Sony Catalyst Prepare

Revised Wednesday, October 4, 2023
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Table of Contents
Table of Contents 5
Introduction 7
What's new in version 2023.2 7
The Catalyst Prepare window 7
Working with libraries 9
Creating or opening a library 9
Closing the library 9
Adding media to a library 10
Organizing media in a library 15
Editing library clips 23
Working with subclips in a library 24
Exporting media from a library 25
Working with FTP devices 25
Transcoding presets 51
Relinking library media 53
Backing up a volume 53
Finding media 55
Supported video formats for reading 61
Supported video devices 92
Playing media 93
Previewing video 93
Navigating the timeline 98
Marking in and out points for playback 100
Creating a snapshot of a frame 101
TABLE OF CONTENTS 5
Adjusting and monitoring audio levels 103
Editing clip settings 103
Working with clips 105
Viewing and editing metadata 105
Exporting custom metadata 109
Working with clip lists 110
Working with storyboards 114
Working with EDLs 120
Catalog export 121
Combining relay clips 123
Synchronizing multicamera clips 123
Stabilizing clips 123
Stitching clips 128
Repairing flash bands 129
Applying color correction 131
Editing Color Adjustments controls 131
Applying color-correction settings 143
Using a Tangent control 145
Video-style (Rec.709) color grading 146
Log (cinematic) color grading 149
Advanced cinematic (ACES) color grading 150
High Dynamic Range (HDR) color grading 151
Exporting color-correction settings 160
Editing Catalyst Prepare options 169
Keyboard shortcuts 181
Gestures 187
Index 188
6 TABLE OF CONTENTS
Chapter 1
Introduction
Catalyst Prepare is the fast, simple, reliable path from camera to post. You can use Catalyst
Prepare to copy and back up clips, organize your media clips, create subclips, apply color
correction, and export clips.
What's new in version 2023.2

n Support for video formats has been added.
n New look profiles including Cool, Teal and Orange, Vintage, and Warm have been added.
n Lens 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 breathing
compensation.
The Catalyst Prepare window

The Catalyst Prepare window can be displayed in two modes:
n In Organize mode, you can make a checksum-verified, full-volume backup; browse your
computer for media files; copy media to your computer; add to your media libraries; organize
library clips using bins; export clips to additional volumes or devices; upload to Sony Media
Cloud Services Ci; and transcode files.
n In Edit mode, you can preview media, mark in and out points, and apply looks and color
correction.
Click the Organize or Edit button at the top of the Catalyst Prepare window to change modes.
INTRODUCTION 7
Organize mode
Edit mode
8 CHAPTER 1
Chapter 2
Working with libraries

You can use libraries in Catalyst Prepare to organize your media.
Creating or opening a library

You can use different libraries to manage your media. A library helps you organize your clips, and
you can use bins for even more control.
For example, creating a separate library for each project helps you keep your media organized and
allows you to quickly find the right media for each project.
In Catalyst Prepare, you can have one library open at a time.
Creating a library
1. Click the Organize button at the top of the Catalyst Prepare window.
2. Click the Library button at the bottom of the Catalyst Prepare window and choose New
from the menu.
3. Use the New Library dialog to choose the folder and file where you want to save your new
library.
4. Click OK.
Opening a library
2. Click the Library button at the bottom of the Catalyst Prepare window and choose Open
from the menu.
3. Browse to the library folder you want to load, select it, and click Open.
You can also double-click a .cpreplib file in Windows Explorer or macOS Finder.
Closing the library

If you want to work with clips independently of a library, you can use the Close command. After
you've closed the library, (No Library) is displayed in the application's title bar.
WORKING WITH LIBRARIES 9

Some Catalyst Prepare features are unsupported without an open library:
n When no library is opened, color adjustments are applied globally to all clips for
previewing. If you want to save your color-correction settings, you can transcode clips
to create new files. For more information, see "Exporting media from a library" on page
25.
Color adjustments to clip lists or spanned clips are not available when a library is open.
n When no library is opened, Channel Assignment controls in the Inspector are not
available. For more information, see "Assigning audio channels" on page 107.
n When no library is opened, storyboard support is not available. For more information,
see "Working with storyboards" on page 114.
n When no library is opened, bin support is not available. For more information, see
"Adding bins to a library" on page 17.
2. Click the Library button at the bottom of the Catalyst Prepare window and choose Close
from the menu.
Adding media to a library

To add media to a Catalyst Prepare library, you can copy clips from folders or devices attached to
your computer, or you can choose to add clips without copying them to your computer.
10 CHAPTER 2
To add a local folder to the library without copying clips, click the Bin button at the bottom
of the Catalyst Prepare window in Organize mode, choose Create from folder, and browse to a
folder on your computer. The folder and any clips in the folder are added to the current library.
When you edit a clip that is not included in the current library, the metadata is saved to the
library without modifying the original clip. The clip is added to the Automatically Added bin.
The following actions will add a clip to the Automatically Added bin in the current library:
n Changing in/out points.
n Adjusting color correction.
n Editing metadata.
n Editing audio channel assignments.
When browsing your clips, a badge is displayed in grid mode or list mode to identify
clips that are included in the current library. Click the badge to display more information about
the clip.
Clip lists and spanned clips are not supported in Catalyst Prepare libraries.
Copying media from a device

Copying media allows you to import clips from cameras or decks to your computer, to another
camera or deck, or to a centralized storage device.
The Places pane on the left side of the Catalyst Prepare window displays a list of the decks,
cameras, and card readers that are connected to your computer.
2. Click the Library button to choose the library where you want to add media (or create a
new library).
3. Select a device in the Devices list to display its media.
4. Select the media clips you want to import.

n Click a file to select it.
Growing MXF files are displayed with the following icon:
Copying is not available when growing and nongrowing files are selected.
n Hold Shift and click the first and last file you want to select to select a range of files.
n Hold Ctrl (Windows) or Command (macOS) to select multiple files.
Click the Select button to select multiple files without using keyboard
modifiers.
5. Click the Copy button at the top of the Catalyst Prepare window.
6. Use the Copy pane to choose a destination for your files.
a. Choose how you want to copy the selected clips:
o Select Copy clips to library to copy the clips from your device to your computer
and add them to the current library. The clips will be copied to a timestamped
folder (YYYY-MM-DD hh.mm.ss) in the library (_cpreplib) folder.
o Select Copy clips to custom destination if you want to choose where to copy
the clips when adding them the current library. Click the Browse button to
choose a folder, and select the Create subfolder check box if you want to copy
the selected clips to a named or timestamped subfolder in the destination.
The Create subfolder check box is not available when copying to a known folder
structure.
b. Select the Add to bin check box and choose a bin from the drop-down list if you want
to copy the clips to a bin in the selected library (or create a new bin). For more
information, see "Organizing media in a library" on page 15.
The Add to bin check box is not available when copying from a library.
c. If you want to rename files, select the Rename files check box. Renaming ensures
that source files will not be overwritten.
o Type a string in the Prefix box if you want to start all file names with the same
text.
12 CHAPTER 2
o Choose a setting from the Numbering drop-down list to indicate whether you
want to number clips or use their original file names.
o Type a string in the Suffix box if you want to end all file names with the same
text.
For example, if you wanted to name clips using a convention such as

Commercial_001_Camera1.mxf, you would type Commercial_ in the Prefix
box, choose 3 digits from the Numbering drop-down list, and type _Camera1 in
the Suffix box.
If you're exporting a still-image sequence for use in an editor that has

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

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

o Choose a setting from the Hash type drop-down list to choose the method
(MD5, SHA1, CRC32, or xxHash64) that will be used to verify your copied
clips.
7. Click the Copy button to copy the selected clips and add them to your library.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window. Each
copy job can contain multiple files if you have multiple files selected in step 2 above. If you
have multiple jobs queued, a separate progress indicator is displayed for each job.
The imported clips will be available in Organize mode in the folder you selected above.
Adding media from a device without copying

If you want to include clips in your library without copying the files to your computer, you can
drag them from the device to a library bin.
The Places pane on the left side of the Catalyst Prepare window displays a list of the decks,
cameras, and card readers that are connected to your computer.
14 CHAPTER 2
2. Click the Library button to choose the library where you want to add media (or create a
new library).
3. Select a device in the Devices list to display its media.
4. Select the media clips you want to add to the library.
modifiers.
5. Drag the clips from the middle pane to a bin on the left side of the Catalyst Prepare window.
You can also drag clips from the Organize pane to a bin or storyboard in the Places
pane.
The device's clips are added to the library and are identified with a badge when you browse
your device in grid mode or list mode .
Organizing media in a library

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

To navigate quickly, click the File button at the bottom of the Media Browser and choose
Go to location.
To add the current folder to the Favorite Folders list in the Places pane, click the File button
at the bottom of the Media Browser and choose Add to Favorites.
To remove a folder from the Favorite Folders list, select the folder in the Places pane and click
the X button:
Select a library bin or storyboard in the Current Library pane to view a library's clips.
For more information, see "Adding media to a library" on page 10.
Choosing a library
2. The Places pane lists the current library. Click the Library button to choose a different
library or create a new library.
The library's media is displayed in the right side of the Catalyst Prepare window.
Click the button to toggle thumbnail and list mode.
For more information, see "Creating or opening a library" on page 9.
16 CHAPTER 2
Adding bins to a library
Bins are virtual folders within libraries that you can use to organize your media files. Bins are
saved with your library and do not affect the way media is saved on your computer.
Click the Bin button at the bottom of the Catalyst Prepare window and choose a command
from the menu:
n Choose New to add a new bin to the library. You can use bins to organize media within a
library.
n Choose Create from folder to quickly add a local folder to the library without copying
clips. The folder and any clips in the folder are added to the current library.
To create multiple bins quickly, select folders in the folder contents pane, right-click
and choose Add selected folders as bins. A bin is created for each selected folder,
and the folders' clips are added to the current library.
Adding clips to a bin

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

1. Select a bin in the Bins list.
2. Click the Bin button at the bottom of the Catalyst Prepare window and choose Delete
from the menu.

You're prompted with a confirmation dialog. If you also want to delete the source files from
your computer, select the check box.
3. Click Delete.
If a folder or media file is moved or deleted outside of Catalyst Prepare, it is displayed
with the following icon:
Renaming bins
2. Click the Bin button at the bottom of the Catalyst Prepare window and choose
Rename from the menu.
3. Type a new name in the box and click OK.
Cleaning a bin
2. Click the Bin button at the bottom of the Catalyst Prepare window and choose Clean.
The Clean dialog is displayed.
3. Select the check box for each type of clip you'd like to remove from the selected bin:
n Delete items older than X days: Removes clips that were added to the library before
the number of days you specify.
n Delete items that can no longer be found: Removes clips that are no longer available
on disk or are on disks that are not connected.
The dialog displays a list of clips that will be removed from the selected bin.
4. Click OK.
Exporting a library's bins as folders

18 CHAPTER 2
3. Click the Library button and choose Export bins as folders.
4. Choose the folder where you want to export your library's bins, and then click OK.
Progress is displayed in the activity pane at the top of the Catalyst Prepare window.
The exported folders are named to match the library's bin names.
Only the portion of the video between the mark in and mark out points will be copied.
For more information, see "Marking in and out points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported for some clip
formats. Those clips will be transcoded using the Default transcode format setting in
Options. For more information, see "Marking in and out points for playback" on page
100 or "Editing Catalyst Prepare options" on page 169.
Exporting a library's bins to Premiere

3. Click the Library button and choose Export bins to Premiere.
4. Choose the folder where you want to create a new Premiere Pro project containing your
library's bins and clips, and then click OK.

Exporting a library's bins to Final Cut Pro X

3. Click the Library button and choose Export bins to Final Cut Pro X.
4. Choose the folder where you want to create a new Final Cut Pro X project containing your
library's bins and clips, and then click OK.
Working with storyboards

You can create and edit storyboards to create a video project that is comprised of multiple,
shorter video clips.
For more information, see "Working with storyboards" on page 114.
20 CHAPTER 2
Moving clips between bins
When you're using bins to organize your library, you can easily move clips between bins.
1. In the Places pane on the left side of the Catalyst Prepare window, select the bin that
contains the clips you want to move.
2. Select the clips you want to move in the Media Browser.
3. Click the Move button at the bottom of the Media Browser.
4. Choose your destination folder from the Move clip to bin drop-down list.
5. Click the Move button.
You can also drag a clip from one bin to another to move it.
To include a clip in more than one bin, drag it from the All Clips bin (or a local folder or
device) to each bin where you want to include a link to the clip.
Renaming clips
Renaming a library clip allows you to edit the name that is displayed in your Catalyst Prepare
library. Renaming a clip does not rename the source media file on the disk.
If you want to rename a file on disk, browse to a device or local folder in the Places pane,
and select a clip. Click the File button at the bottom of the Media Browser, choose
Rename, and type a new name in the edit box. The file and all instances of the file in your
library are updated.
1. Select a clip in the Media Browser.
2. Click the Clip button at the bottom of the Media Browser, choose Rename, and type a
new name in the edit box.
Removing clips from a library (or bin)

1. Select a clip in the Media Browser.
2. Click the Clip button at the bottom of the Catalyst Prepare window and choose
Remove from the menu.
The Remove Clips dialog is displayed to allow you to choose to remove the selected clip
only or all clips that use the source media.

If you want to remove all clips that use the source media, you can select the Also delete the
associated source file from disk check box to delete the source file from disk. Selecting this
check box automatically selects the Also remove the clip from other bins check box.
If you want to remove the clip from all bins without deleting the source clip, select only the
Also remove the clip from other bins check box.
If a folder or media file is moved or deleted outside of Catalyst Prepare, it is displayed
with the following icon:.
22 CHAPTER 2
Consolidating a library
Consolidating a library gathers all the library's clips to a single folder. When you consolidate a
library, clips are copied to the new destination folder; the original clips are not moved.
2. In the Places pane, click the Library button and choose Consolidate from the menu.
If any of the library's clips cannot be found, you'll be prompted to relink the library clips.
For more information, see "Relinking library media" on page 53.
3. Click OK to start copying media.
Saving and renaming a library (Save As)

You can use Save As to create a copy of the current library with a new name or to a different
folder.
2. In the Places pane, click the Library button and choose Save As from the menu.
3. Choose the folder where you want to save the library.
4. Select the Consolidate media with new library check box if you want to copy clips to a
subfolder in the destination folder. You can choose to copy the selected clips to a named or
timestamped subfolder in the destination.
5. Click OK to start copying media.
Showing source clips

1. Select a file.
2. Click the Clip button at the bottom of the Media Browser and choose Show in Finder
(macOS) or Show in Explorer (Windows) to view the source clip in its containing folder.
Editing library clips

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

2. Select the clip you want to edit.
The left pane allows you to navigate the folders in your library, and the middle pane displays
the contents of the selected folder.
3. Click the Edit button at the top of the Catalyst Prepare window to open the selected clip in
Edit mode.
You can also double-click a clip in Organize mode to open it in Edit mode.
In Edit mode, the left pane allows you to browse the file system or the library's clips; the
center pane allows you to preview the file, log mark in and mark out points, and apply color
correction; and the right pane allows you to view and edit metadata for the selected file in the
Inspector.
n For more information about previewing media, please see "Playing media" on page
93.
n For more information about logging mark in and out points, please see "Marking in
and out points for playback" on page 100.
n For more information about applying color correction, please see "Applying color
correction" on page 131.
n For more information about using the Inspector, please see "Viewing and editing
metadata" on page 105.
Working with subclips in a library

A subclip is a library reference to a clip. You might create a subclip that uses different color
correction than the source media or that uses different mark in and mark out points.
Subclips save disk space when transferring media to the NLE: you can transcode only material of
interest and apply a meaningful name to simplify the editing stage.
When you view your library in Organize mode, subclips are labeled with the original clip name and
a number — MainClip - Subclip 1, MainClip - Subclip 2, and so on — or you can provide your own
name.
Creating subclips
2. Double-click a clip to open it in Edit mode.
24 CHAPTER 2
3. Use the Mark In and Mark Out buttons to adjust the length of your subclip. For more
information, see "Marking in and out points for playback" on page 100.
4. Click the Create Subclip button . The Subclip Name dialog is displayed.
The subclip is created using the base name of the original clip. Edit the clip name if needed
and click OK to add the subclip to your library.
The Create Subclip button is displayed under a Log button when the Catalyst Prepare
window is too narrow to display the full toolbar.
Deleting subclips
2. Select the subclip you want to delete.
3. Click the Clip button at the bottom of the Media Browser and choose Remove.
The Remove Clips dialog is displayed to allow you to choose to remove the selected clip
only or all clips that use the source media.
If you choose to remove all clips that use the source media, you can select the Also delete
the associated source file from disk check box to delete the source file from disk.
Exporting media from a library

Catalyst Prepare provides you with several methods to transcode and share clips from your library.
Working with FTP devices

You can use Catalyst Prepare to work with clips on a remote server using FTP/FTPS.
Connect to an FTP device
Click the Tools button at the top of the Places pane and choose Add remote server to
specify 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.

Item Description
Protocol Choose a setting from the drop-down list to indicate whether you'll connect
to the server via an FTP or FTPS (Explicit) connection.
Address/Port Type the address or host name of the server and the port.
Folder If you want to connect to a specific folder on the server, type its name here.
Leave this box blank to connect to the root of the device.
User name Type the user name that you want to use to connect to the server.
Password Type the password for the specified user name.
Disconnecting from or reconnecting to a server
To disconnect from a server, select the server in the Places pane and click the button:
To reconnect to a server, select the server in the Places pane and click the button:
Editing a server's settings
To edit the settings for a connected server, select it and then click the Tools button at the top of
the Places pane and choose Edit remote server.
Removing a server
To remove a remote server from the Remote Devices list, select it and then click the Tools
button at the top of the Places pane and choose Remove remote server.
Browsing the contents of an FTP device

1. Connect to the FTP device. For more information, see "Connect to an FTP device" on page
25.
26 CHAPTER 2
2. In the Places pane, select your FTP device. The contents of the device are displayed in the
center pane.
3. In the center pane, select a clip.
n You can use the Inspector pane to view the selected clip's metadata. For more
information, see "Viewing and editing metadata" on page 105.
Audio and video preview are not available over FTP connections.
n Right-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 the
device.
Copying, renaming, or deleting clip lists to SxS media and USB storage on the PZW-
4000 is not supported.

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

Select the Copy clips to library radio button to copy the selected clips to the current
library, or select Copy clips to custom destination and click Browse to browse to another
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 to a
device" on page 42.
Copy clips to a Sony FTP device

1. Connect to the FTP device where you want to copy the clips. If your source clips are also
on an FTP device, also connect to the source FTP device. For more information, see
"Connect to an FTP device" on page 25.
2. In the Places pane, select the source device from which you want to copy clips. The
contents of the device are displayed in the center pane.
30 CHAPTER 2
Select the Copy clips to custom destination radio button, click Browse, select your
FTP device in the Copy To dialog, and then click OK.

copying.
device" on page 42.
Notes:
structure.
The Copy clips only check box is not available when copying to a Sony FTP device.
The Use fast device-to-device copy check box is not available when using FTPS
protocol.
Copy clips to a non-Sony FTP device

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

Select the Copy clips to custom destination radio button, click Browse, select your
FTP device in the Copy To dialog, and then click OK.
34 CHAPTER 2
copying.
device" on page 42.
Notes:
structure.
Only the Copy clips only option is available when copying from a Sony FTP device to
a third-party FTP device.
The Use fast device-to-device copy check box is only available when copying from a
Sony device using FTP protocol (FTPS protocol is not supported).
The Preserve source UMID check box is not available when copying too a third-
party FTP device.
Transcoding clips
Transcoding clips allows you to convert clips to another format. The original clips are not affected
(overwritten, deleted, or altered) during the exporting process.

1. Select the clips you want to export in Organize or Edit mode.
The left pane allows you to navigate the folders in your library, and the middle pane
displays the contents of the selected folder
n Hold Shift and click the first and last file you want to select to select a range of
files.
n Hold Ctrl (Windows) or ⌘ (macOS) to select multiple files.
modifiers.
An on a thumbnail indicates a clip that spans multiple files due to file-size

limitations but is displayed in Catalyst Prepare as a single virtual clip.
Spanned XDCAM EX clips can be transcoded directly, but AVCHD clips must
be copied first.
To transcode spanned AVCHD clips, first copy them to a new folder. After the
copy is complete, the indicator is removed, and the clips are combined in
a new clip that you can transcode. For more information, see "Transcoding
clips" on page 35.
2. Click the Export button at the top of the Catalyst Prepare window, and use the Export
pane to choose a destination and format for your exported files.
3. The Export clips to box displays the path to the folder where the selected files will be
exported. You can type a path in the box or click the Browse button to choose a folder.
4. If you want to rename files, select the Rename files check box. Renaming ensures that
source files will not be overwritten.
n Type a string in the Prefix box if you want to start all file names with the same text.
n Choose a setting from the Numbering drop-down list to indicate whether you want
to number clips or use their original file names.
n Type a string in the Suffix box if you want to end all file names with the same text.
36 CHAPTER 2
Commercial_001_Camera1.mxf, you would type Commercial_ in the Prefix box,
choose 3 digits from the Numbering drop-down list, and type _Camera1 in the
Suffix box.
If you're exporting a still-image sequence for use in an editor that has specific
file-naming requirements, you can use the Rename files controls to ensure
your exported files are compliant with your editor's requirements.
5. The Source Metadata section shows you the file name, color space format, frame size,
and frame rate of the selected clip.
Source metadata is not displayed when a storyboard or clip list is selected.
Click the Reset button in the Source Metadata heading in the Inspector pane to
reset the Color Space based on the clip's metadata or the selected SR Live
metadata source. For more information, see "SR Live for HDR settings" on page
174.
6. Use the Transcode Settings section to choose the format for your exported files. If you
need to reset the transcode settings to their default values, click the Reset button .
a. If you want to use a transcode preset to choose the settings for your exported files,
choose a setting from the Transcode preset drop-down list, and then click Export.
If you want to choose custom transcoding settings, choose Custom from the
Transcode preset drop-down list and continue to step b.
For more information, see "Transcoding presets" on page 51.
When you select a video processing device other than your CPU in the
application settings dialog, high-quality deinterlacing and upscaling are
applied to convert SD and HD sources to modern progressive HD and UHD
assets. For more information, see "Choosing a video processing device" on
page 169.
o High-quality upscaling is applied during transcoding when you choose an

HD or UHD render preset.
o Please note that some systems with limited GPU memory are not
supported.

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

adjustments will be included. If the selected color space does not include
color adjustments, the color adjustments icon is displayed in gray and a

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

Output color space is set to ACES, Rec.2020/Linear, S-Gamut/Linear or S-
Gamut3/Linear.
ProRes is available on macOS only.
d. Choose a setting from the Frame size drop-down list to choose the dimensions of
the rendered frame, or choose Same as source to match the selected clip.
e. Choose a setting from the Frame rate drop-down list to choose the number of
frames per second for the rendered clip, or choose Same as source to match the
38 CHAPTER 2
selected clip.
f. Choose a setting from the Render preset drop-down list to choose the settings
that will be used for the exported files.
Choose the Best match preset if you want Catalyst Prepare to choose the
most appropriate preset for each selected clip.
Render preset settings that are not supported by the selected Output color
space and Format will not be available.
Please note that the XAVC Long 422 3840x2160 200 Mbps (Sony) render
presets require 16 GB or more RAM. If you're using a dedicated GPU, the
presets also require 4 GB or more GPU memory.
g. If you want to create a file with segmented body partitions from a single body
partition, select the Create Sony Professional Disc partitions or Create segmented
body partitions check box. When the check box is cleared, body partitions are not
modified.
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 selected
in the Format drop-down list.
Files created with segmented body partitions may not be recognized properly
by some Sony camcorders, decks, or servers.
7. Enable the Use advanced settings switch if you need to adjust additional transcoding
settings.
a. Choose a setting from the Crop type drop-down list to choose the aspect ratio for
your transcoded file:
o None (letterbox/pillarbox): if the source frame is wider than the destination

frame, black bars are displayed at the top and bottom (letterbox). If the
source frame is narrower than the destination frame, black bars are
displayed on the sides of the frame (pillarbox).
o Center crop (cut edges): if the source frame does not match the output
frame, the frame is centered, and the edges are cropped as needed.

o Use masking ratio: crops the frame to the masking ratio selected in the Clip
Settings menu. For more information, see "Playing media" on page 103.
b. Choose a setting from the Encode mode drop-down list to choose whether you
want to optimize image quality or transcoding speed.
c. Choose a setting from the Audio channels drop-down to choose how audio will be
rendered in the output file.
o Same as source: the rendered file will contain the same number of audio
channels as the source clip.
o Map audio channels: you can choose how audio channels from the source
clip will be mapped to audio channels in the rendered file.
Each channel in the rendered file will be displayed with a drop-down list so
you can choose which source channel should be rendered to that channel.
d. Select the Stitch clips check box if you want to combine the selected clips into a
single continuous clip. The order of the clips in the new clip will match the order
they are displayed in Organize or Edit mode.
If you want the new clip to include continuous timecode based on the source clips'
timecode, select the Use continuous timecode check box. Clip order will be
adjusted as needed, and black frames will be added between clips to ensure the
timecode in the new clip is not interrupted. For more information, see "Stitching
clips" on page 128.
e. Select the Add custom metadata check box if you want to include custom
metadata items for the exported files. For each item that you define, an edit box is
displayed to allow you to type the desired value for that metadata item. Custom
metadata is saved in a sidecar .json file.
The Add custom metadata check box is only displayed if you have created a
customMetadataExport.json file to define the items you want to export. For
more information, see "Exporting custom metadata" on page 109.
f. Select the Burn in timecode check box if you want to include timecode in the
transcoded video.
Click the position control below the check box to indicate where timecode will be
positioned in the frame.
The transcoded file will include the source clip's timecode. If you're transcoding a
storyboard, each clip will display its source timecode.
40 CHAPTER 2
g. Select the Burn in clip name check box if you want to include the clip name in the
transcoded video.
Click the position control below the check box to indicate where the clip name will
be positioned in the frame.
If you rename a clip, the custom name will be displayed. For more information, see
"Renaming clips" on page 21.
If you're transcoding a storyboard, each clip will display its source clip name.
h. If the Burn in timecode and/or Burn in clip name check boxes are selected, you
can select the Allow burn in within letterbox/pillarbox area check box if your output
format will include letterboxing or pillarboxing and you want to allow the
timecode/clip name to be placed in the letterbox/pillarbox area.
When the check box is cleared, the timecode/clip name will be limited to the
source frame area.
i. Select the Add watermark check box if you want to include a watermark image in
the transcoded video.
Click Browse to choose a JPEG or PNG image file.
Drag the Opacity slider to set the transparency/opacity of the watermark image.
Click the position control below the Opacity slider to indicate where the watermark
image will be positioned in the frame:
o If you need to render multiple frame sizes, create a full-frame transparent

PNG using the dimensions of your largest target frame size, and the
watermark image will be scaled as needed for the smaller frame sizes.
o If your watermark image is smaller than the target frame size, no scaling is
applied and the image will be anchored at the selected position control.
j. Select the Use flip, rotate, and desqueeze settings check box if you're working
with rotated video or video that was filmed with an anamorphic lens and want to
preserve the Flip horizontal, Flip vertical, rotation, and Anamorphic desqueeze
settings when transcoding. When the check box is not selected, letterboxing will
be applied.
For more information, see "Playing media" on page 103.
k. Select the Repair flash bands automatically check box if want to automatically
detect and repair flash bands when transcoding.

For more information, see "Repairing flash bands" on page 129.
l. Select the Use mark in/out points check box if you want to transcode only the
portion of the video between the mark in and mark out points. For more
information, see "Marking in and out points for playback" on page 100.
m. Select the Add padding to clips check box and type a number in the Seconds box
if you want to preserve media before the mark in/mark out points.
n. Select the Transcode using proxy source clip check box if you want to use the
proxy as the source clip when transcoding. When you're transcoding a lower-
resolution clip, using the proxy as your source media is faster.
o. Select the Override start timecode check box and type a number in the edit box to
specify the starting timecode for your transcoded clip. When the check box is
cleared, the clip's timecode is used.
The Override start timecode check box is available when transcoding MXF
clips to DNxHD, SStP, XAVC-I, XAVC-L, and XDCAM formats.
If you want to save your transcoding settings, click the Transcode Tools button
in the Transcode Settings heading and choose Save transcode preset.
For more information, see "Transcoding presets" on page 51.
8. Click Export.
If multiple clips are selected, the Export button at the bottom of the Export pane is
displayed as Batch Export.
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.
Copying clips to a device

Copying clips allows you to copy clips (or clip lists) from your library to another location. The
original clip name and format are preserved if possible, and color correction is not applied to the
copied clips.
You can drag a clip to a folder on a drive or device in the Places pane to copy the entire clip
(with no transcoding, color correction, or renaming).
42 CHAPTER 2
1. Select the clips you want to copy in Organize or Edit mode.
files.
modifiers.
An on a thumbnail indicates a clip that spans multiple files due to file-size

limitations but is displayed in Catalyst Prepare as a single virtual clip. After
you copy a spanned AVCHD clip, the indicator is removed, and the clips
are combined in a new clip that you can transcode. For more information, see
"Transcoding clips" on page 35.
a. Choose where you want to copy the selected files:
o Select the Copy clip to library radio button to copy the selected files to the
current library.
o Select Copy clip to custom destination radio button to choose a folder

where the selected files will be copied. You can type a path in the box or
click the Browse button to choose a folder.
Select the Create subfolder check box if you want to copy the selected clips
to a subfolder in the destination.
n If you want to name the subfolder based on the date and time you
copied the files, choose Time stamped from the drop-down list.

n If you want to name the subfolder yourself, choose Custom folder
name from the drop-down list and type a name in the box.
The Create subfolder check box is not available when copying

to a known folder structure.
For more information about working with FTP devices, please

see " Working with FTP devices" on page 25.
b. Select the Add to bin check box and choose a bin from the drop-down list if you
want to add the selected clips to a bin in your library.
For more information, see "Adding bins to a library" on page 17.
c. If you want to rename files, select the Rename files check box. Renaming ensures
that source files will not be overwritten.
o Type a string in the Prefix box if you want to start all file names with the
same text.
o Choose a setting from the Numbering drop-down list to indicate whether

you want to number clips or use their original file names.
o Type a string in the Suffix box if you want to end all file names with the
same text.

Commercial_001_Camera1.mxf, you would type Commercial_ in the
Prefix box, choose 3 digits from the Numbering drop-down list, and type _
Camera1 in the Suffix box.
If you're exporting a still-image sequence for use in an editor that has

specific file-naming requirements, you can use the Rename files
controls to ensure your exported files are compliant with your editor's
requirements.
d. Select the Copy all related media radio button if you want to copy all media related
to the selected clips (metadata, proxy clips, and extra files).
When SR Live metadata source is set to External file in the Options pane,
.srm files are not included with the copy operation. For more information, see
"SR Live for HDR settings" on page 174.
44 CHAPTER 2
Only the Copy all related media option is available when the destination
volume is a Sony device.
If you need to copy all files from a volume, you can use the Back Up Source
command. For more information, please see "Backing up a volume" on page
53.
e. Select the Copy clips only radio button if you want to copy only full-resolution clips.
Only the Copy clips only option is available when copying to a non-Sony
device.
f. Select the Copy proxy only radio button if you want to copy only proxy-resolution
clips and all media related to the selected clips (metadata, proxy clips, and extra
files).
When you edit the metadata for a proxy file, the metadata for the full-
resolution clip is updated when you copy the proxy clip back to the device.
For more information, see "Viewing and editing metadata" on page 105.
g. Select the Copy only between mark points check box if you want to copy only the
media between the in and out points when copying files. For more information,
see "Marking in and out points for playback" on page 100.
If you've logged mark in and out points, partial copying is not supported for
some clip formats. Those clips will be transcoded using the Default transcode
format setting in Options. For more information, see "Marking in and out
points for playback" on page 100 or "Editing Catalyst Prepare options" on
page 169.
Copy only between mark points is not available when copying to or from an
FTP device.
h. If you want to create a file with segmented body partitions from a single body
partition, select the Create Sony Professional Disc partitions or Create segmented
body partitions check box. When the check box is cleared, body partitions are not
modified.
The Create Sony Professional Disc partitions / Create segmented body

partitions 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.
i. Select the Use fast device-to-device copy check box if you want to copy clips
directly between devices via FTP (FTPS protocol is not supported).
When this check box is selected, clips are copied directly between the devices
without copying to your computer.
Device access is not available during a fast device-to-device copy:
o Copy progress is not displayed.
o Device-to-device copy operations cannot be canceled.
j. Select the Copy with verification check box if you want to verify clips as they are
copied.
The Copy with verification controls are not available when the source or
destination volume is an FTP device or when the destination volume is a
o Choose a setting from the Verification mode drop-down list to choose

whether you want to verify the write operation only or also verify reading the
source file.
Verify read/write is not available when the source volume is a

o Choose a setting from the Hash type drop-down list to choose the method
(MD5, SHA1, CRC32, or xxHash64) that will be used to verify your copied
clips.
k. Select the Override start timecode check box and type a number in the edit box to
specify the starting timecode for your transcoded clip. When the check box is
cleared, the clip's timecode is used.
The Override start timecode check box is available when copying MXF clips.
The Override start timecode check box is not available when copying to/from
an FTP device.
l. Select the Preserve source UMID check box if you want to preserve a clip's UMID
(Unique Material Identifier) when copying it to an FTP device. When the check box
is cleared, the clip's UMID may be changed when it is copied to the device.
46 CHAPTER 2
The Preserve source UMID check box is available when copying from a local
drive to a Sony FTP device.
4. Click Copy.
copy job can contain multiple files if you have multiple files selected in step 2 above. If
you have multiple jobs queued, a separate progress indicator is displayed for each job.
Rendering a storyboard as separate files

You can convert a storyboard's clips to another format. A separate file is created for each clip, and
the original clips are not affected (overwritten, deleted, or altered) during the exporting process.
1. Click a storyboard in the Storyboards section of the left pane.
2. Select the clips you want to export.
3. Click the Export button at the top of the Catalyst Prepare window.
4. Select the Render clips as separate files radio button.
5. Use the controls in the Export pane to choose a destination and format for your exported
files. For more information about the controls, please see "Transcoding clips" on page
35.
6. Click Export.
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.
Rendering a storyboard as a single clip

In addition to exporting individual storyboard clips, you can convert a storyboard to a single media
file. The original clips are not affected (overwritten, deleted, or altered) during the exporting
process.
3. Select the Render storyboard as single file radio button.

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

You can convert a storyboard to a project that you can edit in a video editor.
3. Select the Export storyboard as project radio button.
4. The Export project to box displays the path to the folder where the project will be
exported. You can type a path in the box or click the Browse button to choose a folder.
5. Type a name in the File name box to set the file name that will be used for your exported
project file.
6. Choose an export format from the Project format drop-down list:
n Apple Final Cut Pro X (*.fcpxml)
n Adobe Premiere (*.prproj)
n Avid Media Composer (*.aaf)
n Vegas Pro EDL (*.txt)
7. Choose transcoding options:
n If you want to link to the original clips in the original locations, clear the Transcode
media check box.
n If you want to transcode the storyboard's media to another format when exporting,
select the Transcode media check box and use the Transcode Settings controls to
choose transcoding options.
For more information about the controls, please see "Transcoding clips" on page
35.
8. Click Export.
48 CHAPTER 2
have multiple export jobs queued, a separate progress indicator is displayed for each job.
An HTML report file is created in the same folder as the exported project with details
about the export. Any warnings or errors will be displayed in the report.
Uploading files to Ci Workspace

1. Select the files you want to upload in Organize or Edit mode.
2. Click the Share button at the top of the Catalyst Prepare window.
3. From the Upload clip to drop-down list, choose Ci Workspace.
4. Use the Share pane to log on to your Ci account and follow the on-screen instructions to
upload the selected files to your Ci workspace.
Choose a setting from the Login method drop-down list to choose whether you want to log in
with a username/email or a Contributor Code.
If your account has multiple workspaces available, you can use the Workspace drop-
down 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 select
Transcode clips before upload and choose your transcoding settings if you want to convert
the clips to another format before uploading.
n When 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 color-
adjustment settings for the uploaded files. For more information about the controls,
please see "Transcoding clips" on page 35.
6. Click Upload.
have multiple upload jobs queued, a separate progress indicator is displayed for each job.
Uploading files to YouTube

1. Select the files you want to upload in Organize or Edit mode.
2. Click the Share button at the top of the Catalyst Prepare window.
3. From the Upload clip to drop-down list, choose YouTube.

4. Use the Share pane to log on to your Google account and follow the on-screen instructions
to upload the selected file.
a. Rename your uploads if needed:
o When you're uploading a single clip, the Title box displays the file name of the
selected clip. You can type a new title to identify your video.
o When you're uploading multiple clips, select the Rename files check box.
n Type a string in the Prefix box if you want to start all file names with the
same text.
n Choose a setting from the Numbering drop-down list to indicate

whether you want to number clips or use their original file names.
n Type a string in the Suffix box if you want to end all file names with the
same text.

Commercial_001_Camera1, you would type Commercial_ in the Prefix
box, choose 3 digits from the Numbering drop-down list, and type _
Camera1 in the Suffix box.
b. Type a description of your movie in the Description box.
c. Type keywords you want to associate with your movie in the Tags box. Use words
that relate to your movie and describe its content. These tags will be used when
searching YouTube. Use commas to separate multiple keywords.
d. From the Privacy drop-down list, choose a setting to set broadcast options for your
movie. Public videos can be seen by any YouTube user; private videos can be seen
only by members you specify; unlisted videos can be seen by anyone who has a link
to the video, but they are not included in YouTube searches.
e. Choose a setting from the Category drop-down list. The category you choose is used
to classify videos on the YouTube site.
f. Choose a setting from the Frame size drop-down list to choose the frame size of the
video.
g. Choose a setting from the Frame rate drop-down list to the frame rate of the video.
h. Enable the Use advanced settings switch if you need to adjust additional transcoding
50 CHAPTER 2
settings. For more information about the controls, please see "Transcoding clips" on
page 35.
5. Click Upload.
have multiple upload jobs queued, a separate progress indicator is displayed for each job.
Transcoding presets
Transcode presets make it easy to transcode multiple files with the same settings.
Presets are saved in the following folder:
n Windows: C:\Users\<user>\Documents\Sony\Catalyst\Transcode Presets\
n macOS: /Users/<user>/Documents/Sony/Catalyst/Transcode Presets/
Importing transcode presets

If you're transferring preset files across computers, copy the .ctranscode files from the source
computer to the destination computer. Presets are saved in the following folder:
n Windows: C:\Users\<user>\Documents\Sony\Catalyst\Transcode Presets\
Close and restart the application to load the new presets.
Saving transcoding presets

Saving a preset allows you to reuse transcoding settings easily and transfer settings across
computers.
2. Use the Transcode Settings section of the Export pane to adjust your settings as needed.
For more information, see "Exporting media from a library" on page 25.
3. Click the Transcode Tools button in the Transcode Settings.
4. Click Save transcode preset in the Transcode Tools menu.
5. Type name for your preset in the File name box and click OK.

Preset files are saved in the following folder:
n Windows: C:\Users\<user>\Documents\Sony\Catalyst\Transcode
Presets\
Deleting transcoding presets

Deleting a preset removes it from your computer.
2. From the Transcode preset drop-down list, select the preset you want to delete.
3. Click the Transcode Tools button in the Transcode Settings.
4. Click Delete transcode preset in the Transcode Tools menu.
5. When prompted to confirm deleting the preset, click Delete.
52 CHAPTER 2
Relinking library media
Relinking allows you to relink media files within a library when you move a library to a different drive
or use media from an external drive.
1. Open a library. For more information, see "Creating or opening a library" on page 9.
2. In the Places pane, click the Library button and choose Relink from the menu.
3. For each clip, the Relink Clips dialog displays the original clip and its linked clip.
Click a folder path and browse to a new location to choose a new location for your source
clips.
Click Locate Folder or Locate File (if a clip is missing) or a clip's path and browse to a new
file to choose a replacement file.
Click the button to display the full path.
4. Click Relink. The paths to the library clips are replaced, and your library is updated.
Backing up a volume
Catalyst Prepare allows you to create verified backups of your discs and cards. A backup is an
exact replica of the original storage media — with all files and volume structure — backed up for
long-term safety and storage.
The Places pane on the left side of the Catalyst Prepare window displays a list of the
available volumes.
2. Select a volume in the Places pane.
3. Click the Back Up Source button at the bottom of the Places pane.
4. The Destination folder box displays the path to the parent folder where the backup will be
created. You can type a path in the box or click the Browse button to choose a folder.
5. The Subfolder box displays the name of the folder where the backup will be created.
6. Choose a setting from the Verification mode drop-down list to choose the method (MD5,
SHA1, CRC32, or xxHash64) that will be used to verify your backup file, or choose None to

skip verification.
7. Click OK to start the backup.
54 CHAPTER 2
Chapter 3
Finding media
Organize mode allows you to browse your computer for media files that you want to add to your
media libraries, organize the clips in your media libraries, export clips to additional volumes or
devices, and transcode files.
For more information, see "Adding media to a library" on page 10 or "Organizing media in a library"
on page 15.
FINDING MEDIA 55
An on a thumbnail indicates that an error was detected with the clip.
A indicates a clip from an Optical Disc Archive volume.
An on a thumbnail indicates a clip that contains LUT metadata. For more information, see
"Editing Color Adjustments controls" on page 131.
An on a thumbnail indicates a clip that contains lens breathing metadata. For more
information, see "Correcting lens breathing."
An on a thumbnail indicates a clip that contains stabilization metadata. For more

information, see "Stabilizing clips" on page 123.
The stabilize icon is not displayed for clips on FTP devices, XDCAM Station volumes via
CIFS, XDCAM decks, XDCAM Drive units, or Optical Disc Archive volumes.
An on a thumbnail indicates a rotated clip. For more information, see "Working with
rotated clips."
An on a thumbnail indicates that a clip spans multiple discs on an Optical Disc Archive
volume. When you play a clip that spans discs, an indicator is displayed in the timeline to
identify the point where the clip switches discs:
An on a thumbnail indicates a clip that spans multiple files due to file-size limitations but is
displayed in Catalyst Prepare as a single virtual clip. Spanned XDCAM EX clips can be
transcoded directly, but AVCHD clips must be copied first.
To transcode spanned AVCHD clips, first copy them to a new folder. After the copy is
complete, the indicator is removed, and the clips are combined in a new clip that you can
transcode. For more information, see "Exporting media from a library" on page 25 or
"Exporting media from a library" on page 25.
An on a thumbnail indicates a proxy clip that does not have a full-resolution clip available.
56 CHAPTER 3
Connect to a device via FTP
You can use Catalyst Prepare to work with clips on a remote server using FTP/FTPS in much
the same way you work with clips on your computer's drives.
For more information, see " Working with FTP devices" on page 25.
Format a USB drive for PZW-4000
Select a USB drive in the Devices tab, click the Tools button , and choose Format for PZW-
4000 from the menu.
If the drive you want to format is not displayed in the Devices tab, you may need to format it
using your computer's operating system first.
After formatting the drive, the drive will be treated as read-only media by the PZW-4000.
Catalyst Prepare can write to the drive, and the PZW-4000 can import clips to its internal drive.
If you want to create the XDROOT folder on a formatted drive, select a USB drive in Organize
mode, click the Tools button, and choose Create XDROOT folder from the menu.
FINDING MEDIA 57
Displaying files in a list or thumbnail mode
In thumbnail mode ( ), the Media Browser displays thumbnail images and file names.
In list mode ( ), 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 is
displayed to indicate the current sorting method:
58 CHAPTER 3
Searching for clips
1. Select the folder you want to search. Subfolders will be included in your search.
2. Click the Search button to display the Search bar at the top of the Media Browser.
3. Type your search terms in the Search bar. The Media Browser displays all clips in the
selected folder that contain your search terms in the file name or Summary metadata.
Select a clip and click Go to folder to navigate to a clip's folder.
Click the Close button to close the Search bar and clear the search results from the
Media Browser.
Select a different folder to clear your search terms and start a new search in the selected
folder.
Filtering clips
You can use the Filter button to filter the contents of the Media Browser. You can filter files by
file type, file format, date created, or flag metadata.
1. Select the folder you want to view.
2. Click the Filter button to display the Filter By menu at the top of the Media Browser.
3. Enable the Filter switch at the top of the menu to enable the filter.
4. Select the check box for each filter you want to apply.
FINDING MEDIA 59
For the Type, Format, and Flag filters, you can choose is or is not to indicate whether files
that match the filter should be included or excluded from the Media Browser.
For the Date Created filter, you can choose to display files created on or before a date, on or
after a date, or between two dates.
To turn off the filter and display all files in the Media Browser, turn off the Filter switch at the
top of the menu.
Using filtering, you can quickly find and select clips that you had tagged OK during
shooting and copy or transcode the filtered clips. For more information, see
"Transcoding clips" on page 35 or "Copying clips to a device" on page 42.
Selecting files
Click the Select button to select multiple files without using keyboard modifiers.
Showing source clips

1. Select a file.
2. Click the File/Clip button at the bottom of the Media Browser and choose Show in
Finder (macOS) or Show in Explorer (Windows) to view the source clip in its containing
folder.
Managing SxS and Professional Disc volumes

If you need to format an SxS card, please use the Memory Media Utility.
If you need to format or finalize an XDCAM Professional Disc volume, please use the XDCAM
Drive Software.
60 CHAPTER 3
Supported video formats for reading
Catalyst Prepare supports reading the following video formats from volumes or as independent
clips:
XDCAM
SD format
Format Frame Frame Field Video Codec Bit Rate Audio

Size Rate Order Channels
DV 720x480 59.94i Lower DV 25 CBR 4x16 bit
DV 720x576 50i Lower DV 25 CBR 4x16 bit
MPEG IMX 720x512 59.94i Upper MPEG-2 Intra 30, 40, 4x24 bit /
50 CBR 8x16 bit
MPEG IMX 720x608 50i Upper MPEG-2 Intra 30, 40, 4x24 bit /
50 CBR 8x16 bit
Uncompressed 720x486 59.94i Upper Uncompressed 90 CBR 4x24 bit /

8x16 bit
Uncompressed 720x576 50i Upper Uncompressed 90 CBR 4x24 bit /

8x16 bit
HD format
Format Frame Size Pixel Frame Rate Video Codec Bit Rate
Aspect
Ratio
MPEG 1280x720 1.0 50p, 59.94p MPEG-2 25 CBR

HD Long GOP
MPEG 1280x720 1.0 50p, 59.94p MPEG-2 35 VBR

HD Long GOP
MPEG 1280x720 1.0 50p, 59.94p MPEG-2 50 CBR

HD Long GOP
MPEG 1440x1080 1.333 23.976p, 25p, 29.97p, MPEG-2 17.5 CBR

HD 50i, 59.94i Long GOP
MPEG 1440x1080 1.333 23.976p, 25p, 29.97p, MPEG-2 25 CBR

FINDING MEDIA 61
Format Frame Size Pixel Frame Rate Video Codec Bit Rate
Aspect
Ratio


HD Over Crank Long GOP


MPEG 1920x1080 1.0 23.976p, 25p, 29.97p, MPEG-2 35 CBR,

HD422 50i, 59.94i Long GOP 50 CBR

HD422 Over Crank Long GOP
XDCAM EX
Format Frame Size Pixel Frame Rate Field Video Audio Bit
Aspect Order Codec Codec Rate
Ratio
DV 720x480 0.9091 59.94p Lower DV PCM, 25

48 kHz, CBR
16 bit
DV 720x576 1.0926 50i Lower DV PCM, 25

48 kHz, CBR
16 bit
MPEG 1280x720 1.0 23.976p, 25p, MPEG-2 PCM, 35

HD (EX- 29.97p, 50p, Long 48 kHz, VBR
HQ) 59.94p GOP 16 bit
MPEG 1440x1080 1.333 50i, 59.94i MPEG-2 PCM, 25

HD (EX- Long 48 kHz, CBR
SP) GOP 16 bit
MPEG 1440x1080 1.333 23.976p, 25p, MPEG-2 PCM, 35

HD (EX- 29.97p, 50i, Long 48 kHz, VBR
HQ) 59.94i GOP 16 bit
62 CHAPTER 3
Format Frame Size Pixel Frame Rate Field Video Audio Bit
Aspect Order Codec Codec Rate
Ratio
MPEG 1920x1080 1.0 23.976p, 25p, MPEG-2 PCM, 35

HD422 29.97p, 50i, Long 48 kHz, VBR
(EX-HQ) 59.94i GOP 16 bit
FINDING MEDIA 63
XAVC Intra
Format Frame Size Pixel Frame Rate Video Audio Bit

Aspect Codec Channels Rate
Ratio (PCM, 48
kHz, 24 bit)
XAVC Intra 1440x1080 1.333 50i, 59.94i, MPEG-4 8 CBG

23.976p, 25p, AVC Intra 50
29.97p
XAVC Intra 1920x1080 1.0 50i, 59.94i, MPEG-4 8, 16 CBG

23.976p, 25p, AVC Intra 100
29.97p, 50p,
59.94p
XAVC Intra 1920x1080 1.0 50i, 59.94i, MPEG-4 8 CBG

23.976p, 25p, AVC Intra 200
29.97p, 50p,
59.94p
XAVC Intra 1920x1080 1.0 50p, 50i, MPEG-4 0 CBG

HFR 59.94p, 59.94i AVC Intra 100
XAVC Intra 2048x1080 1.0 23.976p, 24p, MPEG-4 8 VBR

25p, 29.97p, AVC Intra
50p, 59.94p
XAVC Intra 2048x1080 1.0 23.976p, 24p, MPEG-4 8, 16 CBG

25p, 29.97p, AVC Intra 100
50p, 59.94p

29.97p, 50p, AVC Intra
59.94p

29.97p, 50p, AVC Intra 300
59.94p

25p, 29.97p, AVC Intra
50p, 59.94p

25p, 29.97p, AVC Intra 300
50p, 59.94p
64 CHAPTER 3
XAVC Long-GOP
Format Frame Size Pixel Frame Video Audio Bit Rate

Aspect Rate Codec
Ratio
XAVC Long 1280x720 1.0 50p, MPEG-4 4-channel 80

59.94p AVC Long, PCM, 48 (Maximum)
High 422 kHz, 24 bit
Profile
XAVC Long 1920x1080 1.0 23.976p, MPEG-4 4-channel 80

25p, AVC Long, PCM, 48 (Maximum)
29.97p, High 422 kHz, 24 bit
50p, 50i, Profile
59.94p,
59.94i
XAVC Long 3840x2160 1.0 23.976p, MPEG-4 4-channel 200

25p, AVC Long, PCM, 48 (Maximum)
29.97p, High Profile kHz, 24 bit
50p,
59.94p
XAVC Long 480x270 1.0 23.976p, MPEG-4 MPEG-4 1 or .5 Mbps

Proxy 25p, AVC Long, AAC, 2
29.97p, High Profile channels,
50p, 48 kHz,
59.94p 256 kbps
MPEG-4
AAC, 6
(5.1)
channels,
48 kHz,
640 kbps
XAVC Long 640x360 1.0 23.976p, MPEG-4 MPEG-4 3 Mbps

50p, 48 kHz,
59.94p 256 kbps
FINDING MEDIA 65
Format Frame Size Pixel Frame Video Audio Bit Rate
Aspect Rate Codec
Ratio
MPEG-4
AAC, 6
(5.1)
channels,
48 kHz,
640 kbps
XAVC Long 1280x720 1.0 23.976p, MPEG-4 MPEG-4 9 Mbps

50p, 48 kHz,
59.94p 256 kbps
MPEG-4
AAC, 6
(5.1)
channels,
48 kHz,
640 kbps
66 CHAPTER 3
XAVC S
Format Frame Size Pixel Frame Video Codec Audio Bit

Aspect Rate Rate
Ratio
XAVC Long 480x270 1.0 23.976p, MPEG-4 AVC MPEG-4 4

Proxy 25p, Long, High AAC, 2
29.97p, Profile channels,
50p, 48 kHz,
59.94p 256 kbps

50p, 48 kHz,
59.94p 256 kbps
XAVC Long 1280x720 1.0 23.976p, MPEG-4 AVC 2-channel 40

25p, Long, Main PCM, 48
29.97p, Profile or High kHz, 16 bit
50p, Profile
4-channel
59.94p
PCM, 48
kHz, 24 bit

50p, 48 kHz,
59.94p 256 kbps
XAVC Long 1280x720 1.0 100p, MPEG-4 AVC 2-channel 80

119.88p Long, Main PCM, 48
Profile or High kHz, 16 bit
Profile
4-channel
PCM, 48
kHz, 24 bit

50p, Profile
4-channel
FINDING MEDIA 67
Aspect Rate Rate
Ratio
59.94p PCM, 48
kHz, 24 bit

50p, Profile
2/4-
59.94p
channel
PCM, 48
kHz, 24 bit

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

50p, 48 kHz,
59.94p 256 kbps
XAVC Long 1920x1080 1.0 25p, 30p AVC S Long MPEG-4 16

4:2:0 8-bit MP4 AAC, 2
50
channels,
48 kHz,
256 kbps
XAVC Long 1920x1080 1.0 50p, 60p AVC S Long MPEG-4 25

4:2:0 8-bit MP4 AAC, 2
50
channels,
48 kHz,
256 kbps
XAVC Long 1920x1080 1.0 24p AVC S Long MPEG-4 50

4:2:0 8 bit-MP4 AAC, 2
channels,
68 CHAPTER 3
Aspect Rate Rate
Ratio
48 kHz,
256 kbps
XAVC Long 1920x1080 1.0 100p, AVC S Long MPEG-4 60

120p 4:2:0 8 bit-MP4 AAC, 2
100
channels,
48 kHz,
256 kbps
XAVC Long 1920x1080 1.0 24p, 25p, XAVC S Long 2-channel 50

30p,50p, 4:2:2 10-bit PCM, 48
60p MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Intra 1920x1080 1.0 24p XAVC S Intra 2-channel 89

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
FINDING MEDIA 69
Aspect Rate Rate
Ratio
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

29.97p Profile or High kHz, 16 bit
Profile
2/4-
channel
PCM, 48
kHz, 24 bit

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

70 CHAPTER 3
Aspect Rate Rate
Ratio
Profile 2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Long 3840x2160 1.0 24p, 25p, XAVC S Long 2-channel 60

30p 4:2:0 8-bit MP4 PCM, 48
100
kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Long 3840x2160 1.0 50p, 60p XAVC S Long 2-channel 150
4:2:0 8-bit MP4 PCM, 48
kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Long 3840x2160 1.0 100p, XAVC S Long 2-channel 200

120p 4:2:0 8-bit MP4 PCM, 48
kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Long 3840x2160 1.0 24p XAVC S Long 2-channel 100

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
FINDING MEDIA 71
Aspect Rate Rate
Ratio
4:2:2 10-bit PCM, 48

MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Long 3840x2160 1.0 100p, XAVC S Long 2-channel 280

120p 4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit
XAVC Long 3840x2160 1.0 24p XAVC S Long 2-channel 100

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
72 CHAPTER 3
Aspect Rate Rate
Ratio
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
2/4-
channel
PCM, 48
kHz, 24 bit

4:2:2 10-bit PCM, 48
MP4 kHz, 16 bit
FINDING MEDIA 73
XAVC HS

Aspect Codec Rate
Ratio
HEVC 1920x1080 1.0 23.976p, 30p, HEVC 2-channel 16

Proxy 50p, 59.94, Long, 10- PCM, 48 kHz,
100p, 119,98p bit, 4:2:0 16 bit or 24 bit
HEVC 3840x2160 1.0 23.976p HEVC 2/4-channel 30

Long, 10- PCM, 48 kHz,
bit, 4:2:0 16 bit or 24 bit
HEVC 3840x2160 1.0 50p HEVC 2/4-channel 45








74 CHAPTER 3
Aspect Codec Rate
Ratio

HEVC 3840x2160 1.0 24p XAVC 2-channel 30

HS Long PCM, 48 kHz,
50
4:2:0 10-bit 16 bit
MP4 100
2/4-channel
PCM, 48 kHz,
24 bit
HEVC 3840x2160 1.0 50p, 60p XAVC 2-channel 45

75
4:2:0 10-bit 16 bit
MP4 150
2/4-channel
PCM, 48 kHz,
24 bit

4:2:0 10-bit 16 bit
MP4
2/4-channel
PCM, 48 kHz,
24 bit
HEVC 3840x2160 1.0 24p XAVC 2-channel 50

100
4:2:2 10-bit 16 bit
MP4
2/4-channel
PCM, 48 kHz,
24 bit

200
4:2:2 10-bit 16 bit
MP4
2/4-channel
PCM, 48 kHz,
24 bit
FINDING MEDIA 75
Aspect Codec Rate
Ratio

4:2:2 10-bit 16 bit
MP4
2/4-channel
PCM, 48 kHz,
24 bit
HEVC 7680x4320 1.0 23.976p, 25p, HEVC 2/4-channel 204

29.97p Long, 10- PCM, 48 kHz,
HEVC 7680x4320 1.0 23.976p, 25p, HEVC 2/4-channel 260,

29.97p Long, 10- PCM, 48 kHz, 520
XAVC H
Format Frame Size Bits Frame Rate Quality
HEVC Long 7680x4320 10 23.976p, 25p, 29.97p 520 Mbs
HEVC Intra 7680x4320 10 23.976p, 25p, 29.97p SQ, HQ
HEVC Intra 8192x4320 10 23.976p, 24p, 25p、29.97p SQ, HQ
76 CHAPTER 3
XAVC Proxy
Format Frame Size Frame Rate Video Codec Audio Bit

Rate
XAVC Proxy 480x270 23.976p, 25p, MPEG-4 AVC MPEG-4 AAC, 4

29.97p, 50p, Long, Main 2 channels, 48
59.94p Profile kHz, 256 kbps

59.94p Profile kHz, 256 kbps
XAVC Proxy 720x480 59.94i MPEG-4 AVC MPEG-4 AAC, 10

Long, Main 2 channels, 48
Profile kHz, 256 kbps
XAVC Proxy 720x576 50i MPEG-4 AVC MPEG-4 AAC, 10

Long, Main 2 channels, 48
Profile kHz, 256 kbps

59.94p Profile or High kHz, 256 kbps
Profile
XAVC Proxy 1920x1080 50i, 59.94i, MPEG-4 AVC MPEG-4 AAC, 28

29.97p, 50p, Profile or High kHz, 256 kbps
59.94p Profile
X-OCN
X-OCN 2048x1080 16 23.976p, 24p, 25p, 29.97p, 50p, 59.94p, HFR LT, ST,
(max. 240) XT
(max. 120p) XT
X-OCN 4096x1716 16 23.976p, 24p, 25p, 29.97p LT, ST,

XT
(max. 120p) XT
FINDING MEDIA 77
X-OCN 4096x3024 16 23.976p, 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 16 23.976p, 25p, 29.97p LT
RAW
Format Frame 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 2048x1080 16 23.976p, 25p, 29.97p, 50p, 59.94p, SQ
78 CHAPTER 3
Format Frame 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)
Format Frame Size Bits Color Pixel Frame Rate Compression

Space Aspect (Mbps)
Ratio
SSTP 1280x720 10 YUV 1.0 50p, 59.94p Lite(220), SQ

422 (440)
SSTP 1920x1080 10 YUV 1.0 50i, 59.94i, Lite(220), SQ

422 23.976p, 24p, 25p, (440)
29.97p, 50p,
59.94p
SSTP 1920x1080 10 RGB 1.0 50i, 59.94i, SQ(440), HQ

444 23.976p, 24p, 25p, (880)
29.97p, 50p,
59.94p
SSTP 1920x1080 12 RGB 1.0 50i, 59.94i, HQ(880)

444 23.976p, 24p, 25p,
29.97p, 50p,
59.94p
SSTP 2048x1080 10 YUV 1.0 50p, 59.94p Lite(220), SQ

422 (440)
SSTP 2048x1080 10 RGB 1.0 50i, 59.94i, SQ(440)

444 23.976p, 24p, 25p,
29.97p
SSTP 2048x1080 10 RGB 1.0 23.976p, 24p, 25p, HQ(880)

444 29.97p
SSTP 2048x1080 12 RGB 1.0 50i, 59.94i, SQ(440)

444 23.976p, 24p, 25p,
29.97p
SSTP 2048x1080 12 RGB 1.0 23.976p, 24p, 25p, HQ(880)

444 29.97p, 50p,
FINDING MEDIA 79
Format Frame Size Bits Color Pixel Frame Rate Compression
Space Aspect (Mbps)
Ratio
59.94p
SSTP 2048x1080 12 RGB 1.0 23.976p, 24p, 25p, SQ(440)

444 29.97p
SSTP 2048x1080 12 RGB 1.0 23.976p, 24p, 25p, HQ(880)

444 29.97p, 50p,
59.94p
SSTP 2048x1556 10 RGB 1.0 23.976p, 24p, 25p HQ(880)

444
80 CHAPTER 3
NXCAM
Format Frame Size Pixel Frame Rate Video Codec Audio Bit
Aspect Codec Rate
Ratio
AVCHD 1920x1080 1.0 59.94p, 50p, H.264/MPEG-4 Dolby AC-3 28

AVC or PCM Mbps
2 channels,
48 kHz, 16
bit
AVCHD 1920x1080 1.0 59.94i, 50i, H.264/MPEG-4 Dolby AC-3 24 or

29.97p, 25p, AVC or PCM 17
23.976p 2 channels, Mbps
48 kHz, 16
bit
AVCHD 1280x720 1.0 59.94p, 50p H.264/MPEG-4 Dolby AC-3 24 or

AVC or PCM 17
2 channels, Mbps
48 kHz, 16
bit
AVCHD 1440x1080 1.333 59.94i, 50i H.264/MPEG-4 Dolby AC-3 9 or 5

AVC or PCM Mbps
2 channels,
48 kHz, 16
bit
MPEG-2 720x480 0.9091 23.976p, MPEG-2 Dolby AC-3 9 Mbps

SD or 29.97p, 2 channels,
1.2121 59.94i 48 kHz, 16
bit
MPEG-2 720x576 1.0926 25p, 50i MPEG-2 Dolby AC-3 9 Mbps

SD or 2 channels,
1.4568 48 kHz, 16
bit
FINDING MEDIA 81
AVC H.264/MPEG-4
Format Frame Size Screen Frame Rate Video Audio Codec Bit
Aspect Codec Rate
Ratio
H.264/MPEG-4 1280x720 16:9 50p, 100p, AVC, Mono, 48kHz,

AVC 120p, AAC
8-bit,
compression
4:2:0
w/ AGC

AVC 30p, 48p, AAC
8-bit,
50p, 60p compression
4:2:0
w/ AGC

AVC 30p, 48p AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 3840x2160 16:9 23.97p. 24p, AVC, Mono, 48kHz,

AVC 25p, 29.97p, AAC
8-bit,
50p, 59.94p compression
4:2:0
w/ AGC
H.264/MPEG-4 4096x2160 17:9 12p AVC, Mono, 48kHz,

AVC AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 2704x1524 16:9 25p, 30p AVC, Mono, 48kHz,

AVC AAC
8-bit,
compression
4:2:0
w/ AGC

AVC AAC
8-bit,
compression
4:2:0
w/ AGC

AVC AAC
8-bit,
compression
4:2:0
w/ AGC
82 CHAPTER 3
Aspect Codec Rate
Ratio

AVC AAC
8-bit,
compression
4:2:0
w/ AGC

AVC AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 240x180 25p, 29.97p AVC, 2 channels, 16

AVC bit, AAC
8-bit,
compression
4:2:0
w/ AGC

AVC bit, AAC
8-bit,
compression
4:2:0
w/ AGC

AVC bit, AAC
8-bit,
compression
4:2:0
w/ AGC

AVC bit, AAC
8-bit,
compression
4:2:0
w/ AGC

AVC bit, AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 1280x720 50p, 60p, AVC, 2 channels, 16

AVC 100p,120p bit, AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 1280x960 48p, AVC, 2 channels, 16

AVC 100p,120p bit, AAC
8-bit,
FINDING MEDIA 83
Aspect Codec Rate
Ratio
4:2:0 compression
w/ AGC

AVC 29.97p, 48p, bit, AAC
8-bit,
50p, 60p compression
4:2:0
w/ AGC

AVC 29.97p, 48p bit, AAC
8-bit,
compression
4:2:0
w/ AGC

AVC 29.97p bit, AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 3840x2160 23.97p. 24p, AVC, 2 channels, 16

AVC 25p, 29.97p, bit, AAC
8-bit,
50p, 59.94p compression
4:2:0
w/ AGC
H.264/MPEG-4 4096x2160 12p AVC, 2 channels, 16

AVC bit, AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 720x480 59.94i AVC, 2 channels, 16

AVC (HVO) bit, AAC
8-bit,
compression
4:2:0
w/ AGC
H.264/MPEG-4 720x576 50i AVC, 2 channels, 16

AVC (HVO) bit, AAC
8-bit,
compression
4:2:0
w/ AGC
84 CHAPTER 3
AS-11 DPP MXF
Format Frame Size Frame Video Codec Audio Codec Bit

Rate Rate
IMX-50 720x576 25 MPEG-2 Intra PCM, 48 kHz, 24

bit
XAVC Intra 1920x1080 25 MPEG-4 PCM, 48 kHz, 24

AVC Intra bit
FINDING MEDIA 85
Avid DNxHD®
Container: MOV or MXF
Audio Codec: PCM 44.1 kHz or 48 kHz, 16 bit or 24 bit
Frame Size Family Name Color Frame Rate/Maximum Bit Rate

Space/Bits
1920x1080 Avid DNxHD® 4:4:4 10 bit 29.97p @ 440 Mbps, 25p @ 365 Mbps, 24p
444 @ 350 Mbps, 23.976p @ 350 Mbps
1920x1080 Avid DNxHD® 4:2:2 10 bit 60p @ 440 Mbps, 59.94p @ 440 Mbps, 50p
220x @ 365 Mbps, 59.94i @ 220 Mbps, 50i @ 185
Mbps, 29.97p @ 220 Mbps, 25p @ 185 Mbps,
24p @ 175 Mbps, 23.976p @ 175 Mbps
220 @ 365 Mbps, 59.94i @ 220 Mbps, 50i @ 185
Mbps, 29.97p @ 220 Mbps, 25p @ 185 Mbps,
24p @ 175 Mbps, 23.976p @ 175 Mbps
145 @ 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
145
(subsampled
to 1440x1080)
1920x1080 Avid DNxHD® 4:2:2 8 bit 59.94i @ 100 Mbps, 50i @ 85 Mbps, 29.97p
100 @ 100 Mbps, 25p @ 85 Mbps, 24p @ 80
(subsampled Mbps, 23.976p @ 80 Mbps
to 1440x1080)
1920x1080 Avid DNxHD® 4:2:2 8 bit 60p @ 90 Mbps, 59.94p @ 90 Mbps, 50p @
36 75 Mbps, 29.97p @ 45 Mbps, 25p @ 36
Mbps, 24p @ 36 Mbps, 23.976p @ 36 Mbps
1280x720 Avid DNxHD® 4:2:2 10 bit 59.94p @ 220 Mbps, 50p @ 175 Mbps,
220x 29.97p @ 110 Mbps, 25p @ 90 Mbps,
23.976p @ 90 Mbps
86 CHAPTER 3
Frame Size Family Name Color Frame Rate/Maximum Bit Rate
Space/Bits
220 29.97p @ 110 Mbps, 25p @ 90 Mbps,

23.976p @ 90 Mbps
145 29.97p @ 75 Mbps, 25p @ 60 Mbps, 23.976p
@ 60 Mbps
1280x720 Avid DNxHD® 4:2:2 8 bit 59.94p @ 100 Mbps, 50p @ 85 Mbps, 29.97p
100 @ 50 Mbps, 25p @ 45 Mbps, 23.976p @ 50
(subsampled Mbps
to 960x720)
FINDING MEDIA 87
Apple ProRes
Container: MOV
Audio Codec: PCM
Format Frame Size Frame Rate Video Codec
ProRes 720x486 59.94i, 30p, 29.97p, 24p, 422 (proxy), 422 (LT), 422, 422
23.976p (HQ), 4444, 4444 XQ (Windows
only)
ProRes 720x576 50i, 25p 422 (proxy), 422 (LT), 422, 422
(HQ), 4444, 4444 XQ (Windows
only)
ProRes 960x720 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)
ProRes 1440x1080 59.94i, 50i, 30p, 29.97p, 25p, 422 (proxy), 422 (LT), 422, 422
24p, 23.976p (HQ), 4444, 4444 XQ (Windows
only)
ProRes 1920x1080 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)
ProRes 2048x1080 60p, 59.94p, 50p, 30p, 422 (proxy), 422 (LT), 422, 422
29.97p, 25p, 24p, 23.976p (HQ), 4444, 4444 XQ (Windows
only)
only)
only)
88 CHAPTER 3
Format Frame Size Frame Rate Video Codec
only)
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
Format Frame Size Pixel Aspect Ratio Frame Rate Interlace Video Codec
HDV 1440x1080 1.333 50i, 59.94i Upper MPEG-2 MP@H14
FINDING MEDIA 89
DV
Container: AVI (Windows), MOV (macOS)
Audio Codec: PCM, 2 channels, 32 kHz, 16 bit
Format Frame Frame Field Video Bit Audio Channels

Size Rate Order Codec Rate
DV (SD) 720x480 59.94i Lower DV 25 2 channels, 32 kHz,

CBR 16 bit
DV (SD) 720x576 50i Lower DV 25 2 channels, 32 kHz,

CBR 16 bit
90 CHAPTER 3
DPX
Format Frame Size Frame Rate
Image Sequence Any Any
FINDING MEDIA 91
OpenEXR
Format Frame Size Frame Rate
Image Sequence Any Any
Supported video devices

Catalyst Prepare supports the following video volumes and devices:
Folder Structure Storage Media Root Folder Supported Format
XAVC-XD-Style SxS memory XDROOT XDCAM HD/HD422/IMX/DVCAM,

card (exFAT) SStP, XAVC Intra, XAVC Long
XQD memory
card
XAVC-M4-Style SxS memory M4ROOT XAVC S, XAVC HS

card (exFAT)
XQD memory
card
SD card
XAVC-PX-Style SD card PXROOT XAVC Proxy
AXS-Style AXS memory CINEROOT F55RAW, F5RAW, FS700RAW, X-

card OCN
SRM-Style SR memory Media root F65RAW, SStP

card
XD-Style Professional Media root XDCAM HD/HD422/IMX/DVCAM,

Disc XAVC Intra
SxS memory
card (UDF)
BPAV-Style SxS memory BPAV XDCAM EX (MPEG HD, DVCAM)

card (FAT32)
SD card
AVCHD structure SD card AVCHD/BDMV AVCHD
92 CHAPTER 3
Chapter 4
Playing media
When you double-click a file in Organize mode, the file is loaded in Edit mode, where you can
preview the file, log mark in and mark out points, and apply color correction. For more information
about using Organize mode, please see "Organizing media in a library" on page 15.
You can use the toolbar at the top of the pane to adjust and monitor audio levels, select audio
channels for preview, scale the video preview, view metadata, and adjust clip settings.
You can use the transport toolbar below the video to choose the playback mode, scrub the video,
and control playback.
Previewing video
When you double-click a file in Organize mode, the file is loaded in Edit mode, where you can
preview the file, log mark in and mark out points, and apply color correction. For more information
about using Organize mode, please see "Organizing media in a library" on page 15.
You can also choose to display the video preview in a secondary window that you can position
anywhere on your screen or on a secondary display. For more information, see "Editing Catalyst
Prepare options" on page 169.
PLAYING MEDIA 93
If you have multiple clips selected in the Media Browser on the left side of the window, the
selected clips will play sequentially in the order they are displayed. The file name of the
current 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 to
identify the discontinuity:
A indicates a clip from an Optical Disc Archive volume.
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 to
identify the point where the clip switches discs:
Enable the Preview using proxy clips switch in Options if you want to use proxy clips for
playback if they are available. During playback, a Proxy indicator is displayed above the video
preview. For more information, see "Editing Catalyst Prepare options" on page 169.
Click the Play button to start playing the current video. Playback will start from the playback
position indicator and continue until the Mark Out position or the end of the file.
You can click the trackbar below the transport controls to set the play position indicator:
You can use the shuttle control on the transport toolbar to seek forward or backward or adjust the
playback speed. For more information, see "Playing media" on page 98.
For information about flipping and rotating video, enabling anamorphic desqueezing, and
displaying safe zone and mask guides, please see "Playing media" on page 103.
94 CHAPTER 4
Changing the preview mode
When you're adjusting color correction, you can change the preview mode to allow you to
compare adjusted clips to the original source. For more information, see "Editing Color
Adjustments controls" on page 131.
Click the Preview button in the top-right corner of the video preview to choose a preview mode.
Split-screen previews allow you to split the video preview and waveform/histogram/vectorscope
monitor so you can see your affected and unaffected video at the same time.
n
Before: full-frame video is displayed in its original state.
n
After: full-frame video is displayed in its color-corrected state.
n
Split: 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.
PLAYING MEDIA 95
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 to
adjust where the preview is split:
n
2 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.
n Click Fit to scale the video to fill the Video pane.
n Click a preset to scale the video to a predefined magnification level.
96 CHAPTER 4
When the level is below 100%, you can drag the blue rectangle to pan and adjust the
visible portion of the frame.
n Drag the slider or click the and buttons to choose a custom zoom level.
n Click the thumbnail and roll your mouse wheel to zoom in or out.
Toggling full-screen playback
Click to display the Video pane in full-screen mode. Press Esc or click the Close button to
exit full-screen mode.
Adjusting playback settings

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

paused, during transcoding, and during playback when the Playback Settings
Speed/Quality setting is set to Quality.
n Please note that some systems with limited GPU memory are not supported.
Real Time/All Frames
Select Real Time if you want to play the clip using its source frame rate. Audio is played at its
recorded rate, and video frames are skipped if necessary to preserve the playback rate.
Select All Frames if you want to ensure that all video frames are played. The frame rate may
be reduced if needed to ensure all frames are played. Audio is unavailable in this mode.
If XAVC S and XAVC HS playback is not smooth, we recommend using the All Frames
playback setting.
PLAYING MEDIA 97
n
Real Time/Speed:
n
Real Time/Quality:
n All Frames/Speed:
n All Frames/Quality:
Using the transport controls

The transport controls below the video preview allow you to control playback:
Button Description
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. Click
again 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" on
page 100.
Navigating the timeline

After you open a file in View mode, drag the shuttle control to seek forward or backward from the
play position indicator to find an edit point. As you drag toward the ends of the shuttle control,
playback speed increases. Release the shuttle control to stop playback:
You can also press the J, K, or L keys to use the keyboard as a shuttle control.
98 CHAPTER 4
Press and hold K while pressing J or L to emulate a shuttle knob mode. Press K+J to scrub left
or K+L to scrub right.
Item Description
J Scrub reverse mode. Press again to accelerate the playback rate.
K Pause.
L Scrub forward mode. Press again to accelerate the playback rate.
PLAYING MEDIA 99
Marking in and out points for playback
If you want to play only a portion of a video, you can use the Mark In and Mark Out buttons to select
the portion of the video you want to play.
If mark in and out points have been set in an MXF clip, Catalyst Prepare will read the mark
in/out points from metadata. After you add a clip to the library, you can choose whether to
synchronize mark in/out points with the source clip:
n If you want to save mark in and mark out points with the library, clear the Synchronize
mark points with file check box on the Summary tab in the Inspector. For more
information, see "Viewing and editing metadata" on page 105.
n When the Synchronize mark points with file check box is cleared, mark in and mark out
points for MXF clips are saved back to the source media when you edit them in Catalyst
Prepare, and your library will be updated if the mark in and out points are edited on
disk.
1. Click the Organize button at the top of the Catalyst Prepare window to view the Media
Browser.
2. Double-click a file in Organize mode to load it in Edit mode.
You can also use the Preview pane in Organize mode to adjust mark points.
3. Click the Logging button at the bottom of the Catalyst Prepare window.
4. Click the trackbar below the transport controls to set the play position indicator:
If the current clip contains discontinuous timecode, an indicator is displayed in the timeline
to identify the discontinuity:
5. Click the Mark In button.
6. Click the trackbar below the transport controls to set the play position indicator.
7. Click the Mark Out button.
100 CHAPTER 4
When you click the Play button, playback will start from the playback position indicator
and continue until the Mark Out position or the end of the file.
If you want to play the Mark In/Mark Out region in a continuous loop, select the Loop
Playback button .
You can quickly log mark in/out points by clicking the In, Out, and Length boxes at the
bottom of the Catalyst Prepare window and typing new timecode values. (Not available
for MXF proxy-only clips with embedded timecode.)
Type new values in the Mark in and Mark out boxes on the Summary tab in the
Inspector to edit the clip's mark in and mark out points. (Not available for MXF proxy-
only clips with embedded timecode.) For more information, see "Viewing and editing
metadata" on page 105.
You can adjust mark in/out points by dragging the indicators above the trackbar.
To reset mark in/out points, click the More button and choose Reset mark in/out points.
If the current file contains essence marks, they will be displayed on the timeline as
diamonds . Essence marks are displayed in the Mark Points tab in metadata mode.
When browsing your library, an indicator is displayed to represent a clip's mark in/out
points:
Creating a snapshot of a frame

If you want to create a snapshot of the current frame, click the Snapshot button and choose
Copy snapshot to clipboard or Save snapshot.
PLAYING MEDIA 101

Copying a frame to the clipboard
Browser.
4. Click the Snapshot button and choose Copy snapshot to clipboard from the menu.
Press Ctrl+C (Windows) or ⌘ -C (macOS).
When the Catalyst Prepare window is resized, the snapshot commands are available in
the More Actions menu.
The current frame is copied to the clipboard using the standard resolution that is closest to
the preview resolution.
Saving a frame to a file

Browser.
4. Click the Snapshot button and 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.
102 CHAPTER 4
You can save the location and format used for saving the file in Options. Click the Snapshot
button and choose Snapshot options from the menu. For more information, see
"Editing Catalyst Prepare options" on page 169.
Adjusting and monitoring audio levels

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

Click the button above the video preview to edit clip playback settings.
PLAYING MEDIA 103

Select the Use flip, rotate, and desqueeze settings check box in the Export pane if you're
working with video that was filmed with an anamorphic lens and want to preserve the Flip
horizontal and Flip vertical, Rotate preview, and Anamorphic desqueeze settings when
transcoding. When the check box is not selected, letterboxing will be applied.
Item Description
Flip horizontal Click the Flip horizontal or Flip vertical switch to flip the left-to-
right or top-to-bottom orientation of the video frame.
Flip vertical
Select a button to rotate the video preview image.

Rotate preview
(degrees) Select Auto to use the clip-rotation metadata setting if available,
or select 0, 90, 180, or 270 to specify the desired clip rotation.
Select a desqueeze button to apply anamorphic stretching to

Anamorphic
widescreen video, or click Off to turn off stretching.
desqueeze
Click the switch to enable safe area guides and a center point in
Show safe areas
the video preview.
When Show safe areas is enabled, Catalyst Prepare displays

rectangles marking 90% (action safe area) and 80% (title safe
area) of the frame to serve as guidelines for framing.
Overlays are not displayed when using full-screen preview.
Choose a setting from the drop-down list to enable shading in

Masking ratio
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 and

preserved even when the clip is rotated.
Select Use masking ratio from the Crop type drop-down list
in the Export pane if you want to preserve the selected
masking ratio when transcoding.
For more information, see "Exporting media from a library"

on page 25.
104 CHAPTER 4
Chapter 5
Working with clips

Catalyst Prepare gives you control over your individual media clips.
Viewing and editing metadata

When you're in Organize or Edit mode, click the Inspector button in the toolbar to display
metadata for the currently selected file in the Inspector pane.
Click the Summary tab to view summary information associated with the file or configure audio
channels.
Click the File tab to view details about the source media and its metadata, including GPS
information (if present).
When a file contains GPS metadata, you can click the Latitude and Longitude values to
display a map using the map service selected in the Open GPS links with drop-down list in the
Options menu. Links are not available when multiple clips are selected.
Click the Mark Points tab to view essence marks embedded in the file.
If the current file contains essence marks, they will be displayed on the timeline as a diamond .
If the current clip contains discontinuous timecode, an indicator is displayed in the timeline to
identify the discontinuity:
When Catalyst creates new non-realtime (NRT) metadata during MXF copy operations, metadata
for discontinuous timecode and essence marks is created.
New non-realtime metadata is not created when the source clip contains NRT metadata.
Setting the frame rate for a DPX or OpenEXR image sequence

1. Select a DPX or OpenEXR image sequence in the Media Browser.
2. Click the Summary tab.
3. Choose a value from the Frame rate drop-down list boxes to set the frame rate for playing
the selected image sequence.
WORKING WITH CLIPS 105

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

1. Click the Summary tab.
Click the Unlock button to enable editing summary information for the selected files.
2. In the Logging section of the Summary tab, edit the Flag, Title, Creator, and Description
settings as needed.
When editing metadata for multiple selected files, (multiple values) is displayed if the files'
metadata does not match. Editing the value will replace the metadata for all selected files.
3. Click Save to save the edited metadata values, or click Revert to discard your
edits.
Not all media formats support summary metadata.
106 CHAPTER 5
When a clip has Flag metadata, an OK, NG (no good), or Keep indicator is displayed in
Organize mode:
You can also use Flag metadata to filter the contents of the Media Browser. For more
information, see " Filtering clips" on page 59.
Assigning audio channels

Assigning audio channels allows you to set up your clips for use in Catalyst Edit.
The Channel Assignment controls are not editable when multiple files with differing channel
counts are selected.
Channel Assignment controls are not available when no library is opened. For more
information, see "Working with libraries" on page 9.
Channel Assignment controls are not available when a spanned clip is selected.
Channel Assignment controls are not available when editing a storyboard.
Click the speaker icon to turn a channel on or off .
Click the Mono/Stereo button to indicate whether a channel is a mono channel or part of a
stereo pair. Enabling Stereo will pair the channel with the next channel in the list.
Type a name in the edit box to identify the channel. For example, you might type Lav1 to identify
audio from a lavalier microphone.

If you want to save the current channel configuration as a preset, click the Channel Tools
icon and choose Save preset from the menu.
If you want to apply a preset channel configuration to the selected file, as a preset, click the
Channel Tools icon and choose Load preset from the menu.
If you want to copy channel assignments between files, select the source file, click the
Channel Tools icon , and choose Copy from the menu. Next, select the destination files,
click the Channel Tools icon , and choose Paste from the menu.
If you want to set all of a clip's channels at once, click the Channel Tools button and
choose Set all to mono, Set all to stereo, or Reset.
Editing essence marks

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

3. Click the trackbar below the video preview to set the cursor position where you want to add a
mark point(or click the timecode display to move the cursor to a specific location).
4. Click the Add Point button or press E.
Adding and editing essence marks is supported only for clips with non-realtime (NRT)
metadata and requires write access to the volume.
108 CHAPTER 5
Deleting a mark point
3. Click an essence mark's label or timecode to select it.
4. Click the Delete button , and then choose Delete to delete the selected mark point, or
choose Delete All to delete all mark points.
The Delete command is not available when FTP-based clips are selected.
Exporting custom metadata

Catalyst Prepare allows you to include custom metadata when exporting clips.
Defining the metadata you want to export

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

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

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

custom metadata check box is unavailable. Please see "Defining the metadata you
want to export" on page 109.
Working with clip lists

You can create and edit clip lists for the following media types:
n
XDCAM media in an XD root folder .
n
XAVC media in an XD root folder .
110 CHAPTER 5
n
RAW media in an AxS folder .
A clip list is a PD-EDL (.smi) file that allows you to create a video project that is comprised of
multiple, shorter video clips.
Clip lists are a helpful part of a proxy workflow when working with limited bandwidth: copy the proxy
clips to your computer, create a clip list using the proxy clips, and then copy the clip list back to the
camera or deck. The deck will then play the clip list using your full-resolution source.
If you need to create a project for other media types and don't need to write back to a camera or
device, you can create a storyboard. For more information, see "Working with storyboards" on
page 114.
When viewing a clip list, indicates spanned clips from the same volume, and indicates
spanned clips from different volumes.
Creating a clip list

Browser.
2. Navigate to the root folder or that contains the clips you want to use.
3. Select the files you want to include in your clip list. You can hold Shift or Control (Windows) /
⌘ (macOS) to select multiple files.
4. Click the Tools button at the bottom of the Catalyst Prepare window and choose New
clip list from selection from the menu.
If you want create a clip list without choosing clips, click the Tools button at the
bottom of the Catalyst Prepare window and choose New empty clip list from the menu.
5. Type a name for the new clip list and click OK.
6. Catalyst Prepare loads your new clip list in View mode.
Opening a clip list

Browser.

2. Navigate to the root folder or that contains the clip list you want to open.
3. Double-click the clip list (.smi file) to open it.
Rearranging clips
In Clip List mode, you can add, remove, and arrange clips in the clip list. Click the Clip List
button at the bottom of the Catalyst Prepare window to switch to Clip List mode.
You can drag clips within the clip list to rearrange them. Drag a clip and drop it to a new position
on the clip list to change its position.
Adding clips
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 select
additional clips for your clip list.
You can click the Add button at the bottom of the Catalyst Prepare window when you're in
Clip List mode.
When you add a clip, a vertical line is added to the timeline to indicate where each clip
begins:
112 CHAPTER 5
Removing clips
Select a clip and click the Remove button at the bottom of the Catalyst Prepare window.
Editing clips
In Clip mode, you can log mark in and out points for your clips.
You cannot add, delete or rearrange clips in Clip mode. Use Clip List mode for clip list
editing.
1. Open the clip list you want to edit.
2. Click the Clip button at the bottom of the Catalyst Prepare window to switch to Clip mode.
You can also double-click a clip in Clip List mode to switch to Clip mode.
4. Use the Mark In and Mark Out buttons to adjust the mark in and out points for the
selected clip.
Viewing metadata for clip lists
When you're in Organize or Edit mode, click the Inspector button in the toolbar to display
metadata in the Inspector pane.
In Browse mode, the Metadata pane displays additional information about the currently selected
clip list.
In View (Clip List or Clip) mode, the Metadata pane displays information about the selected
subclip.

Writing a clip list back to a device
Select a clip list in Organize mode and click the Copy button at the top of the Catalyst
Prepare window to write a clip list back to a device. For more information, see "Exporting media
from a library" on page 25.
Working with storyboards

You can create and edit storyboards to create a video project that is comprised of multiple, shorter
video clips.
Storyboards are saved with the current media library.
When no library is opened, storyboard support is not available. For more information, see
"Creating or opening a library" on page 9.
If you need to create a project that can be written back to a camera or device, you can create a PD-
EDL clip list. For more information, see "Working with clip lists" on page 110.
Creating a storyboard
2. Navigate to the folder that contains the clips you want to use.
3. Select the files you want to include in your clip list. You can hold Shift or Control (Windows) /
⌘ (macOS) to select multiple files.
4. Click the Storyboard button at the bottom of the Catalyst Prepare window and choose
Create from selection from the menu.
The Create from selection command is not available when a clip list, spanned clip ( ),
or an FTP-based clip is selected.
If you want create a storyboard list without choosing clips, click the Storyboard button at
the bottom of the Catalyst Prepare window and choose Create empty from the menu.
5. Type a name for the storyboard and click OK.
114 CHAPTER 5
Opening a storyboard
2. Click a storyboard in the Storyboards section of the left pane. The storyboard's clips are
displayed in the center pane.
3. Click the Edit button to load your storyboard in Edit mode.
When viewing a storyboard, indicates spanned clips from the same volume, and
indicates spanned clips from different volumes.
Rearranging clips
In Edit mode, you can add, remove, and arrange clips.
You can drag clips within the storyboard to rearrange them. Drag a clip and drop it to a new
position to move it.
Adding clips

When the Add To button at the bottom of the Catalyst Prepare window is selected, you
can quickly add a clip to the selected storyboard by selecting it and clicking the Add
button (or pressing Enter). Use the Add clip to storyboard drop-down list to select a
storyboard.
When you add a clip, a vertical line is added to the timeline to indicate where each clip
begins:
You can also drag clips from the Organize pane to a bin or storyboard in the Places
pane.
4. Click the add button at the end of the clip list or the Add button at the bottom of the Catalyst
Prepare window to display a media browser, where you can select additional clips for your
storyboard.
Removing clips
Select a clip and click the Remove button at the bottom of the Catalyst Prepare
window.
Editing clips
In Clip mode, you can log mark in and out points for your clips.
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You cannot add, delete, or rearrange clips in Clip or Adjust Color mode. Use Storyboard
mode for clip list editing.
4. Click the Clip button at the bottom of the Catalyst Prepare window to switch to Clip mode.
You can also double-click a clip in Storyboard mode to switch to Clip mode.
6. Use the Mark In and Mark Out buttons to adjust the mark in and out points for the
selected clip.
Editing a storyboard clip's mark in and out points does not affect other storyboards
that use the same clip.
Adjusting color correction for clips

In Adjust Color mode, you can adjust color correction settings for each clip in a storyboard.
You cannot add, delete, or rearrange clips in Clip or Adjust Color mode. Use Storyboard
mode for clip list editing.
4. Click the Adjust Color button at the bottom of the Catalyst Prepare window to switch to
Adjust Color mode. In this mode, Catalyst Prepare displays a
waveform/histogram/vectorscope monitor, a video preview, and color controls that you
can use to adjust the appearance of your video.

6. Click the Inspector button in the toolbar to display the Inspector pane if it isn't already
visible. In the Adjust Color workspace, the Inspector pane provides controls that you will
use to adjust color-grading settings.
The waveform/histogram/vectorscope monitor and video preview window allow you to

monitor your progress as you adjust color values. For more information, see "Editing
Color Adjustments controls" on page 131.
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Previewing storyboards
When you double-click a storyboard in Organize mode, the storyboard is loaded in Edit mode,
where you can preview the file in the same way you preview other clips. For more information,
see "Playing media" on page 93.
You can select a clip to set the starting point for playback, and the clip selection will follow the
cursor during playback.
Exporting storyboards
When you select a storyboard in Organize mode, you can export the storyboard in one of three
ways:
n You can render each of the storyboard's clips to a new format.
n You can render the storyboard as a single media file.
n You can export the storyboard as a project for use in another video editor.
For more information, see "Exporting media from a library" on page 25, "Exporting media from a
library" on page 25, or "Exporting media from a library" on page 25.
Using Catalyst Prepare storyboards in Catalyst Edit

Catalyst Edit provides native support for Catalyst Prepare storyboards:
1. In the Catalyst Edit Media Browser, double-click a .cpreplib file ( ). When you open a
Catalyst Prepare library, the Media Browser displays all the media contained in that
library sorted in bins.
The default location for .cpreplib files is C:\Users\<username>\Videos\ on

Windows and /Users/<username>/Movies/ on macOS.
2. Drag a storyboard bin to the Catalyst Edit timeline to add it.
Viewing metadata for storyboards
Click the Inspector button in the toolbar to display metadata in the Inspector pane. The
Inspector pane displays information about the selected subclip.

Renaming a storyboard
Rename from the menu.
4. Type a name for the storyboard and click OK.
Deleting a storyboard
Delete from the menu.
Working with EDLs

You can use Catalyst Prepare to import an EDL.
Importing an EDL
1. Click the Tools button at the bottom of the Catalyst Prepare window and choose
Import EDL. The Import EDL dialog is displayed.
2. Select the EDL you want to import.
3. Choose a setting from the Frames per second drop-down list to set the frame rate of the
EDL.
4. Click Import. The EDL Import workspace is displayed with the contents of the EDL.
Linking and unlinking clips

After you import an EDL, you can use the EDL Import workspace to link and unlink clips.
120 CHAPTER 5
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 to
link only the selected clip, clear the Automatically link clips check box.
To unlink a clip, select it and click the Unlink button . If you want to unlink all clips, click
the More button and choose Unlink all from the menu.
Replacing clips
You can use the Replace media command to replace a clip in an EDL with a different media
file.
1. Select a clip in the EDL.
2. Click the More button and choose Replace media from the menu.
3. Browse to the new clip and click OK.
Catalog export
Catalyst Prepare can export a PDF or CSV (comma-separated value) list of clips in a folder.
The Generate PDF catalog and Generate CSV catalog commands are not available for clips
on FTP devices, XDCAM Station volumes via CIFS, XDCAM decks, XDCAM Drive units, or
Optical Disc Archive volumes.
Generating a PDF catalog

Browser.
2. Select the folder or clips you want to catalog.
3. Perform either of the following actions to generate a catalog from the selected folder:
n
Click the Tools button at the bottom of the Catalyst Prepare window and choose
Generate PDF catalog from the menu.
n Right-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 the
generated 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:
n Text with 1 thumbnail: Displays metadata text with a thumbnail of the first frame.
n Text 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

Browser.
2. Select the folder or clips you want to catalog.
3. Perform either of the following actions to generate a catalog from the selected folder:
n
Click the Tools button at the bottom of the Catalyst Prepare window and choose
Generate CSV catalog from the menu.
n Right-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 File
name box.
5. Click OK to generate the catalog with the selected content.
122 CHAPTER 5
Combining relay clips
You can use Catalyst Prepare to combine AVCHD relay-recorded clips into a single clip.
A relay clip is a continuous recording that spans multiple media cards.
Before combining relay clips, copy them to a single folder. For more information, see
"Exporting media from a library" on page 25.
1. Select the clips you want to combine.
Clips must be of the same operating point and the timecode must be sequential.
Combine relay clips. The Combine Relay Clips dialog is displayed.
The Combine relay clips command is not available when FTP-based clips are selected.
3. In the Combined file name box, type the name you want to use for the new clip.
4. Click OK.
Synchronizing multicamera clips

You can use Catalyst Prepare to synchronize audio in clips from a multicamera shoot.
When you synchronize clips, the mark-in points of the selected clips are adjusted as needed to
allow the clips to play in synchronization. Synchronizing your clips in Catalyst Prepare streamlines
the process of editing multicamera video in a nonlinear editor.
1. Select the clips you want to synchronize.
Synchronize multicam clips.
Progress is displayed while the clips are analyzed and synchronized.
The Synchronize multicam clips command is not available when FTP-based clips are
selected.
Stabilizing clips
Catalyst Prepare allows you to use metadata from clips to stabilize the image.

Browser.
2. Select the clip you want to stabilize. An on a thumbnail indicates a clip that contains
stabilization metadata.
The stabilize icon is not displayed for clips on FTP devices, XDCAM Station volumes
via CIFS, XDCAM decks, XDCAM Drive units, or Optical Disc Archive volumes.
For information about camera settings for enabling stabilization using metadata, please
see Information on Software Applications.
Clip stabilization is not supported when changing camera settings or detaching the lens
during clip recording.
3. Perform any of the following actions to display the Correct clip workspace:
n
Click the Stabilize button at the bottom of the Catalyst Prepare window.
n Right-click the clip in the Organize pane and choose Stabilize clip from the shortcut
menu.
The Stabilize button is not available when multiple clips are selected.
When the Catalyst Prepare window is resized, the Adjust color , Lens breathing
compensation , and Stabilize clip buttons are available in the Adjustments
menu .
4. Use the Correct clip workspace to preview and adjust stabilization settings for the selected
clip:
a. Set the Mark In/Out points to indicate the portion of the clip you want to correct. For
more information, see "Marking in and out points for playback" on page 100.
b. Choose a Stabilization mode setting:
o Select the Auto button in the Inspector to adjust stabilization automatically.
The graph below the preview helps you visualize the stabilization. Please note
that the graph is not displayed when multiple clips are selected.
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n The curve (1) represents the amount of stabilization that is required
based on clip analysis.
n The solid line (2) represents the Auto cropping amount after analysis.
n The dashed line (3) represents the Maximum cropping amount setting.
Click the Graph button to customize the display of the graph:
n 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 scale
slider to set the vertical scale of the graph.
Item Description
Auto After the clip is analyzed, this indicator represents the amount
cropping of cropping that will be used to stabilize the clip.
amount
Maximum 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.
amount
n If the automatic adjustment results in a clip that is
larger than the maximum cropping amount, the
Maximum cropping amount will be used.
n If the automatic adjustment results in a clip that is

smaller 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.

Item Description
When stabilizing a clip using a Maximum cropping

amount setting that is too large, clips with significant
camera shake may exhibit a black border around 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
double-click the Cropping amount slider handle to reset
the setting to its default.
Source Displays the dimensions of the source media before cropping

resolution is applied.
Corrected Displays the dimensions of the stabilized frame after cropping

crop is applied.
resolution
Minimum Displays the minimum dimensions of the stabilized frame

crop based on the Maximum cropping amount setting.
resolution
If source clips captured with Active image stabilization mode exhibit

blurring when using Auto mode, choose Manual mode and decrease the
Cropping amount setting.
o Select the Manual button if you want to adjust stabilization settings:
The graph below the preview helps you visualize the stabilization. Please note
that 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.
126 CHAPTER 5
Click the Graph button to customize the display of the graph:
n 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
scale slider to set the vertical scale of the graph.
n Region (3) indicates the minimum cropping amount without displaying

black borders around the frame.
Item Description
Cropping Drag the slider — or the line (2) in the graph — to set the
amount amount 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 the
frame. We recommend using a Cropping amount setting
that is close to the default value. You can double-click the
slider handle to reset the setting to its default.
Source Displays 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 the
stabilized clip.
After analysis, the Summary section of the Info panel displays the corrected crop resolution.
If you change the selected clip, the preview will indicate that the clip has not been
analyzed. Click the Analyze button at the bottom of the workspace to analyze the
selected clip and update the preview to show the corrected clip.
2. Click the Before/After button at the top of the video preview to choose a preview mode so
you can compare your original and stabilized video before applying the changes, and then
use the transport controls above the timeline to preview the clip.

n Before: the clip is displayed in its original state.
n After: the cropped and stabilized clip is displayed.
n
2 Up: two full frames are displayed in a split-screen view with the original video
on 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 the
Catalyst Prepare window, and use the Export pane to choose a destination and format for
your exported files. Click the Export button at the bottom of the Export pane to start
exporting the selected clip.
If multiple clips are selected, the Export button at the bottom of the Export pane is displayed
as Batch Export. Click to display a confirmation dialog that lists all selected clips. You can
select or clear check boxes to add or remove clips from the selection. Click OK to begin
exporting the selected clips using the current settings.
For more information about the controls, please see "Exporting media from a library" on
page 25.
Stitching clips
Catalyst Prepare allows you to use combine several clips to create a single clip.
The left pane allows you to navigate the folders in your library, and the middle pane displays
the contents of the selected folder
modifiers.
3. Enable the Use advanced settings switch in the Export pane.
4. Select the Stitch clips check box to combine the selected clips into a single continuous clip.
The order of the clips in the new clip will match the order they are displayed in Organize or
128 CHAPTER 5
Edit mode.
If you want the new clip to include continuous timecode based on the source clips' timecode,
select the Use continuous timecode check box. Clip order will be adjusted as needed, and
black frames will be added between clips to ensure the timecode in the new clip is not
interrupted.
Use continuous timecode is not available if the selected clips contain overlapping
timecode, if interlaced and progressive clips are selected, if clips with mixed frame
sizes or frame rates are selected, or if clips with drop and non-drop timecode are
selected.
Use continuous timecode can change the order of the selected clips. For example,
assume you selected the following three clips:
n 1.mxf 00:00:10;00 - 00:00:20;00
n 2.mxf 00:00:40;00 - 00:00:50;00
n 3.mxf 00:00:30;00 - 00:00:40;00
When Use continuous timecode is not selected, the clips would be rendered in the
following order: 1.mxf, 2.mxf, 3.mxf.
When Use continuous timecode is selected, the clips would be rendered in the
following order: 1.mxf, 10 seconds of black frames, 3.mxf, 2.mxf.
Use the controls in the Export pane to choose a destination and format for your exported file.
For more information about the controls, please see "Exporting media from a library" on
page 25.
Repairing flash bands

When a camera flash is fired, it can create a band of light in your video.
Catalyst Prepare can detect and remove flash bands.
Browser.
2. Select the clip you want to repair.
3. Click the Tools button at the bottom of the Catalyst Prepare window and choose Repair
flash bands. The Flash Band workspace is displayed.
4. Use the Flash Band workspace to identify the flash bands you want to repair:

a. Set the Mark In/Out points to indicate the portion of the clip you want to scan. For
more information, see "Marking in and out points for playback" on page 100.
b. Click the Detect button to scan the clip and mark flash bands automatically. A
marker 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 play
position indicator and click the Add button in 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.
n Before: full-frame video is displayed in its original state.
n After: 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.
130 CHAPTER 5
Chapter 6
Applying color correction

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

You can use the Color Adjustments controls in the Inspector to perform color grading for
individual clips in your library.
After you edit a clip's color adjustments, those settings will be loaded each time you load the
clip.
Loading a clip/clip list for color adjustments and configuring the waveform, his-
togram, and vectorscope monitors
Browser.
2. Perform any of the following actions to display the Adjust color workspace:
n
Select a clip in the Organize pane, and click the Adjust color button at the bottom
of the Catalyst Prepare window.
APPLYING COLOR CORRECTION 131

When the Catalyst Prepare window is resized, the Adjust color , Correct lens
breathing , and Stabilize clip buttons are available in the Adjustments
menu .
n Right-click the image in the Organize pane and choose Adjust color from the shortcut
menu.
n Double-click a clip in the Media Browser to load the clip in Edit mode. When you load
a clip, the color adjustments saved with the clip are loaded. Click the Adjust Color
button at the bottom of the Catalyst Prepare window.
In the Adjust Color workspace, Catalyst Prepare displays a

waveform/histogram/vectorscope monitor, a video preview, and color controls that
you can use to adjust the appearance of your video.
3. The waveform/histogram/vectorscope monitor and video preview window allow you to

monitor your adjustments as you edit color values.
The Preview color space setting in Options is also applied to the waveform, histogram, and
vectorscope so you can to check your video using scopes. For more information, see
"Editing Catalyst Prepare options" on page 169.
n
Click the Waveform button at the bottom of the window to toggle the waveform
monitor.
The waveform monitor displays the luminance values (brightness or Y component) of

your video signal. The monitor plots luminance values on the vertical axis and the
width 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.
132 CHAPTER 6
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, or
Rec.2020/PQ (bypass OOTF).
For more information, see "Color management settings" on page 171 or "Editing
Catalyst Prepare options" on page 169.
You can click the % or Nits button to change the units displayed in the waveform.
When the Preview color space is set to Rec.2020/HLG, Rec.2020/HLG AIR

Matching, or Rec.2020/HLG (bypass OOTF), the Nits value is calculated for a
peak 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 achieve
a 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 or
Rec.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 ( ) RGB histograms and isolate colors .
n
Click the Vectorscope button at the bottom of the window to toggle the
vectorscope 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 of
the scope represents its saturation, and the angle of the line from the dot to the center
of the scope represents its hue.
For example, if an image has a blue cast, the distribution of dots in the vectorscope
will be concentrated toward the blue portion of the color wheel. If the image includes
out-of-range blue values, the vectorscope display will extend beyond the blue target.
You can use the vectorscope to calibrate color between scenes. Without calibration,
you may see noticeable color differences between scenes from multicamera shoots.
Click the Settings button to open the Vectorscope Settings menu.
The Vectorscope Settings menu allows you to toggle a monochrome view of the
scope, 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 position
indicator.
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.
n
After: full-frame video is displayed in its color-corrected state.
134 CHAPTER 6
n
Split: a single frame is displayed in a split-screen view with the original video on
the left and the color-corrected video on the right.
If you want to move the split location, hover over the preview frame. When the
split point is displayed, you can drag the handles at the top of bottom of the
screen to adjust where the preview is split:
n
2 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.
Adjusting the color wheels

In the Adjust Color workspace, the bottom of the Catalyst Prepare window provides color
wheels for Lift, Gamma, and Gain. The wheels provide a visual representation of the current
adjustments and allow you to adjust color quickly. As you adjust the controls, the
waveform/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 to
the 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 double-
click 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 145.
When you drag the color correction controls, they move in fine increments. To move
controls in larger increments, hold Shift while dragging.
136 CHAPTER 6
Choosing a color space
Click the Inspector button in 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 be
exported, a warning is displayed to notify you.
Choosing a source color space
Click the Unlock button and 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
video preview is updated. The source color space should be detected automatically and
does not need to be changed in most cases.
The Unlock button is not used when editing RAW or X-OCN video.
Click the Reset button at the bottom of the Inspector pane to reset the Source color
space based on the clip's metadata or the selected SR Live metadata source. For more
information, see "SR Live for HDR settings" on page 174.
Converting between HDR/wide color gamut color spaces
When an HDR or wide color gamut color space is selected in the Source drop-down list, you
can choose a different HDR/WCG color space from the Convert to drop-down list to apply
grading in the selected color space or apply a look profile that is available in the selected
color 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 look
profile.
The Convert to drop-down is available only when the Working color space setting is
Rec.709, Log, or ACES and you're working with S-Gamut, RAW, and X-OCN source
media.

For more information, see "Applying a look profile" on page 140, "Grading with hypergamma
conversion" on page 148,or "Applying color correction" on page 151.
Viewing the working color space
The Working box displays the color space that will be used for color grading. Click the
Options button and choose a setting from the Working color space drop-down list to
change the setting.
Viewing the color space for the video preview
The Preview box displays the color space that will be used for the Catalyst Prepare video
preview window. Click the Options button and choose a setting from the Preview color
space drop-down list to change the setting.
Viewing the color space for the external monitor
If an external monitor is enabled, the External monitor box displays the color space that will
be used for the external monitor. Click the Options button and choose a setting from the
External 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
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.
Manual Choose 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 and
exposure values are not displayed, and the original sensitivity is used.
Temperature
Drag the Temperature slider to adjust the color temperature (in Kelvin) of your video. Adjusting
the temperature modifies the red and blue gain by adding an offset to the temperature setting
saved in a clip's metadata.
If your camera does not store color temperature metadata, Catalyst Prepare will use a
default setting of 3200K.

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.
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 is
selected by default when you choose a clip with LUT metadata.
Files that include LUT metadata display a badge in the Organize pane
and display the LUT on the File tab of the Inspector pane.
Manual Choose Manual to choose LUT settings manually:
n Convert to: Choose a setting from the drop-down list to convert the clip to
a different color space.
n Look profile: When Convert to is set to an HDR color space — such as S-

Gamut3.Cine/S-Log3, S-Gamut3/S-Log3, Rec.2020/S-Log3,
Rec.2020/HLG, Rec.2020/PQ, or Rec.709/HLG — you can choose the
look profile you want to apply.
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Mode Description
To add look profiles (including .cube files) to Catalyst Prepare, save

them in the following folder and then close and restart the
application:
Windows:
C:\Users\<user>\Documents\Sony\Catalyst\Color\Looks\
macOS:
/Users/<user>/Documents/Sony/Catalyst/Color/Looks/
o The sgamut-slog2 subfolder is used for S-Gamut/S-Log2

sources.
o The sgamut3cine-slog3 subfolder is used for S-

Gamut3.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 look

profile 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 button in 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 to
default.
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.

Adjusting the tone curve
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 the
controls, the waveform/histogram/vectorscope monitor and video preview will update in real
time to allow you to check your adjustments.
n Select the channel you want to adjust by clicking the Red, Green, or Blue button below the
color curve , or click the White button to adjust all RGB components
simultaneously.
n Click the curve to add a control point.
n Select 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 to
remove 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
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 the
numeric 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 color-
correction values. When you reload an exported ASC-CDL file, the Brightness and
Contrast settings will be set to 0.
When exchanging color settings with Catalyst Browse and Catalyst Prepare, click the Tools
button at the bottom of the Catalyst Prepare window and choose Save preset from the
menu to preserve Brightness and Contrast settings.
For more information, see "Exporting color-correction settings" on page 160 and "Applying
color correction" on page 143.
Drag the Saturation slider to adjust the overall intensity of the color in your video.
To adjust lift, gamma, and gain, drag the R, G, B sliders to adjust the red, green, and blue
components of the each parameter, or drag the Y slider to adjust luminance for all RGB
components simultaneously.
Double-click a control to reset its value.
Click the Undo and Redo buttons to step forward or backward through your recent
edits.
Click the Reset button at the bottom of the Inspector pane to reset all color correction.
Applying color-correction settings
You can use the Tools button at the bottom of the Catalyst Prepare window to load color
presets or ASC-CDL (American Society of Cinematographers Color Decision List) files to
exchange color-grading information.
Applying a color preset

Color presets include the source settings (exposure, temperature, and tint), look profile, tone
curve, and ASC-CDL settings. For more information, see "Editing Color Adjustments controls"
on page 131.
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2. Double-click a clip in the Media Browser to load the clip you want to edit. When you load a
clip, the color-correction settings saved with the clip are loaded.

If you want to apply color correction to multiple clips, select the clips, click the Tools
button at the bottom-left of the Catalyst Prepare window, and choose Apply color
preset from the menu.
The Apply color preset command is not available when a clip list or spanned clip ( ) is
selected.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window.
visible.
5. Click the Tools button at the bottom of the Catalyst Prepare window and choose Load
6. In the Load Preset dialog, choose a Catalyst color (.ccolor) file.
Presets are saved in the following folders by default:
Windows: C:\Users\<user>\Documents\Sony\Catalyst\Color\
macOS: /Users/<user>/Documents/Sony/Catalyst/Color
7. Click Load.
The selected color settings are loaded and applied to the current clip.
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Applying an ASC-CDL file
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If you want to apply color correction to multiple clips, select the clips, click the Tools
button at the bottom-left of the Catalyst Prepare window, and choose Apply ASC-
CDL from the menu.
The Apply ASC-CDL command is not available when a clip list or spanned clip ( ) is
selected.
visible.
5. Click the Tools button at the bottom of the Catalyst Prepare window and choose Load
ASC-CDL from the menu.
6. In the Load ASC-CDL dialog, choose a *.cdl file.
7. Click Load.
The selected color settings are loaded and applied to the current clip.
Using a Tangent control

You can use Tangent Element Tk, Kb, Bt, Mf, Vs, or Tangent Wave control panels to adjust color
circles and other parameters.
Tangent Element panels must be connected to your computer via USB. When using Tangent
Element-Vs on a tablet, your tablet and the computer running Catalyst Prepare must be
connected 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 to
the 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.
Grading with Rec.709 gamma

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Color correction is available only in Edit mode.
3. Click the Adjust Color button at the bottom of the Catalyst Prepare window. In this mode,
Catalyst Prepare displays a waveform/histogram/vectorscope monitor, a video preview, and
color controls that you can use to adjust the appearance of your video.

monitor your progress as you adjust color values. For more information, see "Editing Color
visible. 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.
video preview is updated.
The source color space should be detected automatically and does not need to be
changed in most cases.
n Choose S-Gamut/S-Log2 for S-Log2, RAW, or X-OCN sources.
n Choose 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
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space drop-down list to change the setting if necessary.
7. If your source video is set to S-Gamut/S-Log2, S-Gamut3.Cine/S-Log3, S-Gamut3/S-Log3,

Rec.2020/S-Log3, Rec.2020/HLG, or Rec.2020/PQ, you can use the Source Settings
controls to adjust the Exposure, Temperature, and Tint of your clip. For more information,
see "Editing Color Adjustments controls" on page 131.
8. You can use the Look controls to convert an HDR clip to Rec.709 (full). For more
information, see "Applying a look profile" on page 140.
9. Use the color wheels and controls in the Inspector pane to adjust your colors as needed. For
more information, see "Editing Color Adjustments controls" on page 131.
10. Click the Tools button at the bottom of the Catalyst Prepare window and choose Export
color settings from the menu if you want to export your settings as a 3D LUT file.
3D LUT export is available only when the Source drop-down list is set to an S-Log,
RAW, or X-OCN format.

Grading with hypergamma conversion
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The source color space should be detected automatically and does not need to be
changed in most cases.

sources.
adjustments. Click the Options button and choose Rec.709 from the Working color
space drop-down list to change the setting if necessary.
7. You can use the Look controls to choose conversion settings to 709(800), HG8009G33, or
HG8009G40. For more information, see "Applying a look profile" on page 140.
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8. If your source video is set to S-Gamut/S-Log2, S-Gamut3.Cine/S-Log3, S-Gamut3/S-Log3,
Rec.2020/S-Log3, Rec.2020/HLG, or Rec.2020/PQ, you can use the Source Settings
controls to adjust the Exposure, Temperature, and Tint of your clip. For more information,
see "Editing Color Adjustments controls" on page 131.
color settings from the menu if you want to export your settings as a 3D LUT file. For more
information, see "Exporting color-correction settings" on page 160.
Log (cinematic) color grading

Use the following workflow when adjusting color grading for Log sources.
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sources.
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/S-

Log3, you can use the Source Settings controls to adjust the Exposure, Temperature, and
Tint of your clip. For more information, see "Editing Color Adjustments controls" on page
131.
9. You can use the Look controls to convert an HDR clip to Rec.709 (full). For more
information, see "Applying a look profile" on page 140.
color settings from the menu if you want to export your settings as a 3D LUT file. For more
information, see "Exporting color-correction settings" on page 160.
Advanced cinematic (ACES) color grading

Use the following workflow when adjusting color grading in the Academy Color Encoding System
(ACES) color space.
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sources.
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/S-

Log3, you can use the Source Settings controls to adjust the Exposure, Temperature, and
Tint of your clip. For more information, see "Editing Color Adjustments controls" on page
131.
Output will be Rec.709 (full).
For more information, see "Exporting color-correction settings" on page 160.
High Dynamic Range (HDR) color grading

Use the following workflow to adjust color grading in the Rec.2020/S-Log3 color space and then
convert 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.

1. Adjust Catalyst Prepare options for HDR color grading:
a. Click the Options button .
b. From the Working color space drop-down list, choose Rec.2020/S-Log3 (HDR).
When you choose Rec.2020/S-Log3 from the Working color space drop-down list,
the SR Live for HDR controls are displayed to allow you to convert between standard-
and high-dynamic-range content:
SR Live metadata source
Choose a setting from the SR Live metadata source drop-down list to choose how
SR Live metedata processing is performed:
o When SR Live metadata source is set to None and Adjust SR Live settings
manually is off, no SR Live processing is performed.
o When SR Live metadata source is set to None and Adjust SR Live settings
manually is on, SR Live processing is performed only for the visible controls.
o When SR Live metadata source is set to Clip and Adjust SR Live settings
manually is off, metadata settings from the current clip are used when
converting between standard- and high-dynamic-range content.
o When SR Live metadata source is set to Clip and Adjust SR Live settings
manually is on, metadata settings from the current clip and manual control
settings are used when converting between standard- and high-dynamic-
range content. For more information, see "Adjust SR Live settings manually"
on page 153.
o When SR Live metadata source is set to External file and Adjust SR Live
settings manually is off, metadata settings from an external .srm file are used
when converting between standard- and high-dynamic-range content.
o When SR Live metadata source is set to External file and Adjust SR Live
settings manually is on, metadata settings from an external .srm file and
manual control settings are used when converting between standard- and
high-dynamic-range content. For more information, see "Adjust SR Live
settings manually" on page 153.
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When SR Live metadata source is set to Clip or External file, Catalyst
Prepare uses recommended SR Live values for clips generated by Sony
devices even if SR Live metadata values are not present in the clip.
When SR Live metadata source is set to External file, the selected file's
values are used as SR Live default values.
Adjust SR Live settings manually
Enable the Adjust SR Live settings manually switch to enable the SDR gain,
SDR knee, and Black adjustment switches to manually control settings for converting
between standard- and high-dynamic-range content.
When SR Live metadata source is set to Clip or External file and Adjust SR Live
settings manually is on, clip metadata and manual control settings are used for
conversion.
Click the Load button to load settings from the selected clip and set the SDR gain,
SDR knee, and Black adjustment controls to match the clip settings. You can then
fine-tune the settings manually, and the manual adjustments will be used for
conversion.
You can double-click a control to reset it to the default value. When SR Live
metadata source is set to External file, the selected file's values are used as
SR Live default values.
SR Live settings are applied in the following cases:
o When exporting Rec.2020/S-Log3, S-Gamut3/S-Log3, S-Gamut3.Cine/S-

Log3, or Sony RAW/X-OCN source clips to Rec.2020/S-Log3, Rec.2020/HLG,
Rec.2020/PQ, or SDR formats when the Output color space drop-down is set
to Same as preview or Same as external monitor.
o When exporting Rec.2020/HLG clips to Rec.2020/HLG or SDR formats when

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

Output color space drop-down is set to Same as preview or Same as external
monitor.
o When exporting SDR clips to Rec.2020/S-Log3, Rec.2020/HLG,

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

(bypass OOTF), Rec.2020/PQ AIR Matching, or Rec.2020/PQ (bypass OOTF)
in Options, no SR Live processing is performed.
Conversion mode
When External file is selected in the SR Live metadata source drop-down list, the
Conversion mode section displays conversion settings for the selected external .srm
file:
o Conversion mode displays the file's HDR/SDR conversion mode.
o HDR look displays the file's look setting for source HDR content.
o HDR black compression indicates whether black compression is enabled to

improve the appearance of low-luminance levels.
SDR gain
When the switch is enabled, you can drag the Gain slider to choose the gain that is
applied when reading SDR content or when exporting to an SDR format or displaying
on an SDR display.
For example, if you set the slider to -6.0 dB, a linear gain of +6.0 dB (2.0x) is applied
when reading SDR content, and a linear gain of -6.0 dB (0.5x) is applied when
exporting to an SDR format or displaying on an SDR display.
Black adjustment
Enable the Black adjustment switch to adjust black levels:
o Drag the Master black slider to adjust the master black level.
o Drag the HDR black offset slider to apply an offset to the Master black value
for HDR content.
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The Master black and HDR black offset values should match the settings
on the HDRC-4000 HDR Production Converter Unit.
On the HDRC-4000, the SETTING MODE should be set to

SONY SYSTEM CAMERA, and the ABS mode should be set to enabled.
Gamma settings
Gamma section displays gamma settings for the selected external .srm file:
o Table displays the file's gamma table.
When a hypergamma value is selected, you must adjust the SDR gain value
manually:
n Hyper 1: Increase SDR gain by 5.0 dB. For example, if your clip's
original SDR gain value is -6.0 dB, you will need to increase SDR gain
by 5.0 dB for an SDR gain value of -1.0 dB.
by 8.0 dB for an SDR gain value of 2.0 dB.
by 3.0 dB for an SDR gain value of -3.0 dB.
by 6.0 dB for an SDR gain value of 0.0 dB.
o Step indicates the gamma strength in steps (0.35 to 0.90).
o Level indicates the gamma strength in analog values from -100 to 100.
SDR knee
Select the SDR knee switch to apply a knee curve to the RGB output gain when
exporting HDR content to an SDR format or displaying on an SDR display. While the
SDR gain setting applies a linear gain, a knee curve can help preserve midrange
colors and highlights.

When using knee parameters on the Sony HDRC-4000 HDR Production
Converter Unit, please enable ABS mode and confirm the R, G, B values in the
HDRC-4000. Adjust the values in Catalyst Prepare to match. Using different R,
G, B values is not supported.
o Drag the Point slider to adjust the position of the knee point in the curve.
o Drag the Slope slider to adjust the slope of the curve above the knee point.
o To adjust the color intensity in the output image, select the SDR knee
saturation switch and drag the Level slider. Increasing the saturation can help
compensate for decreased saturation around the knee curve.
White clip
White clip section displays the white clip settings for the selected external .srm file:
White clip indicates whether the white clip level is used when exporting HDR content
to an SDR format or displaying on an SDR display.
Level indicates the white clip level: 0 is the default setting; lower settings decrease
the white clip level, and higher settings increase the clip level.
The File tab in the Inspector displays the SDR White Clip and SDR White Clip
Level settings for the selected clip.
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HDR knee
HDR knee section displays information about the HDR knee curve for the selected
external .srm file. The HDR knee curve is applied to the luminance (Y) when
exporting HDR content to an SDR format or displaying on an SDR display. The HDR
knee value adjusts brightness to conform to SDR output.
When using knee parameters on the Sony HDRC-4000 HDR Production

Converter Unit, please enable ABS mode and confirm the R, G, B values in the
HDRC-4000. Adjust the values in Catalyst Prepare to match. Using different R,
G, B values is not supported.
o Point indicates the position of the knee point in the curve.
o Slope indicates the slope of the curve above the knee point.
c. From the Preview color space drop-down list, choose the color space for the Catalyst
Prepare video preview window.
In most cases, choose Rec.709 for your computer monitor, or you can choose 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 page 131.
d. From the External monitor color space drop-down list, choose the setting that
matches the EOTF (electro-optical transfer function) setting on your external monitor.

You can use the AIR Matching (Artistic Intent Rendering) or bypass OOTF
settings to achieve 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:
o Color Space: ITU-R BT.2020
o EOTF: S-Log3 (Live HDR)
o Transfer Matrix: ITU-R BT.2020
o In the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from the

External 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
o Color Space: ITU-R BT.2020
o EOTF: S-Log3 (HDR)
o Transfer Matrix: ITU-R BT.2020
o In the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from the


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 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).
o In Options, enable the SDR gain and SDR knee switches and adjust the
controls to choose the gain and knee curve that will be applied when
exporting to an SDR format or displaying on an SDR display.
o In Options, set the Preview color space for the video preview to Rec.709
or Rec.2020.
When converting HDR media to standard dynamic range color spaces, use the
following settings to preserve more of the dynamic range of the original HDR
media:
o In Options, set the Working color space to Rec.709.
o In 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've
connected a monitor that supports the Rec.2020 color gamut and an HDR luminance
curve, such as the Sony BVM-X300.
f. From the Monitor resolution drop-down list, choose the appropriate resolution for
your external monitor.
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For more information, see "Exporting color-correction settings" on page 160.
Exporting color-correction settings

You can use the Tools button at the bottom of the Catalyst Prepare window to export color-
correction settings to cameras for on-set monitoring or to a nonlinear editor (NLE) for color grading.
Saving a color preset

Color presets include the source settings (exposure, temperature, and tint), look profile, tone
curve, and ASC-CDL settings. For more information, see "Editing Color Adjustments controls"
on page 131.
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visible.
5. Click the Tools button at the bottom of the Catalyst Prepare window and choose Save
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
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visible and adjust your color settings as needed. For more information, see "Editing Color
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 other
color-correction values. When you reload an exported ASC-CDL file, the Brightness
and Contrast settings will be set to 0.
When exchanging color settings with Catalyst Browse and Catalyst Prepare, click the
Tools button at the bottom of the Catalyst Prepare window and choose Save
preset from the menu to preserve Brightness and Contrast settings.
For more information, see "Exporting color-correction settings" on page 160 and
"Applying color correction" on page 143.
color settings from the menu.
6. Use the Export As dialog box to specify the folder, file name, and settings you want to
export:

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 color-
correction settings.
c. Choose ASC-CDL from the Format drop-down list.
7. Click Export.
162 CHAPTER 6
Exporting a 3D LUT
When the Working color space in Options is set to Rec.2020/S-Log3 (HDR), you can export a
3D 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.
Browser.
visible and adjust your color settings as needed. For more information, see "Editing Color
color settings from the menu.
6. Use the Export As dialog box to specify the folder, file name, and settings you want to
export:
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 name
of the selected SRM file is provided by default. For more information, see "SR
Live for HDR settings" on page 174.
c. Choose a setting from the Format drop-down list to choose the type of 3D LUT you
want to create:
o Choose 3D LUT (NLE .cube) to create a 3D LUT you can use with an NLE
such as Blackmagic Design DaVinci Resolve or Adobe Premiere Pro.
For more information, see "Applying a 3D LUT in Adobe Premiere Pro" on

page 167 or "Applying a 3D LUT in Blackmagic Design DaVinci Resolve" on
page 166.
o Choose 3D LUT (SDI/SMPTE .cube) to create a 3D LUT you can use with a
hardware 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 a
setting from the Type drop-down list to specify an extended input range.
o Choose IRIDAS/Adobe to create a 3D LUT you can use with Adobe Premiere
Pro.
o Choose 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 need
to 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 space
that 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 to
Rec.2020/S-Log3 (HDR). For more information, see "Applying color correction"
on page 151.
g. Choose a setting from the Precision drop-down list box to choose a standard
(33x33x33) or high-precision (65x65x65) LUT.
h. Select the Source settings check box if you want to include exposure, temperature,
and tint settings with your LUT.
i. Select the Convert to setting check box if you want to export your LUT using the
Hypergamma 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 space
in Options is set to Rec.709 and the Convert to drop-down in the Inspector pane
is set to a Hypergamma conversion choice, such as 709(800) or HG8009G33.
164 CHAPTER 6
j. Select the Look profile check box if you want to include the selected look profile from
the Inspector in your LUT.
The Look profile check box is displayed below the Convert to drop-down list
when the Working color space in Options is set to Rec.709 and the Convert to
drop-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 the
Inspector 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.

Applying a 3D LUT in Blackmagic Design DaVinci Resolve
1. Follow the instructions in "Exporting a 3D LUT" on page 163 to save your 3D LUT file in 3D
LUT (NLE .cube) format.
2. Save the 3D LUT file in the following folder:
n Windows: C:\ProgramData\Blackmagic Design\DaVinci

Resolve\Support\LUT\Sony
n macOS: /macOS/Library/Application Support/Blackmagic Design/DaVinci

Resolve/LUT/Sony
Tips:
o To locate the LUT folder, choose File > Project Settings in Resolve, and
then 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 the
timeline:
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.
166 CHAPTER 6
Applying a 3D LUT in Adobe Premiere Pro
1. Follow the instructions in "Exporting a 3D LUT" on page 163 to save your 3D LUT file in 3D
LUT (NLE .cube) format.
2. Ensure your sequence is set to use the intended output color space (typically Rec.709) as
its working color space.
a. In Premiere Pro, choose Sequence > Sequence Settings.
b. From the Working Color Space drop-down list, choose Rec.709.
c. Click OK.
3. Right-click the media in the Premiere Pro media window, choose Modify from the shortcut
menu, and then choose Interpret Footage.
When working with S-Log3 and/or HLG files containing SR Live metadata in Premiere
Pro 2022, you can skip steps 3-6 if you want to convert from S-Log3/HLG to Rec.709. If
you want to use a specific 3D LUT in Premiere Pro 2022, please perform steps 3-6 and
refer 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).

168 CHAPTER 6
Chapter 7
Editing Catalyst Prepare options

Click the Options button to edit your application options.
If you need to reset all Catalyst Prepare options to their default values, hold Control + Shift
when 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 GPU-
accelerated video playback and transcoding.
Choose CPU if you want to turn off GPU acceleration, or choose a device from the list to enable
GPU-accelerated playback.
The optimal GPU device is automatically selected. Changing this value is intended for
advanced users and may be useful for troubleshooting technical problems.
Computers equipped with CPUs that utilize Intel’s Quick Sync Video (QSV) technology see
improved processing performance for decoding H.264/AVC/MPEG-4 video files.
When using a device other than your CPU, high-quality deinterlacing and upscaling are
applied to convert SD and HD sources to modern progressive HD and UHD assets. Please
note that some systems with limited GPU memory are not supported.
n High-quality deinterlacing is applied to interlaced source media when playback is

paused, during transcoding, and during playback when the Playback Settings
Speed/Quality setting is set to Quality.
n High-quality upscaling is applied during transcoding when you choose an HD or UHD

render preset.
Enabling OpenCL/OpenGL interoperability
OpenCL/OpenGL interoperability allows OpenCL and OpenGL to share rendered frames and
can improve playback performance, but it can cause instability with some hardware and drivers.
EDITING CATALYST PREPARE OPTIONS 169

n Select Performance to enable OpenCL and OpenGL interoperability. We recommend
using this setting in most cases for optimum playback performance.
n Select Compatibility to turn off interoperability if you notice artifacts or corruption in

rendered frames.
After changing the OpenCL/OpenGL interoperability setting, please restart Catalyst

Prepare for the change to take effect.
Choosing a default transcoding format
Choose a setting from the Default transcode format drop-down list to choose the format that will
be used when copying partial clips that cannot be copied in their source format or when
uploading to Ci.
For more information, see "Exporting media from a library" on page 25 or "Organizing media in a
library" on page 15.
Choosing a map service for GPS links
Choose a setting from the Open GPS links with drop-down list to choose the map service that
will be used to display maps when you click GPS links in a clip's metadata.
Enabling the secondary window
Enable the Secondary preview window switch if you want to show the video preview in a
secondary 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 timecode
for each field in 50p/60p sources. The timecode for field two will be displayed with an asterisk
170 CHAPTER 7
appended:
Field 1: 01:00:17:17
Field 2: 01:00:17:17*
Show or hide thumbnail frames
Enable the Show thumbnails switch if you want to display thumbnail images in the Media
Browser. Turning off the switch can improve performance on some slower storage devices.
Automatically rotate thumbnail frames
Enable the Automatically rotate thumbnails switch to detect clip rotation and adjust thumbnail
images in Organize mode.
For more information, see "Working with rotated clips."
Choosing snapshot settings
The Save snapshots to box displays the path to the folder where the files will be saved when
you save a snapshot of the current frame. You can type a path in the box or click the Browse
button to choose a folder.
Choose a setting from the Snapshot image format drop-down list to choose the file format that
will be used for snapshots.
For more information, see "Creating a snapshot of a frame" on page 101.
Color management settings
Working color space
Choose a setting from the Working color space drop-down list to choose the color space that will
be used for color grading.
For more information, see "Applying color correction" on page 131.
When you choose Rec.2020/S-Log3 from the Working color space drop-down list, the SR Live
for HDR controls are displayed to allow you to convert between standard- and high-dynamic-
range content. For more information, see "SR Live for HDR settings" on page 174.

Video preview color space
From the Preview color space drop-down list, choose the color space for the Catalyst
Prepare video preview window.
In most cases, choose Rec.709 for your computer monitor, or you can choose other settings
to check your video using scopes. For more information, see "Loading a clip/clip list for color
adjustments and configuring the waveform, histogram, and vectorscope monitors" on page
131.
External monitor color space
Choose a setting from the External monitor color space drop-down list to choose the color
space that matches the EOTF (electro-optical transfer function) setting on your external
monitor.
When using the Sony BVM-X300 version 2.0, please use the following monitor settings:
External monitor color space in Color EOTF Transfer

Catalyst Prepare Space Matrix
Rec.709 ITU-R i.e. 2.4 ITU-R

BT.709 BT.709
Rec.2020 ITU-R i.e. 2.4 ITU-R

BT.2020 BT.2020
Rec.2020/S-Log-3 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
or
Rec.2020/HLG (bypass OOTF)
Rec.2020/PQ, ITU-R SMPTE ST 2084(HDR) ITU-R

Rec.2020/PQ AIR Matching, or BT.2020 BT.2020
Rec.2020/PQ (bypass OOTF)
172 CHAPTER 7
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 to
achieve a consistent look between external-monitor previews and rendered clips.
Using AIR Matching to monitor using the S-Log3 (Live HDR) EOTF
n Color Space: ITU-R BT.2020
n EOTF: S-Log3 (Live HDR)
n Transfer Matrix: ITU-R BT.2020
n In the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from the


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
n Color Space: ITU-R BT.2020
n EOTF: S-Log3 (HDR)
n Transfer Matrix: ITU-R BT.2020
n In the Catalyst Prepare Options menu, choose Rec.2020/S-Log3 from the

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 HDR
color space will be clamped to the BT.709 gamma curve):
n In Options, set the Working color space to Rec.2020/S-Log3 (HDR).
n In Options, enable the SDR gain switch and adjust the Gain slider to choose the
gain that will be applied when exporting to an SDR format or displaying on an

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.
SR Live for HDR settings

When you choose Rec.2020/S-Log3 from the Working color space drop-down list, the SR Live
for HDR controls are displayed to allow you to convert between standard- and high-dynamic-
range content:
SR Live metadata source
Choose a setting from the SR Live metadata source drop-down list to choose how SR Live
metedata processing is performed:
n When SR Live metadata source is set to None and Adjust SR Live settings manually is
off, no SR Live processing is performed.
n When SR Live metadata source is set to None and Adjust SR Live settings manually is
on, SR Live processing is performed only for the visible controls.
n When SR Live metadata source is set to Clip and Adjust SR Live settings manually is off,
metadata settings from the current clip are used when converting between standard- and
high-dynamic-range content.
n When SR Live metadata source is set to Clip and Adjust SR Live settings manually is on,
metadata settings from the current clip and manual control settings are used when
converting between standard- and high-dynamic-range content. For more information,
see "Adjust SR Live settings manually" on page 175.
n When SR Live metadata source is set to External file and Adjust SR Live settings
manually is off, metadata settings from an external .srm file are used when converting
between standard- and high-dynamic-range content.
174 CHAPTER 7
n When SR Live metadata source is set to External file and Adjust SR Live settings
manually is on, metadata settings from an external .srm file and manual control settings
are used when converting between standard- and high-dynamic-range content. For more
information, see "Adjust SR Live settings manually" on page 175.
When SR Live metadata source is set to Clip or External file, Catalyst Prepare uses
recommended SR Live values for clips generated by Sony devices even if SR Live
metadata values are not present in the clip.
When SR Live metadata source is set to External file, the selected file's values are
used as SR Live default values.
Adjust SR Live settings manually
Enable the Adjust SR Live settings manually switch to enable the SDR gain, SDR knee, and
Black adjustment switches to manually control settings for converting between standard- and
high-dynamic-range content.
When SR Live metadata source is set to Clip or External file and Adjust SR Live settings
manually is on, clip metadata and manual control settings are used for conversion.
Click the Load button to load settings from the selected clip and set the SDR gain, SDR knee,
and Black adjustment controls to match the clip settings. You can then fine-tune the settings
manually, and the manual adjustments will be used for conversion.
You can double-click a control to reset it to the default value. When SR Live metadata
source is set to External file, the selected file's values are used as SR Live default values.
SR Live settings are applied in the following cases:
n When exporting Rec.2020/S-Log3, S-Gamut3/S-Log3, S-Gamut3.Cine/S-Log3, or Sony

RAW/X-OCN source clips to Rec.2020/S-Log3, Rec.2020/HLG, Rec.2020/PQ, or SDR
formats when the Output color space drop-down is set to Same as preview or Same as
external monitor.
n When exporting Rec.2020/HLG clips to Rec.2020/HLG or SDR formats when the Output
color space drop-down is set to Same as preview or Same as external monitor.
n When exporting Rec.2020/PQ clips to Rec.2020/PQ or SDR formats when the Output
color space drop-down is set to Same as preview or Same as external monitor.
n When exporting SDR clips to Rec.2020/S-Log3, Rec.2020/HLG, Rec.2020/PQ, or SDR

formats when the Output color space drop-down is set to Same as preview or Same as
external monitor.

When Use SR Live metadata is off and Adjust SR Live settings manually is off, color
management uses default settings, and no SR Live processing is performed.
When Output color space is set to Rec.2020/HLG AIR Matching, Rec.2020/HLG (bypass
OOTF), Rec.2020/PQ AIR Matching, or Rec.2020/PQ (bypass OOTF) in Options, no SR
Live processing is performed.
Conversion mode
When External file is selected in the SR Live metadata source drop-down list, the Conversion
mode section displays conversion settings for the selected external .srm file:
n Conversion mode displays the file's HDR/SDR conversion mode.
n HDR look displays the file's look setting for source HDR content.
n HDR black compression indicates whether black compression is enabled to improve the
appearance of low-luminance levels.
SDR gain
When the switch is enabled, you can drag the Gain slider to choose the gain that is applied
when reading SDR content or when exporting to an SDR format or displaying on an SDR
display.
For example, if you set the slider to -6.0 dB, a linear gain of +6.0 dB (2.0x) is applied when
reading SDR content, and a linear gain of -6.0 dB (0.5x) is applied when exporting to an SDR
format or displaying on an SDR display.
Black adjustment
Enable the Black adjustment switch to adjust black levels:
n Drag the Master black slider to adjust the master black level.
n Drag the HDR black offset slider to apply an offset to the Master black value for HDR
content.
The Master black and HDR black offset values should match the settings on the
HDRC-4000 HDR Production Converter Unit.
On the HDRC-4000, the SETTING MODE should be set to

SONY SYSTEM CAMERA, and the ABS mode should be set to enabled.
176 CHAPTER 7
Gamma settings
When External file is selected in the SR Live metadata source drop-down list, the Gamma
section displays gamma settings for the selected external .srm file:
n Table displays the file's gamma table.
When a hypergamma value is selected, you must adjust the SDR gain value manually:
o Hyper 1: Increase SDR gain by 5.0 dB. For example, if your clip's original SDR
gain value is -6.0 dB, you will need to increase SDR gain by 5.0 dB for an
SDR gain value of -1.0 dB.
SDR gain value of 2.0 dB.
SDR gain value of -3.0 dB.
SDR gain value of 0.0 dB.
n Step indicates the gamma strength in steps (0.35 to 0.90).
n Level indicates the gamma strength in analog values from -100 to 100.
SDR knee
Select the SDR knee switch to apply a knee curve to the RGB output gain when exporting
HDR content to an SDR format or displaying on an SDR display. While the SDR gain setting
applies a linear gain, a knee curve can help preserve midrange colors and highlights.
When using knee parameters on the Sony HDRC-4000 HDR Production Converter Unit,
please enable ABS mode and confirm the R, G, B values in the HDRC-4000. Adjust the
values in Catalyst Prepare to match. Using different R, G, B values is not supported.
n Drag the Point slider to adjust the position of the knee point in the curve.
n Drag the Slope slider to adjust the slope of the curve above the knee point.
n To adjust the color intensity in the output image, select the SDR knee saturation switch
and drag the Level slider. Increasing the saturation can help compensate for decreased
saturation around the knee curve.

White clip
When External file is selected in the SR Live metadata source drop-down list, the White clip
section displays the white clip settings for the selected external .srm file:
White clip indicates whether the white clip level is used when exporting HDR content to an SDR
format or displaying on an SDR display.
Level indicates the white clip level: 0 is the default setting; lower settings decrease the white clip
level, and higher settings increase the clip level.
The File tab in the Inspector displays the SDR White Clip and SDR White Clip Level
settings for the selected clip.
HDR knee
When External file is selected in the SR Live metadata source drop-down list, the HDR knee
section displays information about the HDR knee curve for the selected external .srm file. The
HDR knee curve is applied to the luminance (Y) when exporting HDR content to an SDR format
or displaying on an SDR display. The HDR knee value adjusts brightness to conform to SDR
output.
When using knee parameters on the Sony HDRC-4000 HDR Production Converter Unit,
please enable ABS mode and confirm the R, G, B values in the HDRC-4000. Adjust the
values in Catalyst Prepare to match. Using different R, G, B values is not supported.
n Point indicates the position of the knee point in the curve.
n Slope indicates the slope of the curve above the knee point.
178 CHAPTER 7
Choosing an external video monitor device and resolution
Choose a setting from the External monitor device drop-down list to display your video preview
on an external monitor via a Blackmagic Design device:
n DeckLink 4K Extreme 12G, 4K Pro, 4K Extreme, Studio 4K, SDI 4K, HD Extreme,
Extreme 3D, and Mini Monitor.
n Intensity 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 for
your monitor.
If you have a Blackmagic Design device that supports multiple displays (or have multiple
Blackmagic Design devices), you can enable two external monitors, allowing you to
monitor SDR and HDR output simultaneously.
n You can set the display resolution for each display independently.
n The first external monitor will use the External monitor color space setting, and the
second external monitor will use the Preview color space setting.

180 CHAPTER 7
Chapter 8
Keyboard shortcuts
Shortcut keys can help streamline your work with Catalyst Prepare software. The available shortcut
keys are arranged in tables according to function.
Global shortcuts
The following keyboard shortcuts are available when the Video or Media Browser pane has focus.
Command Windows macOS

Shortcut Shortcut
Enter full-screen preview/playback F11 or Ctrl+F ⌘ -F or Control-

⌘ -F
Exit full-screen preview/playback Esc, F11, or Esc, ⌘ -F, or

Ctrl+F Control-⌘ -F
Switch between Organize/Edit workspaces Alt+W Option-W
Show/hide the Inspector/Copy/Export/Share pane Ctrl+I ⌘ -I
Show/hide the Inspector pane Alt+1 Option-1
Show/hide the Copy pane Alt+2 Option-2
Show/hide the Export pane Alt+3 Option-3
Show/hide the Share pane Alt+4 Option-4
Show/hide the secondary window Alt+V Option-V
Open application help F1 Fn-F1 (F1 if the

Use all F1, F2,
etc. keys as
standard
function keys
setting is
selected)
KEYBOARD SHORTCUTS 181

Media Browser
The following keyboard shortcuts are available when the Media Browser pane has focus.

Shortcut Shortcut
Navigate files/folders Up, Down, Left, Up, Down, Left,

or Right Arrow or 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 ⌘ -D
Delete selected files Delete Delete or

fn+Delete
Load file and start/pause playback Spacebar Spacebar
Open selected folder Enter or Return or ⌘ -

Ctrl+Down Arrow Down Arrow
Navigate up one level Backspace ⌘ -Up Arrow
Go to start/end of list Home Home
End End
Move selection up/down one page Page Up Page Up
Page Down Page Down
Rename F2 Fn-F2 (F2 if the

Use all F1, F2,
etc. keys as
standard function
keys setting is
selected)
Open library Ctrl+O ⌘ -O
New library Ctrl+N ⌘ -N
Editing
The following keyboard shortcuts are available when the Edit pane has focus.
182 CHAPTER 8
Shortcut Shortcut
Switch Logging/Storyboard/Clip/Adjust Colors ` `

~ ~
Load previous/next file in Edit mode. [] []
Go to previous/next clip in Storyboard mode.
Save a snapshot of the current frame to a file. Shift+S Shift-S
Reset mark in and mark out points to the beginning and Shift+R Shift-R
end of the clip.
Switch between Before/After/Split/2 Up video preview in 1/2/3/4 1/2/3/4

Adjust Color mode.
Show/hide the Media Browser in View mode Ctrl+B ⌘ -B
Create subclip from selection in Logging mode. S S
Add clip to selected storyboard (when the Add To bar is Enter Return
visible).
Undo color correction Ctrl+Z ⌘ -Z
Redo color correction Ctrl+Shift+Z Shift-⌘ -Z
Ctrl+Y

Playback and preview
The following keyboard shortcuts are available when the Video pane has focus.

Shortcut Shortcut
Go to start Ctrl+Home ⌘ -Home
Ctrl+Up Arrow ⌘ -Up Arrow
Fn- Left Arrow
Go to end Ctrl+End ⌘ -End
Ctrl+Down Arrow ⌘ -Down Arrow
End Fn- Right Arrow
Go to previous frame Left Arrow Left Arrow
Go to next frame Right Arrow Right Arrow
Go to previous clip [ [
Go to next clip ] ]
Start/pause playback Spacebar Spacebar
Start/stop playback Enter Return
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 Q Q
184 CHAPTER 8
Shortcut Shortcut
Ctrl+L ⌘ -L
Set Mark In point I I
Set Mark Out point O O
Add mark point E E
Go to Mark In point Shift+I Shift-I
Home Home
Go to Mark Out point Shift+O Shift-O
End 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 ⌘ -0
Zoom to 100% Ctrl+1 ⌘ -1
Zoom in Ctrl++ ⌘ -+
Zoom out Ctrl+- ⌘ --

186 CHAPTER 8
Chapter 9
Gestures
Media Browser pane
Gesture Result
Tap 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
Gesture Result
Double-tap Toggles the zoom level between 100% and Fit.
One-finger drag (touchscreen) Pans the image.
Two-finger drag (trackpad)
One-finger flick (touchscreen) Pans the image with inertia.
Two-finger flick (trackpad)
Pinch Zooms the image in and out.
GESTURES 187
Index
AIR matching 158, 173
. all frames playback 97
anamorphic stretch 104
.ccolor files 143, 160
apply ASC-CDL 145
.cube files 141
apply color preset 144
.smi files 110, 114
ASC-CDL export 160
ASC-CDL files 142, 145
1 assigning audio channels 107
audio channel assignment 107
1D LUT export 160
audio channels 107
Audio channels 40
3 audio meters 103
auto cropping amount 125
3D LUT export 160
Automatically Added bin 11
Automatically rotate thumbnails 171
5 AVCHD relay clips 123
Avid Media Composer 48
50p half-step timecode 170
B
6
backing up volumes 53
60p half-step timecode 170
batch export 42, 128
bin export 18
A bin location 11
bins 17
Add custom metadata 110
browse remote server 26, 57
Add custom metadata | Default.Prolog |
burn in clip name 41
[61] 40
burn in timecode 40
add existing folder 11, 17
BVM-X300 159
add padding to clips 42
bypass OOTF 158, 173
Add to bin 12, 44
Add to Favorites 16
add watermark 41 C
adding clips 112, 115
card backup 53
adding clips to bins 17
catalog export 121
adding media to library 10
channel assignment 107
adding shot marks 108
channel routing 103
address/port (FTP) 26
Ci Workspace 49
Adjust SR Live settings manually 153, 175
CinemaScope overlay 104
Adobe Premiere 48
INDEX 188
cleaning bins 18 creating clip lists 111
clip settings 103 creating storyboards 114
clip list from selection 111 creating subclips 24
clip lists 110 cropping ratio 127
clip name 41 CSV export 121
Clip rotation 104, 171 curves 142
clip stitching 40, 128 custom metadata export 40, 109
clip stitching | Default.Pro-
log,Default.Hidden,Default.Browser | D
[230] 128
Clips default look profile 141
rotation 104, 171 default transcode format 170
close growing MXF files 13 deinterlacing 37, 97, 169
closing the library 9 delete files 21
color correction 131 delete items older than X days 18
exporting 160 delete items that can no longer be found 18
loading 143 delete transcoding preset 52
color curves 142 deleting shot marks 109
color presets 143, 160 deleting subclips 25
color sliders 142 desqueeze 41, 104
color space 137 device copy 46
color temperature slider 138 disc backup 53
color wheels 135 disconnect FTP 26
combine clips 128 discontinuous timecode 94, 100, 105
combining relay clips 123 display CinemaScope overlay 104
consolidating library media 23 Display color space (external monitor) 172
continuous playback 94, 101 Display color space (video preview) 172
continuous timecode 40, 128 display mode 58-59
Converting HDR to SDR color spaces 158, display secondary window 170
173 DPX frame rate 105
Copy all related media 44
copy channel assignments 108 E
Copy clips only 13, 45
copy clips to a device 42 Edit remote server 26
Copy only between mark points 45 editing clips 23
copy snapshot to clipboard 102 editing essence marks 108
copy to bin 44 editing summary metadata 106
copy to FTP 46 EDL
Copy with verification 13-14, 46 importing 120
Create subfolder 12, 43 linking clips 120
Create XDROOT folder 57 replacing clips 121
creating a library 9, 11, 15-16 unlinking clips 120
189 INDEX
embed NRT metadata 14 disconnecting 26
essence marks 101, 105 reconnecting 26
export bins as folders 18 removing 26
export bins tp Final Cut Pro X 20 SxS media 27
export bins tp Premiere 19 USB storage 27
exporting clips 25 FTP protocol 26
exporting metadata 109 FTP server settings 26
exporting storyboards 47-48, 119 FTPS protocol 26
exposure slider 138 full-frame-rate playback 97
External file for SR Live metadata 152, 174 full-screen preview 97
external monitor color space 172
external monitor device 179
G
external monitor resolution 179
gestures 187
Go to End 98
F
Go to Start 98
fast copy 46 GPS information 105
Favorite Folders 16 GPS links 105, 170
file formats 61, 92 GPU acceleration 169
file information 105 grade in 171
filter by date created 59 grading color space 137, 171
filter by flag 59 Graph scale 125, 127
filter by fomat 59 graticule 134
filter by type 59 growing MXF files 12, 15, 60
filtering clips 59 growing MXF files, closing 13
Final Cut Pro X 48 gyroscope 123
finalizing Professional Disc volumes 60
finding media 55
H
fit 96
flash bands 41, 129 half-step timecode display 170
flip horizontal 104 HDR knee 157, 178
flip vertical 104 HDR Knee point 157, 178
folder (FTP) 26 HDR Knee slope 157, 178
formatting for PZW-4000 57 histogram monitor 133
formatting Professional Disc volumes 60
formatting SxS 60
I
frame rate 105
FTP 25, 57 Import only between in/out points 13
FTP copy 46 import transcode preset 51
FTP devices importing a LUT 140
browsing 26 importing an EDL 120
connecting 25 interoperability 169
INDEX 190
Loop Playback 98
J LTC 94, 100, 105
LUT export 160
JKL shuttle 98
LUT import 140
K
M
Kelvin temperature 138
magnifying glass 96
keyboard shortcuts 181
Make default look profile 141
map metadata 105, 170
L mark in 100, 106
mark out 100, 106
library
Mask options 104
add existing folder 11, 17
Masking ratio 104
adding clips to bins 17
master volume 103
adding folders 17
maximum cropping amount 125
adding media 10
Media Browser pane 55
cleaning bins 18
merge clips 128
closing 9
metadata 105
consolidating 23
metadata export 109
creating 9
metadata for proxy clips 45
creating subclips 24
metadata, stabilization 123
deleting subclips 25
meters 103
new folder 17
minimum cropping amount 125
opening 9
minimum stabilized crop resolution 126
organizing 16
missing media 53
removing clips 21
monitor color space 172
removing folders 17
monitor resolution 179
renaming bins 18
mono channel 107
renaming clips 21
move clip to bin 17, 21
save as 23
moving clips between library folders 21
library indicator 11
multicam,synchronizing audio 123
linking clips in an EDL 120
multicamera clips, synchronizing 123
list view 58
Load settings from current clip 153, 175
Load SR Live settings 153, 175 N
load transcode preset 51
navigating the timeline 98
loading a library 9
new clip list from selection 111
logging 100
new empty clip list 111
logging metadata 106
new empty storyboard 114
look profile 140-141
New Folder 17
look, default 141
new library 11, 15-16, 18-20
loop playback 101
191 INDEX
Next Frame 98 proxy preview 170
NRT metadata 14 PZW-4000 27, 57
numbering 13, 36, 44, 50
R
O
real time playback 97
offline media 53 Rec.2020 172
open clip list 111 Rec.709 172
open GPS links with 105, 170 reconnect FTP 26
open MXF files 12, 15, 60 relay clips, combining 123
open MXF files, closing 13 relinking library media 53
open storyboard 115 remote server 57
OpenCL/OpenGL interoperability 169 remove clips 21
OpenEXR frame rate 105 Remove remote server 26
opening a library 9 removing clips 113, 116
options 169 Rename files 12, 36, 44, 50
ordering clips 112, 115 renaming clips 21
Organize 15 renaming folders 18
override source timecode 42, 46 rendering storyboards 47
reordering clips 112, 115
repairing flash bands 41, 129
P
replace source media 121
partial copy 13, 19-20, 45 Reset mark in/out points 101
password 26 reset options 169
paste channel assignment 108 Reset to default look profile 141
PD-EDL clip lists 110, 114, 120 reset transcoding settings 42
PDF export 121 Rotate preview (degrees) 104
perserve source UMID 46 rotated clips 104, 171
Play 98
play all frames 97
S
play in real time 97
playing media 93 safe areas 104
prefix 12, 36, 44, 50 saturation slider 142
Premiere Pro CS6 48 save settings, transcoding 42
Preview color space 172 save snapshot 102-103
preview proxy clips 170 save snapshots to 171
previewing storyboards 119 save transcode preset 51
Previous Frame 98 save transcoding settings 42
Professional Disc format 60 Scale graph to clip 125, 127
protocol 26 scrub control 98
proxy editing 53 SDR gain 153, 175
proxy metadata 45 SDR knee 155, 177
INDEX 192
SDR Knee point 156, 177 previewing 119
SDR Knee slope 156, 177 renaming 120
searching for clips 59 rendering 47
secondary window 170 subclips 24
select files 60 suffix 13, 36, 44, 50
sequential playback 94 supported formats 61, 92
server name (FTP) 25 SxS format 60
sharing files with Ci Workspace 49 SxS media 27
sharing files with YouTube 49 synchronizing multicamera clips 123
shortcuts 181
shot mark 108
T
Show in Explorer 23, 60
Show in Finder 23, 60 Tangent element 145
show safe areas 104 temperature slider 138
show secondary window 170 thumbnail frames 171
shuttle control 98 thumbnail view 58
sliders 138 timecode 40
snapshot image format 171 timecode break 94, 100, 105
Sony BVM-X300 159 tint slider 138
source color space 137 tone curve 142
source UMID 46 touchscreen navigation 187
split-screen preview 95, 134 trackpad navigation 187
SR Live metadata source 152, 174 transcode clips before upload 49
clip 152, 174 Transcode preset 37
external file 152, 174 transcode presets 51
stabilization mode 124 transcode using proxy source clip 42
stabilize clips 123 transcoding clips 35
stabilized crop resolution 126-127 transcoding settings, saving 42
starting frame index 38 transferring clips via FTP 25
stereo pair 107 transport controls 98
stitch clips 40, 128
stitch clips | Default.Pro-
U
log,Default.Hidden,Default.Browser |
[230] 128 UMID (Unique Material Identifier) 46
stitching clips 128 unlinking clips in an EDL 120
storyboards 114 upload original clips 49
creating empty 114 uploading to Ci 23, 60
creating from selection 114 uploading to Ci Workspace 49
deleting 120 uploading to YouTube 49
editing clips 116 upscaling 37, 97, 169
editing color correction 117 use anamorphic setting 41, 104
exporting 47-48, 119 Use fast device-to-device copy 46
193 INDEX
use flip and desqueeze settings 104
Use flip, rotate, and desqueeze settings 41
use mark in/out points 42
user name 26
vectorscope monitor 133

Vegas Pro EDL 48
verification mode 14, 46
Video pane 93
video preview 134
video processing device 169
VTR-style playback 94
watermark 41
waveform monitor 132
wheels 135
working color space 171
XDCAM EDL 110

XDCAM Professional Disc format 60
XDROOT folder 57
YouTube 49
INDEX 194

Sony Catalyst Prepare

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Sony Catalyst Prepare

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Revised Wednesday, October 4, 2023

Sony Creative Software Inc.

Copyright © 2023. Sony Creative Software Inc.

© 2023 Sony Creative Software Inc.

What's new in version 2023.2 7

The Catalyst Prepare window 7

Working with libraries 9

Creating or opening a library 9

Closing the library 9

Adding media to a library 10

Organizing media in a library 15

Editing library clips 23

Working with subclips in a library 24

Exporting media from a library 25

Working with FTP devices 25

Relinking library media 53

Supported video formats for reading 61

Supported video devices 92

Navigating the timeline 98

Marking in and out points for playback 100

Creating a snapshot of a frame 101

Editing clip settings 103

Working with clips 105

Viewing and editing metadata 105

Exporting custom metadata 109

Working with clip lists 110

Working with storyboards 114

Working with EDLs 120

Catalog export 121

Combining relay clips 123

Synchronizing multicamera clips 123

Stabilizing clips 123

Stitching clips 128

Repairing flash bands 129

Applying color correction 131

Editing Color Adjustments controls 131

Applying color-correction settings 143

Using a Tangent control 145

Video-style (Rec.709) color grading 146

Log (cinematic) color grading 149

Advanced cinematic (ACES) color grading 150

High Dynamic Range (HDR) color grading 151

Exporting color-correction settings 160

Editing Catalyst Prepare options 169

Keyboard shortcuts 181

What's new in version 2023.2

n Lens breathing compensation is now available for MXF files as well.

The Catalyst Prepare window

Working with libraries

Creating or opening a library

In Catalyst Prepare, you can have one library open at a time.

Closing the library

WORKING WITH LIBRARIES 9

Adding media to a library

n Changing in/out points.

n Adjusting color correction.

n Editing audio channel assignments.

Copying media from a device

3. Select a device in the Devices list to display its media.