Revised Wednesday, October 4, 2023
XDCAM, XDCAM EX, XAVC, XAVC S, NXCAM, SxS and Professional Disc are trademarks ofSony Corporation.
Avid and DNxHD are trademarks or registered trademarks of Avid Technology, Inc. or its
subsidiaries in the United States and/or other countries.
All other trademarks or registered trademarks are the property of their respective owners in the
United States and other countries and regions. For more information, see
https://www.sonycreativesoftware.com/licensenotices
Sony Corporation may have patents, patent applications, trademarks, copyrights, or otherintellectual property rights covering subject matter in this document. Except as expressly provided
in any written license agreement from Sony Corporation, the furnishing of this document does notgive you any license to these patents, trademarks, copyrights, or other intellectual property.
Sony Creative Software Inc.
1 S.Pinckney St.
Suite 520
Madison, WI 53703
USA
The information contained in this manual is subject to change without notice and does not
represent a guarantee or commitment on behalf of Sony Creative Software Inc. in any way. All
updates or additional information relating to the contents of this manual will be posted on the SonyCreative Software Inc. Web site, located at https://www.sonycreativesoftware.com. The software isprovided to you under the terms of the End User License Agreement and Software Privacy Policy,
and must be used and/or copied in accordance therewith. Copying or distributing the software
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written consent of Sony Creative Software Inc.
Copyright © 2023. Sony Creative Software Inc.
Program Copyright © 2023. Sony Creative Software Inc. All rights reserved.

Notice to users
Disclaimers
Original images will change in appearance after performing image conversion with this product.
Therefore, to prevent copyright infringement on copyrighted material, obtain the proper
permissions from the copyright holder of the original images before conversion. IN NO EVENTSHALL SONY CORPORATION BE LIABLE FOR ANY INCIDENTAL, CONSEQUENTIAL OR
SPECIAL DAMAGES, WHETHER BASED ON TORT, CONTRACT, OR OTHERWISE, ARISINGOUT OF OR IN CONNECTION WITH THIS MANUAL, THE SOFTWARE OR OTHERINFORMATION CONTAINED HEREIN OR THE USE THEREOF. This software may not be used
for purposes other than those specified. Sony Corporation reserves the right to make any
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Software copyrights
This manual or the software described herein, in whole or in part, may not be reproduced,
translated or reduced to any machine-readable form without prior written approval from SonyCreative Software Inc.
© 2023 Sony Creative Software Inc.

HEVC Advance
Covered by one or more claims of the HEVC patents listed at patentlist.accessadvance.com.

Table of Contents
Table of Contents

5

Introduction

7

The Catalyst Browse window

7

Feature comparison

9

Finding media

17

Supported video formats for reading

23

Supported video devices

52

Playing media

55

Previewing video

55

Navigating the timeline

60

Marking in and out points for playback

61

Creating a snapshot of a frame

62

Adjusting and monitoring audio levels

63

Editing clip settings

64

Working with clips

67

Viewing and editing metadata

67

Working with clip lists

69

Working with EDLs

73

Catalog export

74

Combining relay clips

75

Synchronizing multicamera clips

76

Stabilizing clips

76

Lens breathing compensation

81

Repairing flash bands

83

TABLE OF CONTENTS

5

Working with rotated clips
Applying color correction

87

Editing Color Adjustments controls

87

Applying color-correction settings

99

Using a Tangent control

101

Video-style (Rec.709) color grading101

Log (cinematic) color grading

105

Advanced cinematic (ACES) color grading

106

High Dynamic Range (HDR) color grading

107

Exporting color-correction settings

111

Saving and sharing clips

6

84

119

Working with FTP devices

119

Editing Catalyst Browse options

135

Keyboard shortcuts

141

Gestures

147

Index

148

TABLE OF CONTENTS

Chapter 1
Introduction
Catalyst Browse is a powerful clip-management tool for the latest Sony camcorders and decks.
n

The Media Browser pane allows you to browse the media files on drives and devices
connected to your computer.

n

The Video pane allows you to preview media files.

n

The Inspector pane allows you to view metadata saved in media files.

n

The Adjust Color workspace allows you to adjust the color content of your clips.

n

Clip lists allow you to assemble clips when working with XDCAM media in an XD root folder, XAVC media in an XD root folder, and RAW media in an AxS folder.

Catalyst Browse is designed to support clips from Sony cameras and devices. For
expanded device support, please consider Catalyst Prepare.
Need even more power? Go beyond browsing and viewing to a full-featured media
preparation and logging tool with Catalyst Prepare.
Compare the features of Catalyst Browse and Catalyst Prepare.
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 Browse window
The Catalyst Browse window can be displayed in two modes:

INTRODUCTION

7nIn Media Browser mode, you can use the Media Browser to browse your computer for media
files, work with clip lists, and transcode files.

n

In View mode, you can preview media, log mark in and out points, and adjust colors.

Click the Media Browser or View button at the top of the Catalyst Browse window to change modes.

Media Browser mode

8

CHAPTER 1

View mode

Feature comparison
With Catalyst Prepare, you can go beyond browsing and viewing to a full-featured media
preparation and logging tool.
FeatureCatalyst Browse

Catalyst Prepare

XDCAM formats✓✓

XAVC Intra✓✓

XAVC Long GOP✓✓

FormatXAVC Long 422 3840x2160 200✓

Mbps export
XAVC S Intra and Long 422 10-bit✓

export (MP4)XAVC Intra 422 10-bit export (MXF)✓✓

INTRODUCTION

9Feature

Catalyst Browse

Catalyst Prepare

XAVC S

✓

✓

X-OCN

✓

✓

Sony RAW

✓

✓

SStP

✓

✓

XAVC HS (read only)✓✓

DPX export✓✓

DPX read
OpenEXR export✓✓✓

OpenEXR read

✓

DNxHD

✓

ProRes✓✓✓✓(read only on Windows; read/exporton macOS
H.264
WAV (export only)✓

MP3 (export only)✓

Organize
View/edit clip lists✓✓

Storyboard creation✓

Subclip creation✓

Organize clips using libraries✓

Media bins✓

Create clip catalogs✓✓(3 clips max)
Copy clips with checksum verification
Copy between mark in/out

10

CHAPTER 1✓✓✓(MXF/EX)(Any file)*

Feature

Catalyst Browse

Batch renaming with prefix,

Catalyst Prepare✓

numbering, and suffix
Manage audio channels in✓

multichannel audio files
Drag and drop to copy between✓

folders (and bins in Prepare)
ExportBatch transcode✓✓(if same source
settings)
Transcode between in and out points✓✓

Export with color settings✓✓

Load, save, and delete transcoding✓

presets
Convert SD and HD sources to✓modern progressive HD and UHD
assetsBurn in clip names, timecode, and✓watermarks
Export storyboard as EDL (Catalyst✓

Edit, Vegas, Final Cut, Premiere)
Map audio channels during export✓

Transcode using proxy as source clip✓

Override start timecode during✓copy/export
Crop aspect ratio during export✓✓

Transcode DPX to other formats✓✓

Transcode OpenEXR to other✓✓formats

INTRODUCTION

11

Feature

Convert segmented body partitions

Catalyst Browse

Catalyst Prepare✓✓

for XDCAM
Full-volume backup with checksum✓

verification
Upload original clips to Ci✓✓

Upload clips to Ci in a transcoded

✓

✓

✓

✓

formatUpload clips to Ci with color settings
Upload clips to Ci with burned-in✓

timecode and/or clip name
Upload clips to YouTube✓

Color Grading
Global color adjustments✓

Per-clip color adjustments✓

Batch apply color presets and looks✓

to a selection of clips
Sony device color space controls (S-

✓

✓

✓

✓

Log & S-Gamut)
Support for reading and rendering
HDR color spaces (S-Log3, HLG,
and PQ)
Read SR Live settings from clip✓

metadata and use clip settings or
manual adjustments to convert
between standard- and high-dynamic
range content.
SDR gain: convert between

✓

✓

✓

✓

standard- and high-dynamic-range
content
Automatically apply LUT and EI

12CHAPTER 1

Feature

Catalyst Browse

Catalyst Prepare

metadata for HDR to SDR conversion
SDR knee curve: preserve midrange✓

colors and highlights when exporting
HDR content to an SDR format ordisplaying on an SDR display
SDR knee saturation: compensate✓

for decreased saturation around theknee curve when exporting HDR
content to an SDR format ordisplaying on an SDR display
SDR black level: adjust black levels✓

when the working color space is set
to Rec.2020/S-Log3 (HDR)
Apply ASC-CDL to a selection of clips✓

High-quality Sony RAW development✓✓

Three-wheel color grading✓✓

Curves grading✓✓

Import ASC-CDL (.cdl) color

✓

✓

✓

✓

✓

✓

✓

✓

correction settings
Export color correction settings as
ASC-CDL (.cdl) or 3D LUT (.3dl or.cube)
Tangent device support(Tk/Mf/Kb/Wave)
Other
Stabilize clips using metadata
Batch encoding in the Stabilize Clip✓

workspace
Compensate for lens breathing using✓✓

INTRODUCTION

13

Feature

Catalyst Browse

Catalyst Prepare

metadata
Manually adjust lens breathing✓

Support clip rotation metadata✓✓

External monitor via Blackmagic✓✓(1 device)(2 devices)

DesignStitch multiple clips to create a single✓

continuous clip
Anamorphic desqueeze✓✓

Flash band correction✓✓

Export custom metadata as a sidecar✓

file
Add, delete, or edit essence marks in

✓

✓

✓

✓

✓

✓

MXF clips
Read mark in/out points from
MXF metadata
Create non-realtime (NRT) metadata
for discontinuous timecode andessence marks when creating new
NRT metadata during MXF copy
Synchronize mark points between✓

source clip and library
Read and export clips on FTP

✓

✓

✓

✓

devices
Fast device-to-device copy between
Sony devices via FTP
Copy clips between Sony and non-✓Sony FTP devices.
Copy growing MXF files via✓

FTP/FTPS from Sony decks
Close growing MXF files generated

14

CHAPTER 1✓

Feature

Catalyst Browse

Catalyst Prepare✓✓

by Sony decks
Write, rename, and delete clips toSxS media and USB storage via FTP
on the PZW-4000
Format USB drives for the Sony✓PZW-4000 deck
Create the XDROOT folder on USB✓

drives or SxS media
Interoperability with Catalyst Edit✓

Drag and drop to Catalyst Edit✓

timeline
GPS metadata✓

GPS metadata map display
Display OK/NG/KEEP metadata flag;

✓
✓

✓

✓

sort and filter by flag
*Partial copy in Prepare requires transcode for some formats

INTRODUCTION

15

16

CHAPTER 1

Chapter 2
Finding media
Media Browser mode allows you to browse the media files on drives and devices connected to yourcomputer.
When you double-click a file in Media Browser view, the file is loaded in View mode, where you canpreview it or edit it.
For more information, see "Playing media" on page 55, "Marking in and out points for playback" onpage 61, "Applying color correction" on page 87, or "Viewing and editing metadata" on page 67.
Catalyst Browse is designed to support clips from Sony cameras and devices. For expanded
device support, please consider Catalyst Prepare.
The Media Browser is not available when Catalyst Browse is started in view-only mode.

FINDING MEDIA

17

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 87.
An

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

information, see "Lens breathing compensation" on page 81.
An

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

information, see "Stabilizing clips" on page 76.
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 with clips"

on page 84.
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 Browse 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 "Saving and sharing clips" on page 119 or "Saving andsharing clips" on page 119.
An

18

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

CHAPTER 2

Choosing a folder
Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
Use the Media Browser to browse your computer for video files.
The top of the Media Browser will display the current folder and its parent folder. You can click
the link to the parent folder to navigate up one level.

To navigate quickly, click the File button

at the bottom of the Media Browser andchoose 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 andclick the X button:

Connect to a device via FTP
You can use Catalyst Browse to work with clips on a remote server using FTP/FTPS in much thesame way you work with clips on your computer's drives.
For more information, see " Working with FTP devices" on page 119.

FINDING MEDIA

19

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:

20

CHAPTER 2

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

21

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 126 or "Copying clips" on page 131.

Selecting filesnClick 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 Command (macOS) to select multiple files.
Click the Select button

to select multiple files without using keyboard modifiers.

Copying files
Copying media allows you to import clips from cameras or decks to your computer, to anothercamera or deck, or to a centralized storage device. For more information, see "Saving andsharing clips" on page 119.

Renaming files
1. Select a file.
2. Click the File button

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

new name in the edit box.
You can also press F2 to rename the selected file.
Renaming is not available for proxy clips or clips that are part of an AVCHD folder structure.
Renaming is not available when Catalyst Browse is started in view-only mode.

22

CHAPTER 2

Deleting files
1. Select a file.
2. Click the File button

at the bottom of the Media Browser and choose Delete.

Deleting files from an AVCHD folder structure is not supported.
Deleting is not available when Catalyst Browse is started in view-only mode.

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

Supported video formats for reading
Catalyst Browse 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

MPEG IMX

720x608

50i

Upper

Video Codec

Bit Rate

Audio
Channels

MPEG-2 Intra

FINDING MEDIA

23

FormatUncompressed

Frame

Frame

Field

Size

Rate

Order

720x486

59.94i

Upper

Video Codec

Bit Rate

Audio
Channels

Uncompressed

90 CBR

4x24 bit /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

1440x1080

1.333

1440x1080

1.333

HD
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

HD422

24

MPEG-250 CBR

Long GOP

HD
MPEG

35 VBR

Long GOP

HD
MPEG

MPEG-2

CHAPTER 2

0.5

23.976p, 25p, 29.97p,

MPEG-217.5 CBR

50i, 59.94i

Long GOP

23.976p, 25p, 29.97p,

MPEG-2

50i, 59.94i

Long GOP

23.976p, 25p, 29.97p,

MPEG-2

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

25 CBR

35 CBR

8.75 CBR

12.5 CBR

17.5 CBRXDCAM 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 bit23.976p, 25p,

MPEG-2

PCM,

35

HD422

29.97p, 50i,

Long

48 kHz,VBR(EX-HQ)59.94i

GOP

16 bit

MPEG

MPEG

MPEG

1280x720

1440x1080

1440x1080

1920x1080

1.0

1.333

1.333

1.0

FINDING MEDIA25

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

26

CHAPTER 2300

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

27

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

28

CHAPTER 2

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

29

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,

30

CHAPTER 2

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

31

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 Long

32

3840x2160

CHAPTER 2

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

33

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

34

CHAPTER 2

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 MEDIA35

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

36

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

3840x2160

CHAPTER 2

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

37

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 H38

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 2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

39

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

40

CHAPTER 2

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

41

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

42

CHAPTER 2

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

43

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

44

CHAPTER 2

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 MEDIA

45

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

46

CHAPTER 2

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

47

Avid DNxHD®
Container: 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

48

Avid DNxHD®

CHAPTER 2

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

49

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)

50

CHAPTER 2

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 MEDIA

51

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

DV (SD)

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

50i

Lower

DV

Audio Channels

Supported video devices
Catalyst Browse 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
SxS memory
card (UDF)52

CHAPTER 2

XAVC IntraFolder Structure

Storage Media

Root Folder

Supported Format

BPAV-StyleSxS memoryBPAV

XDCAM EX (MPEG HD, DVCAM)

AVCHD/BDMV

AVCHD

card (FAT32)
SD card
AVCHD structure

SD card

FINDING MEDIA

53

54

CHAPTER 2

Chapter 3
Playing media
When you double-click a file in Media Browser mode, the file is loaded in View mode, where you
can preview the file, log mark in and mark out points, and apply color correction. For more
information about using Media Browser mode, please see "Finding media" on page 17.

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 Media Browser mode, the file is loaded in View mode, where you
can preview the file, log mark in and mark out points, and apply color correction. For more
information about using Media Browser mode, please see "Finding media" on page 17.
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
Browse options" on page 135.

PLAYING MEDIA55

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 Browse options" on page 135.
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 60.
For information about flipping and rotating video, enabling anamorphic desqueezing, anddisplaying safe zone and mask guides, please see "Playing media" on page 64.

56

CHAPTER 3

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 87.
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 MEDIA57

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.

58n

Click Fit to scale the video to fill the Video pane.

n

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

CHAPTER 3

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.

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.
nReal Time/Speed:nReal Time/Quality:n

All Frames/Speed:n

All Frames/Quality:

PLAYING MEDIA

59

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 61.

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.
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.

60

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.

CHAPTER 3

Marking in and out points for playback
If you want to play only a portion of a video, you can select the portion of the video you want to play.
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a file in Media Browser mode to load it in View mode.
You can also use the Preview pane in Media Browser mode to adjust mark points.
3. Click the Logging button at the bottom of the Catalyst Browse 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.
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.

PLAYING MEDIA

61

You can quickly log mark in/out points by clicking the In, Out, and Length boxes at thebottom of the Catalyst Browse 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 67.
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 67.

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.

Copying a frame to the clipboard
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a file in Media Browser mode to load it in View 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).
The current frame is copied to the clipboard using the standard resolution that is closest to
the preview resolution.

62

CHAPTER 3

Saving a frame to a file
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a file in Media Browser mode to load it in View 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.
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 Browse options" on page 135.

Adjusting and monitoring audio levels
Click the speaker in the activity pane at the top of the Catalyst Browse 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.

PLAYING MEDIA63

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 Browse supports only stereo output devices.

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

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 "Saving and sharing clips" on page 119.
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

64

CHAPTER 3

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.

Item

Description
When Show safe areas is enabled, Catalyst Browse 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 "Saving and sharing clips" onpage 119.

PLAYING MEDIA

65

66

CHAPTER 3

Chapter 4
Working with clips
Catalyst Browse gives you control over your individual media clips.

Viewing and editing metadata
When you're in Media Browser or View 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.
Click the File tab to view details about the source media and its metadata, including GPS
information (if present).
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.
When a clip list is selected in Browse mode, the Metadata pane displays additional information
about the currently selected clip list. When a clip list is open in View (Clip List or Clip) mode,
the Metadata pane displays information about the selected subclip. For more information, see"Working with clip lists" on page 69.
Editing metadata is not available when Catalyst Browse is started in view-only mode.
When you edit the metadata for a proxy file, the metadata for the full-resolution clip is updated
when you copy the proxy clip back to the device. For more information, see " Copying files " onpage 22.

WORKING WITH CLIPS

67

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 61.

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

to discard youredits.
Not all media formats support summary metadata.
When a clip has Flag metadata, an OK, NG (no good), or Keep indicator is displayed inMedia Browser mode:

You can also use Flag metadata to filter the contents of the Media Browser. For more
information, see " Filtering clips" on page 21.

68

CHAPTER 4

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.

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.

The Delete command is not available when FTP-based clips are selected.

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

WORKING WITH CLIPS69

n

XDCAM media in an XD root foldern

XAVC media in an XD root foldern

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.
When viewing a clip list,

indicates spanned clips from the same volume, andindicates

spanned clips from different volumes.

Creating a clip list
1. Click the Media Browser button at the top of the Catalyst Browse 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 Browse 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 Browse window and choose New empty clip list from the menu.
5. Type a name for the new clip list and click OK.
6. Catalyst Browse loads your new clip list in View mode.

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

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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 Browse 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 Browse 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 Browse 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:

WORKING WITH CLIPS

71

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 Browse window to switch to Clip List mode.
Select a clip and click the Remove button

at the bottom of the Catalyst Browse 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 Browse 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 61.

Viewing metadata for clip lists
When you're in Media Browser or View mode, click the Inspector buttonin the toolbar todisplay 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 67.

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

at the top of the Catalyst

Browse window to write a clip list back to a device. For more information, see "Saving andsharing clips" on page 119.

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

Importing an EDL
1. Click the Tools button

at the bottom of the Catalyst Browse 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.
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.

WORKING WITH CLIPS73

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 Browse 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.
Generated catalogs are limited to three clips in Catalyst Browse.

Generating a PDF catalog
1. Click the Media Browser button at the top of the Catalyst Browse 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 Browse 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.
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:

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n

Text 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 Media Browser button at the top of the Catalyst Browse 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 Browse 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.

Combining relay clips
You can use Catalyst Browse 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 "Savingand sharing clips" on page 119.
1. Select the clips you want to combine.
Clips must be of the same operating point and the timecode must be sequential.

WORKING WITH CLIPS75

2. Click the Tools button

at the bottom of the Catalyst Browse 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 Browse 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 Browse streamlines
the process of editing multicamera video in a nonlinear editor.
1. Select the MXF clips you want to synchronize.
2. Click the Tools button

at the bottom of the Catalyst Browse 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 Browse allows you to use metadata from clips to stabilize the image.
1. Click the Media Browser button at the top of the Catalyst Browse 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.

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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 Browse window.

Right-click the clip in the Media Browser pane and choose Stabilize clip from theshortcut menu.

The Stabilize button

is not available when multiple clips are selected.

When the Catalyst Browse 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 61.
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.

WORKING WITH CLIPS77

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.
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.
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Displays the dimensions of the source media before cropping

Item

Description

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.

n

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.

WORKING WITH CLIPS

79

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.
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.
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 Browse 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.
For more information about the controls, please see "Saving and sharing clips" on page 119.

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Lens breathing compensation
Lens breathing refers to a shifting of the angle of view or focal length of a lens when the focus
changes. Catalyst Browse allows you to use metadata from clips to compensate for the effect oflens breathing.
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Select the clip you want to correct. An

on a thumbnail indicates a clip that contains

metadata for lens breathing compensation.
The lens breathing 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 compensation using metadata,
please see Information on Software Applications.
Lens breathing compensation is not supported when changing camera settings ordetaching the lens during clip recording.
3. Perform any of the following actions to display the Correct clip workspace:nnClick the Lens breathing button

at the bottom of the Catalyst Browse window.

Right-click the clip in the Media Browser pane and choose Lens breathingcompensation from the shortcut menu.

The Lens breathing button

is not available when multiple clips are selected.

When the Catalyst Browse 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 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 61.
b. Choose a Compensation mode setting to compensate for lens breathing:

WORKING WITH CLIPS81

oSelect the Auto button in the Inspector to adjust cropping automatically.
Item

Description

Auto

After the clip is analyzed, this indicator represents the amount

croppingof cropping that will be used to correct the clip.

amountMaximum

Drag the slider to set the amount of cropping that can be

cropping

applied to correct 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.
When correcting a clip using a Maximum cropping
amount setting that is too large, clips with significant lensbreathing may exhibit a black border around the frame.
We recommend using a setting that is close to the default
cropping size in manual mode. To check the default
manual cropping size, click the Manual button or doubleclick the Cropping amount slider handle to reset thesetting to its default.
SourceDisplays the dimensions of the source media before cropping

resolution

is applied.

Corrected

Displays the dimensions of the frame after cropping is

cropapplied.

resolution
Minimum

Displays the minimum dimensions of the corrected frame

crop

based on the Maximum cropping amount setting.

resolutionoSelect the Off button if you do not want Catalyst Browse to compensate forlens breathing. If the clip includes in-camera breathing compensation, it will bepreserved.

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1. Click the Analyze button to analyze the selected clip and update the preview to show thecorrected clip.
After analysis, the Summary section of the Info panel displays the corrected crop resolution.
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 corrected video before applying the changes, and thenuse the transport controls above the timeline to preview the clip.
n

Before: the clip is displayed in its original state.

nAfter: the cropped and corrected clip is displayed.

n

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

In some cases, Catalyst lens breathing compensation can be less effective than incamera lens breathing compensation if stabilization is also enabled. Use the Preview
pane to compare the original and corrected clip. You can set Stabilization mode orCompensation mode to Off as needed before exporting the corrected clip.
3. To save a clip with the corrected settings, click the Export button

at the top of theCatalyst Browse 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.
For more information about the controls, please see "Saving and sharing clips" on page 119.

Repairing flash bands
When a camera flash is fired, it can create a band of light in your video.
Catalyst Browse can detect and remove flash bands.
Flash-band repair is not available when Catalyst Browse is started in view-only mode.
1. Click the Media Browser button at the top of the Catalyst Browse 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 Browse 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:

WORKING WITH CLIPS83

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 61.
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.
For more information, see "Saving and sharing clips" on page 119.

Working with rotated clips
When clips are recorded with camera-rotation metadata, you can choose how Catalyst Browse
treats clip thumbnails and video previews.
An

on a thumbnail indicates a rotated clip. For more information, see "Finding media"

on page 17.

Rotating clip thumbnail frames
1. Click the Options

button to edit application options.

2. Enable the Automatically rotate thumbnails switch to detect clip rotation and adjust
thumbnail images in Media Browser mode:

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When the switch is off, rotation metadata is ignored when displaying thumbnails:

Rotating the video preview
1. Double-click a clip in Media Browser mode to preview it:
2. Click the

button above the video preview.

3. In Clip Settings, select a Rotate preview (degrees) button to rotate the video preview
image.
Select Auto to use the clip-rotation metadata setting if available, or select 0, 90, 180, or

WORKING WITH CLIPS85

270 to specify the desired clip rotation.
For more information, see "Playing media" on page 64.

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Chapter 5
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 applied globally to all clips. If you want to save your colorcorrection settings, you can transcode clips to create new files. For more information, see"Saving and sharing clips" on page 119.
Color correction is not available when Catalyst Browse is started in view-only mode.

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

to perform color grading that is

applied globally to all clips. If you want to save your color-correction settings, you can transcodeclips to create new files. For more information, see "Saving and sharing clips" on page 119.
Color adjustments are not available when Catalyst Browse is started in view-only mode.

Loading a clip/clip list for color adjustments and configuring the waveform, histogram, and vectorscope monitors
1. Click the Media Browser button at the top of the Catalyst Browse 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 Media Browser pane, and click the Adjust color button

at thebottom of the Catalyst Browse window.
When the Catalyst Browse window is resized, the Adjust color
breathingmenu, and Stabilize clip

, Correct lensbuttons are available in the Adjustments.

APPLYING COLOR CORRECTION

87

nRight-click the image in the Media Browser pane and choose Adjust color from theshortcut menu.

nDouble-click a clip or clip list in the Media Browser to load it. Click the Adjust Colorbutton at the bottom of the Catalyst Browse window.
In the Adjust Color workspace, Catalyst Browse 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 Browse options" on page 135.
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.
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 137 or "Editing
Catalyst Browse options" on page 135.

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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 video
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.

APPLYING COLOR CORRECTION

89

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.

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
the left and the color-corrected video on the right.

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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 Browse 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.
You can also adjust color wheels with a Tangent control. For more information, see "Using a
Tangent control" on page 101.

APPLYING COLOR CORRECTION

91

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.

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 96, "Grading with hypergamma
conversion" on page 104,or "Applying color correction" on page 107.

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 Browse 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 Browse 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 Media Browser

pane and 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 Browse, 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 Browse window and choose Save preset from themenu to preserve Brightness and Contrast settings.
For more information, see "Exporting color-correction settings" on page 111 and "Applying
color correction" on page 99.
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 Browse window to load color

presets or ASC-CDL (American Society of Cinematographers Color Decision List) files toexchange color-grading information.
Color correction is not available when Catalyst Browse is started in view-only mode.

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 87.
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.

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Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse 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 Browse 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 all clips that you open.

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Applying an ASC-CDL file
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse 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 Browse 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 all clips that you open.

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 Browse 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.
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.

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You can use the Color Adjustments controls in the Inspector

to perform color grading that is

applied globally to all clips. If you want to save your color-correction settings, you can transcodeclips to create new files. For more information, see "Saving and sharing clips" on page 119.

Grading with Rec.709 gamma
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse 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 87.
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.

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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 87.
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 96.
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 87.
10. Click the Tools button

at the bottom of the Catalyst Browse 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 Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse 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 87.
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 96.
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

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controls to adjust the Exposure, Temperature, and Tint of your clip. For more information,
see "Editing Color Adjustments controls" on page 87.
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 87.
10. Click the Tools button

at the bottom of the Catalyst Browse 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 111.

Log (cinematic) color grading
Use the following workflow when adjusting color grading for Log sources.
You can use the Color Adjustments controls in the Inspector

to perform color grading that is

applied globally to all clips. If you want to save your color-correction settings, you can transcodeclips to create new files. For more information, see "Saving and sharing clips" on page 119.
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse 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 87.
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, the

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105

video 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 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 page 87.
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 87.
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 96.
10. Click the Tools button

at the bottom of the Catalyst Browse 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 111.

Advanced cinematic (ACES) color grading
Use the following workflow when adjusting color grading in the Academy Color Encoding System(ACES) color space.
You can use the Color Adjustments controls in the Inspector

to perform color grading that is

applied globally to all clips. If you want to save your color-correction settings, you can transcodeclips to create new files. For more information, see "Saving and sharing clips" on page 119.
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse displays a waveform/histogram/vectorscope monitor, a video preview, and

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color 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 87.
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 page 87.
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 87.
9. Click the Tools button

at the bottom of the Catalyst Browse 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 111.

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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You can use the Color Adjustments controls in the Inspector

to perform color grading that is

applied globally to all clips. If you want to save your color-correction settings, you can transcodeclips to create new files. For more information, see "Saving and sharing clips" on page 119.
1. Adjust Catalyst Browse 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,
you can enable the SDR gain switch to convert between standard- and high-dynamicrange content:

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.
c. From the Preview color space drop-down list, choose the color space for the Catalyst
Browse 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 87.
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 Browse 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 Browse 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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o

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

oIn Options, enable the SDR gain switch and adjust the control to choose
the gain curve that will be applied when exporting to an SDR format ordisplaying 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 Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
3. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
4. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse 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 87.
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 87.
7. Click the Tools button

at the bottom of the Catalyst Browse 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 111.

Exporting color-correction settings
You can use the Tools button

at the bottom of the Catalyst Browse window to export color-correction settings to cameras for on-set monitoring or to a nonlinear editor (NLE) for color grading.
Color correction is not available when Catalyst Browse is started in view-only mode.

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 87.
1. Click the Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse 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 Browse 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 Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse 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 87.
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 Browse window and choose Save presetfrom the menu to preserve Brightness and Contrast settings.
For more information, see "Exporting color-correction settings" on page 111 and"Applying color correction" on page 99.
5. Click the Tools button

at the bottom of the Catalyst Browse 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:112

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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 Media Browser button at the top of the Catalyst Browse window to view the Media
Browser.
2. Double-click a clip in the Media Browser to load it.
Color correction is available only in View mode.
3. Click the Adjust Color button at the bottom of the Catalyst Browse window. In this mode,
Catalyst Browse 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 87.
5. Click the Tools button

at the bottom of the Catalyst Browse 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 140.
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" onpage 118 or "Applying a 3D LUT in Blackmagic Design DaVinci Resolve" on

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page 117.
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 107.
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.
j. Select the Look profile check box if you want to include the selected look profile fromthe Inspector in your LUT.

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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 114 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 114 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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Saving and sharing clips
Catalyst Browse allows you to convert clips to another format or copy them in their source format.

Working with FTP devices
You can use Catalyst Browse 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.

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:

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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 page119.
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 67.

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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.

Copying clips from an FTP device to your 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 119.
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 computer.
Audio and video preview are not available over FTP connections.

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4. Click the Copy button

at the top of the Catalyst Browse window.

5. Use the Copy pane to choose a destination for your files.
Choose a folder from the Copy files to drop-down list or choose Browse to browse toanother folder.
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" onpage 131.

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 119.
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 computer.

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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 Browse window.

5. Use the Copy pane to choose a destination for your files.
Choose the destination FTP device from the Copy files to drop-down list.
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" onpage 131.
Notes:The Use fast device-to-device copy check box is only available when copying
between Sony devices via FTP (FTPS protocol is not supported).

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

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"Connect to an FTP device" on page 119.
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 computer.
Audio and video preview are not available over FTP connections.

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4. Click the Copy button

at the top of the Catalyst Browse window.

5. Use the Copy pane to choose a destination for your files.
Choose the destination FTP device from the Copy files to drop-down list.
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" onpage 131.
Notes: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).

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.

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1. Select the clips you want to export in Media Browser or Edit mode.
The left pane allows you to navigate the folders, and the middle pane displays thecontents 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.
When transcoding multiple files, all files must use the same source settings.
An

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

limitations but is displayed in Catalyst Browse 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 126.
2. Click the Export button

at the top of the Catalyst Browse 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.

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

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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 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.
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. 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 Browse options" on page 135.
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.

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b. 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.
c. 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.
d. 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 theselected clip.
e. 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 Browse 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.
f. 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.

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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.

oUse masking ratio: crops the frame to the masking ratio selected in the Clip
Settings menu. For more information, see "Playing media" on page 64.

b. Choose a setting from the Encode mode drop-down list to choose whether you
want to optimize image quality or transcoding speed.
c. 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 64.
d. Select the Repair flash bands automatically check box if want to automaticallydetect and repair flash bands when transcoding.
For more information, see "Repairing flash bands" on page 83.
e. 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 61.
f. 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.
8. Click Export.
Progress is displayed in the activity pane at the top of the Catalyst Browse 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 each
job.

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Copying clips
Copying media allows you to import clips from cameras or decks to your computer, to anothercamera or deck, or to a centralized storage device.
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).
1. Select the clips you want to copy in Media Browser or Edit mode.
The left pane allows you to navigate the folders on your computer, 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 Browse 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 126.
2. Click the Copy button

at the top of the Catalyst Browse window.

3. Use the Copy pane to choose a destination for your files.
a. The Copy files to box displays the path to the folder where the selected files will becopied. You can type a path in the box or choose Browse from the drop-down list
to choose a folder.

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Click Go to folder

to swap the source and destination folders: the Copy

files to folder will be displayed in the Media Browser, and the previous Media
Browser folder will be used in the Copy files to box.
Copying to an AVCHD folder structure is not supported.
b. 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).
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 in Catalyst Prepare. For more information, please see "Backing up
a volume" in Catalyst Prepare .
For more information about working with FTP devices, please see " Working
with FTP devices" on page 119.
c. 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 67.
d. 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 61.
The Copy only between mark points check box is available only when
copying MXF clips
Copy only between mark points is not available when copying to or from an
FTP device.
e. 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.

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The Create Sony Professional Disc partitions / Create segmented bodypartitions check box is not available during FTP copy.
Files created with segmented body partitions may not be recognized properly
by some Sony camcorders, decks, or servers.
f. Select the Use fast device-to-device copy check box if you want to copy clips
directly between Sony 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.

g. 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.
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 Browse 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.

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

at the top of the Catalyst Browse 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.

SAVING AND SHARING CLIPS133

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 126.

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

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Chapter 6
Editing Catalyst Browse options
Click the Options

button to edit your application options.

If you need to reset all Catalyst Browse 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.

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.
nSelect 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
Browse for the change to take effect.

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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
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 Media Browser mode.
For more information, see "Working with clips" on page 84.

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.

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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 62.

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 87.
When you choose Rec.2020/S-Log3 from the Working color space drop-down list, you canenable the SDR gain switch to convert between standard- and high-dynamic-range content. For
more information, see "SR Live for HDR settings" on page 140.

Video preview color space
From the Preview color space drop-down list, choose the color space for the Catalyst Browse
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 page87.
For more information, see "Applying color correction" on page 87.

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 Browse

Space

Rec.709

ITU-R

EOTF

Transfer
Matrixi.e. 2.4

BT.709

ITU-R
BT.709EDITING CATALYST BROWSE OPTIONS

137

External monitor color space in

Color

Catalyst Browse

Space

Rec.2020

ITU-R

EOTF

Matrixi.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)

138

CHAPTER 6

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 Browse 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 Browse 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 BROWSE OPTIONS

139

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 107.

SR Live for HDR settings
When you choose Rec.2020/S-Log3 from the Working color space drop-down list, you canenable the SDR gain switch to convert between standard- and high-dynamic-range content:

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.

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.

140

CHAPTER 6

Chapter 7
Keyboard shortcuts
Shortcut keys can help streamline your work with Catalyst Browse 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 Media Browser/View workspaces

Alt+W

Option-W

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
standard function
keys setting isselected)

KEYBOARD SHORTCUTS

141

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

Load file into Video pane

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

Open selected folder

Move selection up/down one page

Editing
The following keyboard shortcuts are available when the View pane has focus.
Command

Windows

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

Switch Logging/Clip List/Clip/Adjust Colors

end of the clip.
Switch between Before/After/Split/2 Up video preview in

142

CHAPTER 7

CommandWindows

macOS

Shortcut

Shortcut

Ctrl+B⌘ -B

Adjust Color mode.
Show/hide the Media Browser in View mode

KEYBOARD SHORTCUTS

143

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

Shuttle 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

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CHAPTER 7

Q

Q

Ctrl+L⌘ -LCommandWindows

macOS

Shortcut

ShortcutSet Mark In pointI

I

Set Mark Out pointOO

Add shot mark (to supported file types)

E

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+-⌘ --Show/hide the Media Browser in View mode

Ctrl+B⌘ -B

Go to Mark Out point

KEYBOARD SHORTCUTS

145

146

CHAPTER 7

Chapter 8
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

147

Index.

B.ccolor files 99, 111

breathing 81.cube files 97

breathing mode 81.smi files 69

browse remote server 19, 120
BVM-X300 110
bypass OOTF 109, 139

1
1D LUT export 111

C
catalog export 74

3

channel routing 64
3D LUT export 111

Ci Workspace 133
CinemaScope overlay 65
clip settings 64

5clip list from selection 70
50p half-step timecode 136

clip lists 69
Clip rotation 64, 84, 136
Clips

6

rotation 64, 84, 136
60p half-step timecode 136

color correction 87
exporting 111
loading 99

Acolor curves 98
add padding to clips 130

color presets 99, 111

Add to Favorites 19

color sliders 98

adding clips 71

color space 93

adding shot marks 69

color temperature slider 94

address/port (FTP) 119

color wheels 91

AIR matching 109, 139

combining relay clips 75

all frames playback 59

continuous playback 56, 61

anamorphic stretch 64

Converting HDR to SDR color spaces 109,

ASC-CDL export 111

139

ASC-CDL files 98, 101

Copy all related media 132

audio meters 63

Copy clips only 132

auto cropping amount 78

copy clips to a device 131

Auto cropping amount 82

copy files 22

Automatically rotate thumbnails 136

Copy only between mark points 132

AVCHD relay clips 75-76

copy snapshot to clipboard 62

INDEX

148

copy to FTP 133

Favorite Folders 19

correct lens breathing 81

file formats 23, 52

creating clip lists 70

file information 67

cropping ratio 80

filter by date created 21

CSV export 74

filter by flag 21

curves 98

filter by fomat 21
filter by type 21
filtering clips 21

D

finalizing Professional Disc volumes 23

default look profile 97

finding media 17

delete files 23

fit 58deleting shot marks 69

flash bands 83, 130

desqueeze 64, 130

flip horizontal 64

device copy 133

flip vertical 64

disconnect FTP 119

folder (FTP) 119

discontinuous timecode 56, 61, 67

formatting Professional Disc volumes 23

display CinemaScope overlay 65

formatting SxS 23

Display color space (external monitor) 137

FTP 19, 119

Display color space (video preview) 137

FTP copy 133

display mode 20-21

FTP devices

display secondary window 136

browsing 120
connecting 119
disconnecting 119

E

reconnecting 119
Edit remote server 120

removing 120

editing essence marks 69

SxS media 121

editing summary metadata 68

USB storage 121

EDL

FTP protocol 119

importing 73

FTP server settings 120

linking clips 73

FTPS protocol 119

replacing clips 73

full-frame-rate playback 59

unlinking clips 73

full-screen preview 59

essence marks 62, 67
exporting clips 119
exposure slider 94

Gexternal monitor color space 137

gestures 147

external monitor device 140

Go to End 60

external monitor resolution 140

Go to Start 60
GPS information 67
GPU acceleration 135

F

grade in 137
fast copy 133

149

INDEX

grading color space 93, 137

Graph scale 78-79

Make default look profile 97

graticule 90

mark in 61, 68

gyroscope 76

mark out 61, 68
Mask options 65
Masking ratio 65

H

master volume 63

half-step timecode display 136

maximum cropping amount 78, 82

histogram monitor 89

Media Browser pane 17
metadata 67
metadata for proxy clips 67, 132

I

metadata, stabilization 76
importing a LUT 96

meters 63

importing an EDL 73

minimum cropping amount 78, 82

interoperability 135

minimum stabilized crop resolution 79, 82
monitor color space 137
monitor resolution 140

Jmulticam,synchronizing audio 76
JKL shuttle 60

K

multicamera clips, synchronizing 76

N
Kelvin temperature 94

navigating the timeline 60

keyboard shortcuts 141

new clip list from selection 70
new empty clip list 70
Next Frame 60

Lnumbering 127
lens breathing 81
linking clips in an EDL 73
list view 20

O

logging 61

open clip list 70

logging metadata 68

OpenCL/OpenGL interoperability 135

look profile 96-97

options 135

look, default 97

ordering clips 71

loop playback 61
Loop Playback 60
LTC 56, 61, 67

P

LUT export 111

password 119

LUT import 96

PD-EDL clip lists 69, 73
PDF export 74

Mmagnifying glass 58

perserve source UMID 133
Play 60
play all frames 59

INDEX

150

play in real time 59

secondary window 136

playing media 55

select files 22

prefix 127

sequential playback 56

Preview color space 137

server name (FTP) 119

preview proxy clips 136

sharing files with Ci Workspace 133Previous Frame 60

shortcuts 141

Professional Disc format 23

shot mark 69

protocol 119

Show in Explorer 23

proxy metadata 67, 132

Show in Finder 23

proxy preview 136

show safe areas 64

PZW-4000 121

show secondary window 136
shuttle control 60
sliders 94

Rsnapshot image format 137

real time playback 59

Sony BVM-X300 110

Rec.2020 137

source color space 93

Rec.709 137

source UMID 133

reconnect FTP 119

split-screen preview 57, 90

relay clips, combining 75

stabilization mode 77

remote server 19

stabilize clips 76

Remove remote server 120

stabilized crop resolution 78-80, 82

removing clips 72

starting frame index 129

Rename files 127

suffix 127

renaming clips 22

supported formats 23, 52

reordering clips 71

SxS format 23

repairing flash bands 83, 130

SxS media 121

replace source media 73

synchronizing multicamera clips 76

Reset mark in/out points 62
reset options 135
Reset to default look profile 97

T

Rotate preview (degrees) 64

Tangent element 101

rotated clips 64, 84, 136

temperature slider 94
thumbnail frames 136
thumbnail view 20

Stimecode break 56, 61, 67
safe areas 64

tint slider 94

saturation slider 98

tone curve 98

save snapshot 63

touchscreen navigation 147

save snapshots to 136

trackpad navigation 147

Scale graph to clip 78-79

transcode clips before upload 134

scrub control 60

transcoding clips 126

searching for clips 21

transferring clips via FTP 119

151

INDEX

transport controls 60

U
UMID (Unique Material Identifier) 133
unlinking clips in an EDL 73
upload original clips 134
uploading to Ci 23
uploading to Ci Workspace 133
use anamorphic setting 64, 130
Use fast device-to-device copy 133
use flip and desqueeze settings 64
Use flip, rotate, and desqueeze settings 130
use mark in/out points 130
user name 119

Vvectorscope monitor 89
Video pane 55
video preview 90
video processing device 135
VTR-style playback 56

Wwaveform monitor 88
wheels 91
working color space 137

X
XDCAM EDL 69
XDCAM Professional Disc format 23

INDEX

152