A method of conforming that requires the compositing of all multilayer effects into a single layer (including laboratory-standard dissolves and fades) before assembly. Also called single-strand editing.

Analog-to-digital converter. A device that transforms a continuously variable (analog) signal to discrete binary bits that represent digital samples of the original signal.

Pertaining to specifications that meet the Academy of Motion Picture Arts and Sciences standards, such as academy leader, academy format (for film stock), academy countdown, and so forth.

An edit added between consecutive frames in a sequence segment within the Timeline. An add edit separates segment sections so the user can modify or add effects to a subsection of the segment.

Audio Engineering Society. The primary international organization of users and producers of professional audio. The AES maintains a standards committee that supervises the work of several subcommittees and working groups covering various fields of sound reinforcements.

Audio Engineering Society/European Broadcasting Union. A standards-setting organization that defined a digital signal format for professional audio input to the Avid video-based editing systems using the SAá4 board. This signal format is typically used when you input sound directly to Avid video-based editing systems with a digital audiotape (DAT) machine, thereby bypassing the videotape recording or digitizing process.

Audio Interchange File Format-Condensed. A sampled-sound file format that allows for the storage of audio data. This format is primarily used as data interchange format but can be used as a storage format as well. OMFáInterchange includes AIFF-C as a common interchange format for uncompressed audio data.

An 8-bit, grayscale representation of an image used to create a mask for keying images.

A linear method of assembling edited footage. In A-mode, the editing system performs edits in the order in which they will appear on the master, stopping whenever the edit decision list (EDL) calls for a tape that is not presently in the deck.

See also B-mode, C-mode, D-mode, E-mode, source mode.

The common form of magnetic recording where the recorded waveform signal maintains the shape of the original waveform signal. All videotape source footage is analog. When recorded or digitized (via telecine transfer), footage is converted from the analog format to a digital format.

A print made of the final cut for review before the final release print is created.

See also work print.

A computerized process of digitally smoothing the jagged lines around graphic objects or titles.

American Standard Code for Information Interchange. The standard that governs the recording of characters by a sequence of binary digits. Most computers use ASCII code to represent text, which makes it possible to transfer data from one computer to another.

The numerical ratio of a viewing area's width to its height. In video and television, the standard aspect ratio is 4:3, which can be reduced to 1.33:1 or simply 1.33. HDTV video format has an aspect ratio of 16:9. In film, some aspect ratios include: 1.33:1, 1.85:1, and 2.35:1.

An edit where all existing signals on a tape (if any) are replaced with new signals. Assemble editing sequentially adds new information to a tape and a control track might be created during the edit. The edit is made linearly and is added to the end of previously recorded material.

See also overwrite.

Asynchronous transfer mode. A network technology based on transferring data in packets of a fixed size. The packet used with ATM is relatively small compared to units used with older technologies. The small, constant packet size allows ATM equipment to transmit video, audio, and computer data over the same network and ensures that no single type of data ties up the line.

Current implementations of ATM support data transfer rates of 25 to 622áMb/s (megabits per second). This compares to a maximum of 100áMb/s for Ethernet, the current technology used for most local area networks (LANs).

Audiotape recorder. A device for recording and reproducing sound on magnetic recording tape.

See Avid Attic folder.

A mechanism that applications can use to store supplemental information in a special track that is synchronized to the other tracks in a track group.

See scrubbing.

The mixing of sound effects, music, and announcer audio tracks with the audio track of the edited master tape, usually during the mixing stages of a production. Also called audio postproduction for video.

Longitudinal timecode (LTC) recorded on an audio track.

A registered trademark of Avid Technology, Inc. A digital, nonlinear audio editing system that locks digital video in sync with audio for audio editing and sweetening.

A feature that saves your work at intervals you specify. Backups are placed in the Avid Attic folder.

Auxiliary track. In a video editing system, a channel reserved for connecting an external audio device, a video device, or both.

The folder containing backups of your files or bins. Every time you save or the system automatically saves your work, copies of your files or bins are placed in the Avid Attic folder, until the folder reaches the specified maximum. The Avid Attic folder copies have the file name extension .bak and a number added to the file name. The number of backup files for one project can be changed (increased or decreased) in the Bin Settings dialog box.

The folder containing your projects.

Avid Video Resolution. The compression level at which visual media is stored by the Avid system. The system creates media in a particular AVR by using proprietary conversion algorithms to convert analog video to digital form.