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— Video Format: The format that scanned film frames are saved as. When capturing from tape, the available options are DPX and QuickTime. When capturing from the Cintel film scanner, this is restricted to Cintel Raw Image (CRI), which is a raw data format that DaVinci Resolve automatically debayers as a Cineon log-encoded image for grading.
— Codec: The codec used to write captured media. When capturing from tape, these include the various type of Apple ProRes, 8- and 10-bit YUV 422, 10-bit RGB, and the various types of DNxHD. Cintel Raw Image files default to RGB.
— Save clips to: A field that displays the directory path to which media files captured from tape are written. You want to choose a volume that’s fast enough to accommodate the data rate of the media format you’re capturing.
— Browse: Click this button to choose a directory to write captured media to. The directory you choose appears in the field above.
— Save in this folder path: A series of checkboxes let you specify what other information to use to define the directory hierarchy that will hold the captured media. Every checkbox you turn on adds an additional directory with a name defined by that checkbox’s metadata. You can choose any or all of the following: Program name, Clip number, Reel number, and Roll/Card.
— Apply reel number to: Lets you choose how to write the reel name. Two checkboxes let you write the reel number to the file’s name, and/or to the Header data.
— Use prefix: A field lets you type in a prefix to be used in the media file’s name. This lets you add text identification that will make the media more easily identifiable and searchable.
— Apply prefix to: Two checkboxes let you choose to use the prefix you typed in the file name, and/or in the folder name.
— Use frame number with: When capturing to image sequences, you can choose how many digits to use when writing the frame number into the name of each frame file.
— Set batch ingest handles to: When capturing to image sequences from a batch list, defines how many frames of additional handles to ingest along with each logged clip.
— Enable audio input: Turn this checkbox on to capture audio along with the video. If you’re capturing QuickTime or MXF files, the audio will be written as additional tracks inside each file. If you’re capturing to a DPX image sequence, then a broadcast .wav file is recorded separately.
— Input: Lets you choose how many tracks of audio to capture, from 2 to 16.
Playout Settings
These settings only affect the video signal that’s output when you use the Edit to Tape mode of the Deliver page.
— Output: Lets you choose whether to output both Video and Audio, Video Only, or Audio Only if you’re doing an audio layback.
— Output Source Timecode: Turn this checkbox on to output each individual clip’s source timecode. This option is only applicable when assemble editing to tape.
— Output LTC: With a Blackmagic Design DeckLink or UltraStudio device using HD-SDI, longitudinal timecode (LTC) is available on track 16 of the HD-SDI video signal, making it easy to use a Mini Converter de-embedder to extract this analog timecode audio signal and feed it directly to a recording device. This is particularly helpful if you have outboard video processing equipment such as a noise reducer or format converter that does not pass through the VITC timecode.