Avid Media Composer 6.x Cookbook
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Avid Media Composer 6.x Cookbook - Benjamin Hershleder
Table of Contents
Avid Media Composer 6.x Cookbook
Credits
About the Author
Acknowledgement
About the Reviewers
www.PacktPub.com
Support files, eBooks, discount offers and more
Why Subscribe?
Free Access for Packt account holders
Preface
What this book covers
What you need for this book
Who this book is for
Conventions
Reader feedback
Customer support
Errata
Piracy
Questions
1. Getting Assets into Your Media Composer Project
Introduction
A strategy for project organization at the desktop level
How to do it...
How it works...
Understanding Media Creation settings
Getting ready
How to do it...
How it works...
Drive filtering and indexing
Video resolution
Video drive/Audio drive
Media type
Mixing frame rates
Getting ready
How to do it...
There's more...
Duplicating clips
Cloning clips
Sequences will never be Cloned
Motion Adapters
Tape capture tip: Adding Markers while Capturing
Getting ready
How to do it...
How it works...
There's more...
Adding notes in a marker during capture
Tape capture tip: Making Subclips while Capturing
Getting ready
How to do it...
How it works...
Logging clips tip: Logging from the keyboard
How to do it...
There's more...
See also
Logging clips tip: Keeping the Capture Tool active after logging a clip
How to do it...
See also
Quickly calculating total duration of clips (or any items in a bin)
How to do it...
There's more...
Combining available drive space and/or controlling where media is stored
How to do it...
See also
Making sure your Batch Capture continues without you
How to do it...
There's more...
Modifying clips before capture
How to do it...
Modifying clips after capture: Adding tracks
How to do it...
See also
Modifying clips after capture: Deleting tracks
How to do it...
Capturing and editing at the same time
How to do it...
Preparing to use AMA (Avid Media Access): Getting the plug-ins
How to do it...
There's more...
AMA (Avid Media Access) linking
Getting ready
How to do it...
There's more...
Linking to files on a camera card
Changing the link between different resolutions of media
Having trouble with AMA?
See also
Getting the AMA file's image to display as desired
How to do it...
How it works...
Consolidating (copying) AMA Master Clips
Getting ready
How to do it...
See also
Transcoding AMA Master Clips before beginning to edit
Getting ready
How to do it…
See also
Transcoding AMA Master Clips after editing has begun
Getting ready
How to do it…
Consolidating an AMA sequence or subclips
Getting ready
How to do it...
Transcoding an AMA sequence
Getting ready
How to do it…
Importing stills and video files such as QuickTime
Getting ready
How to do it...
There's more...
Image size adjustment
File Pixel to Video Mapping
Additional selections
Layered Photoshop files
See also
Importing audio
Getting ready
How to do it...
See also
Adjusting audio levels before editing
How to do it...
There's more...
Using Import settings
Using the Audio Mix tool
Adjusting audio pan settings before editing
How to do it...
There's more...
Using the Audio Mix tool
Using Import settings
Setting stereo-audio tracks
How to do it...
There's more...
Using Import Settings
During capture from tape
2. Customizing Your Work Environment
Introduction
Settings overview
Types of settings
Duplicating settings to create alternate versions
Naming settings
Activating alternate settings
Alternate settings ideas
Deleting settings and two warnings
Restoring a setting back to default
Creating Site Settings
User Profile Settings – transferring to another workstation
Getting ready
How to do it...
Interface settings
How to do it...
Font size adjustment
How to do it...
There's more...
Additional bin font programming
Effect Editor font size
Creating Bin Views
How to do it...
There's more...
Creating a custom column
Changing an existing Bin View
See also
Creating Timeline Views
How to do it...
There's more...
Default Timeline View
Updating Timeline Views
Offline warning
Timeline background color
Switch Timeline Views from the keyboard
More color selections
See also
Customizing Workspaces
How to do it...
There's more…
Workspace example
See also
Creating Bin Layouts
How to do it...
There's more...
Linking Bin Layouts with Workspaces
How to do it…
Linking other settings with Workspaces
How to do it…
Mapping Workspaces and Bin Layouts
How to do it…
See also
Mapping buttons and menu selections
How to do it...
There's more…
Mapping menu items using the command palette
Erasing a button
Moving a button
Copying a button
Keyboard mapping ideas
3. Polishing Gems
Introduction
Understanding Track Sensitivity
How to do it...
How it works...
There's more...
Fast Forward/Rewind
Mark Clip and Go to Previous/Next Edit
Snapping actions for the Position Indicator and in Segment Mode
How to do it...
There's more...
Enabling and disabling all Track Selectors from the keyboard
How to do it...
There's more...
Enabling and disabling Track Selectors using the Shift key plus drag method
How to do it...
How it works...
Enabling and disabling Track Selectors using the Lasso
How to do it...
How it works...
Replace Edit: How and why
How to do it...
There's more...
In and Out Marks work too
Syncing example with Replace Edit
Fast montage creation
See also
Sync Point Editing: How and why
Getting ready
How to do it...
There's more...
Seeing source material in the Timeline Window
How to do it…
Clipboard tips
How to do it…
There's more...
Making Copy To Clipboard faster and more efficient
Using Copy to Clipboard with Lift and Extract
Examples of using Copy To Clipboard
Using the Match Frame function
Getting Ready
How to do it…
There's more
Using the Reverse Match Frame function
Getting Ready
How to do it...
Setting clip colors in a bin
How to do it...
Setting clip colors in the Timeline Window
How to do it...
There's more...
4. Creating Split Edits
Introduction
Creating a Split Edit with Double Roller or Overwrite Trim
Getting ready
How to do it...
There's more...
See also
Creating a Split Edit with the Extend function
Getting Ready
How to do it…
See also
Creating a Split Edit with Asymmetric Trimming
Getting ready
How to do it...
See also
5. Maintaining and Regaining Sync
Introduction
Adding Filler within a sequence with Splice or Overwrite
How to do it...
There's more...
Additional method for adding Filler at the beginning of a sequence
See also
Adding Filler at the end of a sequence
How to do it...
There's more
Sync Break Indicators: Understanding them and making your own
Getting ready
How to do it...
Splicing and Extracting: Methods for staying in sync without Sync Locks
Getting ready
How to do it...
How it works...
Segment Mode: Methods for staying in sync
Getting ready
How to do it...
How it works...
Using the option/Alt + Add Edit method to stay in sync in Trim Mode
How to do it...
How it works...
Asymmetric Trimming type 1: A-Side/B-Side
Getting ready
How to do it...
How it works...
There's more...
Asymmetric Trimming type 2: Two Heads/Two Tails
Getting ready
How to do it...
How it works...
There's more…
Alternate method
Quickly return to the last used Trim Roller configuration
Asymmetric Trimming with methods other than dragging
Opening up the sequence using Splice with Sync Locks enabled
Getting ready
How to do it…
How it works...
Extracting with Sync Locks enabled
Getting ready
How to do it…
How it works...
Extending using Ripple Trim with Sync Locks enabled
Getting ready
How to do it…
How it works...
Shortening using Ripple Trim with Sync Locks enabled
Getting ready
How to do it…
How it works...
See also
Getting back in sync
Getting ready
How to do it...
There's more
Method one: Undo (cmd/Ctrl + Z)
Method two: Slip/Slide
6. Managing Your Media Files
Introduction
Moving media files
Getting ready
How to do it...
How it works...
Copying a borrowed clip's media
Getting ready
How to do it...
How it works...
Sharing clips/backing-up clips
How to do it…
How it works...
Consolidating Subclips
Getting ready
How to do it...
How it works...
Consolidating Sequences
Getting ready
How to do it...
How it works...
Transcoding Sequences for archiving or before up-res
Getting ready
How to do it...
Transcoding Sequences of mixed SD and HD video
Getting ready…
How to do it...
Changing the Sample Rate of clips in a bin before editing them into your Sequence
Getting ready
How to do it...
There's more...
Changing the mismatched audio that has been edited into your Sequence
Getting ready
How to do it...
How it works...
Prevent editing with audio that does not match the Project's Sample Rate
How to do it...
How it works...
Setting the Media Tool display
How to do it...
How it works...
Borrowing a clip from another Project
How to do it…
How to determine where media files are stored and how to move them
Getting ready
How to do it...
There's more...
Using the Sift feature
Isolating video of a specific resolution
Deleting specific media files from clips (for example, just the A3 and A4 files)
How to do it…
Deleting unused media files: Just Master Clips, just Precomputes, or both
Getting ready
How to do it…
Locking Clips and Sequences
How to do it...
Locking sequences to make them less easily editable
How to do it…
There's more...
7. Mono and Stereo Audio Mixing
Introduction
Understanding the Track Control Panel and Keyframe Selection Tool
How to do it...
How it works...
Understanding the Audio Mixer Tool – Clip Mode
How to do it...
How it works...
Understanding the Audio Mixer Tool – Auto Mode
How to do it...
How it works...
Understanding the Audio Tool (Audio Meters)
How to do it...
How it works...
Understanding Clip Gain and Pan versus Volume and Pan Automation
How to do it...
How it works...
Understanding Audio Project Settings
How to do it...
How it works...
Performing audio scrubbing: digital type scrubbing
How to do it...
Performing audio scrubbing: analogue type scrubbing
How to do it...
How it works…
Displaying Audio Waveforms ( also known as Sample Plot)
How to do it...
How it works…
There's more...
Displaying Waveforms for Source Material
Tips When Displaying Waveforms
Displaying Clip Gain, Volume Automation, and Pan Automation in the Timeline
Getting ready
How to do it...
Clip Mode Level and Pan Adjustments
How to do it...
How it works...
Using Clip Mode with Dissolves to smooth Level and Pan adjustments
How to do it...
How it works…
There's more...
Remove Match Frame Edits In Source/Record Mode
Remove Match Frame Edits In Trim Mode
Clip Mode: Setting a common Level or Pan to multiple segments
How to do it...
How it works...
Clip Mode: Adjusting multiple segments by a uniform amount
How to do it...
How it works...
Manually adding and adjusting Volume and Pan Automation keyframes
Getting ready
How to do it...
Removing/Deleting Volume and Pan Automation Keyframes
How to do it…
There's more...
How it works…
Adjusting multiple audio keyframes simultaneously
How to do it...
There's more
Real Time Volume and Pan Adjustment
How to do it...
How it works…
Creating Stereo, 5.1 and 7.1 (Multichannel
) Tracks in a Sequence
How to do it...
Converting a multichannel track into mono tracks in a Sequence
How to do it...
See also
Making Multichannel Clips (Stereo, 5.1 and 7.1)
Getting ready
How to do it...
There's more
Making Multichannel Clips During Import
Making Multichannel Clips During Capture
Using AudioSuite Plug-ins
How to do it…
Removing AudioSuite plug-ins
How to do it…
There's more
Using The AudioSuite Window to remove effects
Using Segment Mode to remove effects
Saving and Applying AudioSuite Templates
How to do it…
Using Real Time Audio Suite (RTAS) Plug-Ins
How to do it…
There's more...
Applying RTAS Plug-ins in the Timeline
Applying RTAS Plug-ins from the Effect Palette
Removing RTAS plug-ins
How to do it…
Saving and Applying RTAS Effect Templates
How to do it…
Copying RTAS Effects between Tracks
How to do it…
8. Editing with Group Clips and MultiCamera Mode
Introduction
Syncing and Grouping clips with common timecode
Getting ready
How to do it...
There's more...
See also
Syncing and Grouping Clips with common reference points
Getting ready
How to do it...
See also
Creating a syncing Sequence for syncing and grouping clips
Getting ready
How to do it…
There's more...
Syncing Staggered Start and Stop Footage
Software Help
Using the Group Clip Menu
How to do it…
How it works…
There's more...
Using the Multicamera display and methods of switching camera angles
How to do it…
There's more...
How Split display affects Multicamera Mode
Setting-Up The MultiCamera (Quad Split and Nine Split) Displays
Situation 1 – Sorting before Grouping
Situation 2 – Customizing the Order
Swap Cam Bank: Toggling the MultiCamera Display
How to do it…
How it works...
Editing with a Group Clip – not using MultiCamera Mode
How to do it...
How it works...
There's more…
Premapping Edit Points (also known as Transitions)
Removing unwanted edit points
Details about the MultiCamera Angle Keys (The M Keys)
Color Coding Clips/Camera Angles
MultiCamera Mode Editing
How to do it...
How it works...
There's more...
Swap Cam Bank In MultiCamera Mode
See also
MultiCamera Mode Settings
How to do it...
9. Output Tips and Tricks
Introduction
Creating accurate Color Bars and Tone
Getting ready
How to do it...
How it works...
There's more...
Accessing the Create Tone Media Dialog Window
The Test Pattern Files
Color Bars I and Q Blocks
Methods for setting Sequence Timecode
Getting ready
How to do it…
There's more...
Changing Timecode in the Bin
Setting a default starting Timecode value and type
See also
Adding Filler for Color Bars, Tone, and Slate
Getting ready
How to do it…
There's more...
See also
Exporting a still image
How to do it…
Exporting multiple still images using Markers
How to do it…
How it works...
Exporting a QuickTime Reference Movie
How to do it…
How it works...
Exporting a QuickTime Movie (Self Contained)
Getting ready
How to do it…
Using the Timecode Burn-In effect
How to do it...
Overview of Features
The other Timecode Burn-In effect
A. Additional Tips, Tricks, and Explanations
Find Bin Function Tips
The context
Method 1: Using the Source Window
Method 2: Directly from the Timeline
There's more...
Moving around: Methods and tips
Play Reverse, Pause, and Play Forward (also known as JKL or Three-Button Play)
Fast Forward and Rewind
Go to Previous/Next Edit
Home and End (also known as Go To Start and Go To End)
Frame Offset – Jumping Forward or Backward by Typing
Timecode
Step Forward and Step Backward by Frames
Step Forward and Step Backward by Fields
Getting more use from the Grid
cmd/Ctrl + L and K: Several uses
Enlarge/reduce display image tips:
More on track height:
Locking and unlocking
B. Details on Trimming, Slipping, Sliding, and Segment Mode
Trimming terminology
A-Side/B-Side
Handle
Trimming icons and colors
How Trimming works
Enabling and configuring the Trimming Tools
Methods for entering Trim Mode
Configuring the Trim Rollers
Trimming methods
Monitoring during Trimming
Slipping with Trim Mode
Slipping outside of Trim Mode
How to do it…
Sliding in Trim Mode
Trimming and effects
Smart Tool overview
Enabling/disabling the Smart Tool
Link Selection and Smart Tool functions
Navigating the Timeline when using Smart Tool
Disabling the Smart Tool
Using the Trim functions in the Smart Tool
Using Segment Mode with the Smart Tool
Nine Segment Mode Tips
Sync Locks
Snapping
Selecting Methods
Moving Segments
Exiting Segment Mode
Segment Mode Track Placement
Link Selection
Setting a Preference
One at A Time
C. Helpful Details about MultiCamera Editing
Uses for Group Clips and MultiCamera Mode
Definition of a Group Clip
Definition of a MultiGroupClip
Definition of MultiCamera Mode
Overview: Syncing Methods
Clapper Slate
Audio Waveform Display
Editing multiple camera angles without Group Clips
MultipleCamera Editing Resolutions
Understanding System Performance with Group Clips and MultiCamera Mode
How to do it…
Index
Avid Media Composer 6.x Cookbook
Avid Media Composer 6.x Cookbook
Copyright © 2012 Packt Publishing
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews.
Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information.
First published: December 2012
Production Reference: 1131212
Published by Packt Publishing Ltd.
Livery Place
35 Livery Street
Birmingham B3 2PB, UK
ISBN 978-1-84969-300-4
www.packtpub.com
Cover Image by Benjamin Hershleder (<ben@contactben.com>)
Credits
Author
Benjamin Hershleder
Reviewers
Oliver Peters
Michael Phillips
Roger Shufflebottom
Acquisition Editor
Kartikey Pandey
Lead Technical Editor
Sweny M. Sukumaran
Technical Editors
Kaustubh S. Mayekar
Devdutt Kulkarni
Copy Editor
Insiya Morbiwala
Project Coordinator
Michelle Quadros
Proofreaders
Jonathan Todd
Lauren Tobon
Indexers
Hemangini Bari
Rekha Nair
Tejal Soni
Production Coordinator
Nitesh Thakur
Cover Work
Nitesh Thakur
About the Author
Benjamin Hershleder (Hershleder.com) currently freelances as an Avid Editor and Director. He has been teaching Avid Media Composer since 1995, and became an Avid Certified Instructor in 1997. He teaches as an adjunct professor at the American Film Institute in Los Angeles, at Avid Authorized Training Partner institutions, and also provides private, customized training to individuals and facilities.
Hershleder is an award-winning Producer-Director and accomplished Editor. He has produced and/or directed a variety of projects for such companies as Shapiro/West, The Spark Factory, and Old Fashioned Pictures. This work includes co-writing and directing the award-winning (including an Emmy and the Gold Ebenseer Bear) short film Paul McCall
and directing and editing the Telly award-winning documentary The Bronx Boys – Hosted by Carl Reiner
, which aired on PBS and as part of the Cinemax anthology series Reel Life
. Benjamin is currently completing the follow-up to this film. It is again hosted by Carl Reiner and is titled The Bronx Boys – Still Playing At 80
.
His other credits include developing, producing, and directing the pilot of Spoilers
(not to be confused with Kevin Smith's new production of the same name), serving as a Consulting Producer on comedian Andy Kindler's concert film I Wish I Was Bitter
, and editing Paramount Studios' The Original Latin Kings Comedy
(George Lopez, Paul Rodriguez, Cheech Marin). His background in post-production also includes editing the indie-feature film Hollywood Capri
, two years as an editor for E! Entertainment Television, and editing an hour-long pilot episode of In Search Of…
for Fox.
Acknowledgement
I would like to thank Michael Phillips, Oliver Peters, and Roger Shufflebottom, who were Technical Reviewers on this book. I would also like to thank Andrew Balis, Steve Bayes, George Bellias, Christie Carr, Bryan Castle, Cecil Daniels III, Ron Diamond, Ron Friedman, Nini Hadjis, Doug Hansel, Alex Hepburn, Jim Hershleder, Stan Hershleder, Robert Jones, Tamera Martin, Mike McNulty, Patty Montesion, Eric Naughton, Paul Petschek, Tom Quick, Katie Riccio, Leah Riccio, Samantha Riccio, Tom Riccio, R. Bandit Rivera, George Rizkallah, Larry Rubin, Ben Rock, Carolyn Rae Schultz, Jeff Sengpiehl, Wes Sewell, Greg Staten, Alan Stewart, Todd Smelser, Tracy Smith, Paul Stephan, Rik Swartzwelder, Jim Turner, and Paul Valdez.
Thanks to all those with the willingness and patience to teach me throughout my life. Thanks to all my students over the many years; I learned a lot from you, too.
About the Reviewers
Oliver Peters has worked in the television, film, and entertainment industries since 1970. He has accrued a diverse range of experience in all facets of production, post-production, instructional development/design, and project management. His credits include national and international TV and film projects, which have won awards such as the NATPE Iris, Telly, ITS Monitor, a national Addy, and others.
During his career, he worked for numerous years at Century III, the resident post-production facility at Universal Studios, Florida, which he helped design and manage. He currently owns his own post-production services company, working as an Independent Project Manager, Editor, and Colorist.
He is also a contributing Editor to Digital Video magazine and the Creative Planet websites, writing and lecturing about editing and post-production technologies and products. Other books that he has reviewed, include The Art and Technique of Digital Color Correction, Steve Hullfish, Focal Press; Mastering MultiCamera Techniques, M. Jacobson, Focal Press; and The Avid Handbook, Steven Bayes and Greg Staten, Focal Press.
Michael Phillips is an award-winning Filmmaker, Producer, Editor, and Industry Technologist. Michael's contributions to the industry have been for the co-invention and design of Avid's Media Composer, Film Composer, and Symphony product lines, which offer professional digital online and offline editing, and finishing, earning him a 1994 Academy Award® for Scientific and Engineering Achievement from the Academy of Motion Picture Arts and Sciences. In 1999, Michael and Avid were rewarded with an Oscar® for their continued efforts in enhancing and developing the Avid Film Composer. That same year, Michael was recognized with a Massachusetts Innovator of the Year award.
His producing and editing credits include, Johnny Slade's Greatest Hits
, Patriots
, Jack in the Box
for editing, and Leon
(The Professional), Milk
, and the award-winning documentary Cinematographer Style
for digital post consultation and supervision; and recently completing the DI conform on The Iceman
.
Michael has lectured around the world on the ever-changing nature of digital processes, spoken at industry forums, and conducted workshops on digital post-production. He co-wrote the book Digital Filmmaking, The Changing Art Form of Making Movies
. He has been awarded over 10 patents from the United States Patent Office for digital synchronization of picture and sound, and other editing technologies pertaining to 24 frame editing, as well as compositing, interactive media (transmedia), and surround sound technologies. Michael is currently developing tools for story discovery.
Michael was chosen as the Post Supervisor for the Sundance Institute Director's Summer Labs 2012.
Michael is currently CTO of Cineworks, a full service film and digital cinema facility with locations in New Orleans, Los Angeles, Miami, Baton Rouge, and Shreveport. Michael is directing research and development of new technology solutions for the digital production process extending workflow consulting to Cineworks clients as well as industry manufacturers on workflow.
Roger Shufflebottom is an Editor living and working in the United Kingdom. He started editing documentaries and TV series on 16-mm film and got his hands on an Avid system for the first time in 1992. He proudly says that he never did any tape-to-tape editing professionally!
He became one of the first cohort of UK Avid Certified Instructors in the 1990s and has since run training courses in Europe, the Middle East, Africa, and the USA. He has written Media Composer, NewsCutter, Unity and Interplay training courseware for Avid in the U.K, and Focal Press published his book Video Editing with Avid in 2001.
He now teaches editing in the Media School at Bournemouth University, Dorset, U.K.
www.PacktPub.com
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Preface
Whether you're just beginning your use of Avid Media Composer or you've been using it for some time, I believe this book contains a great deal of useful, time-saving, and frustration-reducing information for users at all experience levels. Further, I believe this book fills a particular gap in the Avid Media Composer publications that are currently available.
Because the features and abilities of Avid Media Composer are so broad, encompassing editing, sound design, color correction, and visual effects, I decided to focus this book primarily on the core story-telling needs we have every day; essentially, getting footage into the system, editing, and audio mixing.
I first began learning Avid Media Composer in 1994 through trial and error. Nonlinear editing and the Internet were still in their infancy, and there weren't any books on Avid Media Composer. So, I did my best to learn by reading the manual. My frustrations came when I'd read about a procedure or tool in the manual, but it didn't include a definition of it or context for when it would be useful. So, in addition to providing the step-by-step instructions, as cookbooks published by Packt Publishing promise, I've included many definitions of industry and Media Composer-specific terms, explanations of why tools and functions behave as they do, and situations when they would be helpful. In many ways, this is one of the books I wish I had had all those years ago.
I'd also like to mention that some incredibly knowledgeable people have helped me by reviewing this book's content while I was writing it: Michael Phillips, Oliver Peters, and Roger Shufflebottom. These very generous gentlemen are talented professionals whom you may find yourself meeting, consulting, or working with in the future. I encourage you to read their biographies, which are included in this book, and you'll see how fortunate I was to have them on the team.
Lastly, I truly hope you find this book to be helpful.
What this book covers
Chapter 1, Getting Assets into Your Media Composer Project, gets you thinking about organization, provides you with some common workflows, and gives you some tips to hopefully make your work easier and/or more productive.
Chapter 2, Customizing Your Work Environment, has a goal to show you some great features to help you work more comfortably, swiftly, and efficiently.
Chapter 3, Polishing Gems, explains that there are many useful features, gems if you will, that go underutilized. This chapter shines and polishes a few of them up by revealing some functions' hidden abilities, explaining their behavior, and/or giving you a few new ideas about how you might use them.
Chapter 4, Creating Split Edits, examines several methods to create a Split Edit, which is also known as an L Cut, Prelap, Postlap, or more simply, a Split.
Chapter 5, Maintaining and Regaining Sync, focuses on giving you a solid understanding of why Avid Media Composer works the way it does regarding sync, how you can be in complete control of staying in sync when using any of the editing modes (without Sync Locks enabled), what Sync Locks do and how they work, and what to do if you find yourself out of sync.
Chapter 6, Managing Your Media Files, has a goal to take some of the mystery out of dealing with media files, using the Media Tool, and helping you through some common media management situations.
Chapter 7, Mono and Stereo Audio Mixing, centers on many of the common audio mixing and effects tasks and challenges when working on a mono or stereo project.
Chapter 8, Editing with Group Clips and MultiCamera Mode, covers several methods to sync all the footage from different cameras used in a multiple-camera production, and how to edit with this footage in an efficient way using the features that Media Composer provides.
Chapter 9, Output Tips and Tricks, includes topics for creating bars and tone; adjusting your sequence to accommodate bars, tone, and slate; an overview of exporting still images and QuickTime movies; and familiarizing yourself with the Timecode Burn-In effect.
Chapter 10 , Time Savers in the Title Tool is not present in the book but is available as a free download from the following link: http://www.packtpub.com/sites/default/files/downloads/Time_Savers_in_the_Title_Tool.pdf.
This chapter examines some of the commonly overlooked behaviors and features of the Title Tool.
Appendix A, Additional Tips, Tricks, and Explanations, has additional helpful information about various functions and features that did not fit into the step-by-step format of a cookbook published by Packt Publishing.
Appendix B, Details on Trimming, Slipping, Sliding, and Segment Mode, provides helpful background and supplemental information for users at all levels to help demystify, and get more use from, Trim Mode and Segment Mode.
Appendix C, Helpful Details about MultiCamera Editing, provides supporting information for Chapter 8, Editing with Group Clips and MultiCamera Mode, which is beneficial to users at all levels.
What you need for this book
In addition to this book, you will need Avid Media Composer software, running on either a Mac or a PC. You can download a 30-day free trial of Avid Media Composer at Avid.com. While this book focuses on Avid Media Composer Version 6, because Avid has done a great job of preserving the majority of functionalities as the software has evolved, a great deal of the information will still be useful to those using other releases of the software.
Who this book is for
This book is intended as an additional resource for Avid Media Composer users ranging from those just beginning through intermediate users looking for a deeper understanding of the functionality of the software, tips, and tricks.
Conventions
In this book, you will find a number of styles of text that distinguish between different kinds of information. Here are some examples of these styles, and an explanation of their meaning.
Code words in text are shown as follows: Project settings are located inside the Project folder along with the bins and folders that you created.
New terms and important words are shown in bold. Words that you see on the screen, in menus or dialog boxes for example, appear in the text like this: On the Record Track Selector Panel, enable only the V1 Track Selector.
Note
Warnings or important notes appear in a box like this.
Tip
Tips and tricks appear like this.
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Chapter 1. Getting Assets into Your Media Composer Project
In this chapter we will cover:
A strategy for project organization at the desktop level
Understanding Media Creation settings
Mixing frame rates
Tape capture tip: Adding Markers while Capturing
Tape capture tip: Making Subclips while Capturing
Logging clips tip: Logging from the keyboard
Logging clips tip: Keeping the Capture Tool active after logging a clip
Quickly calculating total duration of clips (or any items in a bin)
Combining available drive space and/or controlling where media is stored
Making sure your Batch Capture continues without you
Modifying clips before capture
Modifying clips after capture: Adding tracks
Modifying clips after capture: Deleting tracks
Capturing and editing at the same time
Preparing to use AMA (Avid Media Access): Getting the plug-ins
AMA (Avid Media Access) linking
Getting the AMA file's image to display as desired
Consolidating (copying) AMA Master Clips
Transcoding AMA linked clips before beginning to edit
Transcoding AMA Master Clips after editing has begun
Consolidating an AMA sequence or subclips
Transcoding an AMA sequence
Importing stills and video files such as QuickTime
Importing audio
Adjusting audio levels before editing
Adjusting audio pan settings before editing
Setting stereo-audio tracks
Introduction
You've created your project, and now comes the sometimes time-consuming task of acquiring your assets. In this chapter, I'll get you thinking about organization, provide you with some common workflows, and give you some tips to hopefully make your work easier and/or more productive.
A strategy for project organization at the desktop level
Some words to the wise to help you avoid some common pitfalls.
How to do it...
Following are the steps for organizing the project at the desktop level:
Determine a location for a folder that will hold items relating to your project that will not require being moved.
Create a folder and name it something that is clear and concise, for example, either [Project Name] Materials or [Project Name] Assets.
Inside that main folder, create additional folders for Avid Project Backups, files you will link to using the Avid Media Access (AMA) feature, Music, SoundEffects, Imports_Stills, Imports_MotionGraphics, PhotoshopMasters, Fonts, AfterEffectsProjects, and any others you think you'll need.
How it works...
By keeping everything organized and in a consistent location, you will have a much easier time keeping track of assets and changes to assets. Further, backing up, moving, archiving, or re-importing the assets will be easier.
The trick is to remember to copy assets into this folder before putting them to use in any way within your project. For example, copy music and sound effects from a CD to this folder, then import the audio file that's in the folder (rather than directly off the CD) into a Media Composer, or copy into this folder any fonts that you download before adding them to your operating system.
Understanding Media Creation settings
It's important to spend some time setting up your Media Creation settings. Essentially Media Creation settings allow you to set defaults, which will help ensure that the media files you create (for example, render files, imports, and so on) are stored where you want them and are of the resolution you need. Plus, it will save you time making selections in various dialog boxes and tools throughout the workday.
Getting ready
In your Project Window select the Format tab. Select the format of the media that you will be capturing, importing, and/or rendering. Media Composer will remember your Media Creation settings for each format that you configure. So, for example, if you're mixing SD and HD footage, you'll configure your Media Creation settings for each. Once your preferences are set in the Media Creation tool for each format, Media Composer will automatically switch to your customized settings whenever the format itself is switched.
How to do it...
The following steps will guide you through using the Media Creation Tool:
Go to the Tools menu at the top of your screen.
Select Media Creation.
Proceed section by section to set defaults for the resolution of the media that you create, as well as for the destination for that media. See the following How it works... section for details.
How it works...
The settings are separated by tabs, described as follows:
Drive filtering and indexing
Filter Network Drives Based on Resolution: Selecting this will not allow media files to be placed on any network drives that Media Composer feels will not be able to reliably capture or playback files of a particular resolution. For example, you open your Capture Tool and set the resolution to 1:1. Then when you go to select a drive to store your media files on, you may see that one is grayed out and not selectable. If you then change your resolution to 3:1, you may find that it is now selectable as a storage drive.
Filter Out System Drive: Selecting this will not allow the media files to be stored on the same drive that your operating system is installed on.
Filter Out Launch Drive: Selecting this will not allow the media files to be stored on the same drive that your Media Composer software is installed on.
Video resolution
Under each tab you can select a default resolution. You are not locked into this resolution. Tools and dialog windows will still allow you to override this default whenever you want.
Apply to All: If you'd like to set a specific resolution and have it applied to all the different media type tabs, rather than having to do it one by one, simply click on the Apply to All button.
The benefit of breaking the media types into categories, such as Capture, Render, and Import, is that you can then set different defaults for each. For example, on a project with many hours of taped footage, you might elect to capture all of your footage at a low resolution in order to increase how much media will fit onto your drive(s). This will mean that when the project is creatively finished, you will go through a second process to recapture just the video portions that are being used at a much higher resolution, a process frequently called the Up-Res, so that the image quality will be higher. You may prefer to not have to go through a similar process for all of the titles, still images, and motion graphics, so you could elect to set the default for these media types at the level where you need them to be for the final master (for example, 1:1).
Video drive/Audio drive
Under each tab, you can select a default location for the media types to be stored. You are not locked into this. Various tools and dialog windows will still allow you to override this default when desired.
This selection is helpful for ensuring files go where required, and it allows you to send render files (known in Avid terminology as Precompute files) to a specific drive if required by your facility.
Apply to All: If you want the storage drive to be the same for all the different media type tabs, rather than having to do it one by one, simply click on the Apply to All button.
Media type
Changing this is only possible for SD video, as HD will always be in the MXF format. Media Creation settings will default to the file format called Material Exchange Format (MXF). You should not change this unless you are in