mark in/out points 101

password 26

reset options 169

paste channel assignment 108

Reset to default look profile 141

PD-EDL clip lists 110, 114, 120

reset transcoding settings 42

PDF export 121

Rotate preview (degrees) 104

perserve source UMID 46

rotated clips 104, 171

Play 98
play all frames 97
play in real time 97

Splaying media 93

safe areas 104

prefix 12, 36, 44, 50

saturation slider 142

Premiere Pro CS6 48

save settings, transcoding 42

Preview color space 172

save snapshot 102-103

preview proxy clips 170

save snapshots to 171

previewing storyboards 119

save transcode preset 51

Previous Frame 98

save transcoding settings 42

Professional Disc format 60

Scale graph to clip 125, 127

protocol 26

scrub control 98

proxy editing 53

SDR gain 153, 175

proxy metadata 45

SDR knee 155, 177

INDEX

192

SDR Knee point 156, 177previewing 119

SDR Knee slope 156, 177renaming 120

searching for clips 59

rendering 47

secondary window 170

subclips 24

select files 60

suffix 13, 36, 44, 50

sequential playback 94

supported formats 61, 92

server name (FTP) 25

SxS format 60

sharing files with Ci Workspace 49

SxS media 27

sharing files with YouTube 49

synchronizing multicamera clips 123

shortcuts 181
shot mark 108
Show in Explorer 23, 60

TShow in Finder 23, 60

Tangent element 145

show safe areas 104

temperature slider 138

show secondary window 170

thumbnail frames 171

shuttle control 98

thumbnail view 58

sliders 138

timecode 40

snapshot image format 171

timecode break 94, 100, 105

Sony BVM-X300 159

tint slider 138

source color space 137

tone curve 142

source UMID 46

touchscreen navigation 187

split-screen preview 95, 134

trackpad navigation 187

SR Live metadata source 152, 174transcode clips before upload 49

clip 152, 174

Transcode preset 37

external file 152, 174transcode presets 51

stabilization mode 124transcode using proxy source clip 42

stabilize clips 123transcoding clips 35

stabilized crop resolution 126-127transcoding settings, saving 42

starting frame index 38

transferring clips via FTP 25

stereo pair 107

transport controls 98

stitch clips 40, 128
stitch clips | Default.Pro-

U

log,Default.Hidden,Default.Browser |[230] 128

UMID (Unique Material Identifier) 46

stitching clips 128

unlinking clips in an EDL 120

storyboards 114

upload original clips 49

creating empty 114

uploading to Ci 23, 60

creating from selection 114

uploading to Ci Workspace 49

deleting 120

uploading to YouTube 49

editing clips 116

upscaling 37, 97, 169

editing color correction 117

use anamorphic setting 41, 104

exporting 47-48, 119

Use fast device-to-device copy 46

193

INDEX

use flip and desqueeze settings 104
Use flip, rotate, and desqueeze settings 41
use mark in/out points 42
user name 26

V
vectorscope monitor 133
Vegas Pro EDL 48
verification mode 14, 46
Video pane 93
video preview 134
video processing device 169
VTR-style playback 94

Wwatermark 41
waveform monitor 132
wheels 135
working color space 171

X
XDCAM EDL 110
XDCAM Professional Disc format 60
XDROOT folder 57

YYouTube 49

INDEX

194