Avid® Media Composer®
Getting Started Guide
Release 7.0

tools for storytellers™
Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The
software described in this document is furnished under a license agreement. The software may not be reverse assembled and may be
used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium
except as specifically allowed in the license agreement. Avid products or portions thereof may be protected by one or more of the following patents: 4,746,994; 4,970,663; 5,045,940; 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378;
5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601;
5,644,364; 5,654,737; D352,278; D372,478; D373,778. No part of this document may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of
Avid Technology, Inc.
© Copyright Avid Technology, Inc. 2/98. All rights reserved. Printed in USA.
The following disclaimer is required by Apple Computer, Inc.
APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT
APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU
MAY HAVE WHICH VARY FROM STATE TO STATE.
The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library
Copyright © 1988-1997 Sam Leffler
Copyright © 1991-1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby
granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and
related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating
to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE,
INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF
OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.
The following disclaimer is required by the Independent JPEG Group
This software [i.e., the JPEG modules] is based in part on the work of the Independent JPEG Group.
The following disclaimer is required by Ray Sauers Associates, Inc.
“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any
damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s
products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason
including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known
of the possibility of such damages.
The following disclaimer is required by Videomedia, Inc.
“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect
to its merchantability or its fitness for any particular purpose.”
“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software
will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”
Attn. Government User(s). Restricted Rights Legend
ii
U.S. GOVERNMENT RESTRICTED RIGHTS. Use, duplication or disclosure by the government of the software, documentation and
other technical data is subject to restrictions as set forth in subparagraph (c) of FAR clause 52.227-19, COMMERCIAL COMPUTER
SOFTWARE-RESTRICTED RIGHTS or, in the case of the Department of Defense or its contractor, is subject to DFARS 227.7202-3,
Rights in Commercial Computer Software or Commercial Computer Software Documentation.
Electromagnetic Compatibility
FCC Notice
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause
harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed in accordance with the
instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely
to cause harmful interference in which case the user will be required to correct the interference at his own expense. Ref: C97029a
Canadian ICES-003
This Class A digital apparatus meets all requirements of the Canadian Interference Causing Equipment Regulations.
Cet appareil numérique de class A respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Declaration of Conformity (according to ISO/IEC Guide 22 and EN 45014)
Application of Council Directives: 73/23/EEC, 89/336/EEC. Standards to which Conformity is Declared: EN 60950: 1992 + A1, A2:
1993, IEC950: 1992 + A1, A2: 1993 Mod., CISPR 22:1985 / EN 55022:1988 Class A (1), EN 50082-1, IEC801 -2, -3, -4. Manufacturer’s
Name: Avid Technology Inc., 1925 Andover Street, Tewksbury, MA 01876, USA. European Contact: Nearest Avid Sales and Service
Office or Avid Technology Int’l B.V., Sandyford Business Center, Unit 3, Dublin 18, Ireland. Type of Equipment: Information Technology
Equipment. Product Name: Avid Editing System, PCI Media Composer, MCXpress for Macintosh, Film Composer. Base Model Numbers: 400S, 800, 900, 1000, 4000, 8000, MC Offline, Media Station. Product Options: All. Year of Manufacture:1997. (1) The product
was tested in a typical Avid Media Composer configuration.
I the undersigned, hereby declare that the equipment specified above conforms to the above Directives and Standards.
George R. Smith, Quality Manager
Ref: C97029a, C97030a
iii
Trademarks
AirPlay, AudioVision, Avid, FieldPak, Film Composer, HIIP, Image Independence, Media Composer, MediaMatch, Media Recorder,
Media Suite, NewsCutter, OMF, OMF Interchange, Open Media Framework, and the Avid logo, are registered trademarks and
Advance, AniMatte, AudioStation, AutoSequence, AutoSync, AVIDdrive, AVIDdrive Towers, AvidDroid, AvidNet, AVIDstripe, Avid
Xpress, Film Cutter, Krypton, MCXpress, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaServer, and MediaShare, and
Tools for Storytellers are trademarks of Avid Technology, Inc. Digidesign is a registered trademark and Audiomedia II, Audiomedia III,
Pro Tools, Sound Accelerator II, Sound Designer II, Sound Tools II, and Video Slave Driver are trademarks of Digidesign, a division of
Avid Technology, Inc. Elastic Reality and TransJammer are registered trademarks and the Elastic Reality logo is a trademark of Elastic
Reality, Inc., a division of Avid Technology, Inc. Matador is a registered trademark of Avid Technology, Inc. in the United Kingdom.
3D Studio and Animator Pro are registered trademarks and FLIC is a trademark of Autodesk, Inc. in the USA and/or other countries.
Abekas is a registered trademark of Scitex Digital Video, Inc.; Adobe After Effects, Adobe Illustrator, Adobe Photoshop, Adobe Premiere, Adobe Type Manager, and PostScript are trademarks of Adobe Systems Incorporated or its subsidiaries and may be registered
in certain jurisdictions. Alias and Alias/Wavefront are registered trademarks and Alias Animator and Alias PowerAnimator are trademarks of Alias/ Wavefront; America Online is a registered trademark of America Online, Inc.; AmiLink CIP and AmiLink POST! are
trademarks of RGB Computer and Video, Inc.; Ampex is a registered trademark of Ampex Corporation. Apple, AppleShare, AppleTalk,
LaserWriter, Mac, Macintosh, Macintosh Quadra, QuickDraw, QuickTime, PowerBook, Power Macintosh, and TrueType are trademarks
of Apple Computer, Inc., registered in the United States and other countries. Balloon Help and Finder are trademarks of Apple Computer, Inc. AudioFile is trademarked in the United Kingdom by AMS Neve PLC; Boris FX is a trademark of Artel Software, Inc.; Cineon
is a trademark of Eastman Kodak Company; CLARiiON is a registered trademark of Data General Corporation; Claris and FileMaker
are registered trademarks of Claris Corporation; CMX is a trademark of CMX Company; Compaq is a registered trademark of Compaq
Computer Corporation; CompuServe is a registered trademark and GIF is a service mark property of CompuServe, Inc.; DOS Mounter
is a trademark of Dayna Corporation; Dyaxis II is a trademark of Studer Editech Corp.; FirstClass is a trademark of SoftArc, Inc.; Flame
and Flint are trademarks of Discreet Logic, Inc.; FLEx is a trademark of Pioneer-Standard Electronics, Inc.; FLEXlm is a registered
trademark of Globetrotter Software, Inc.; Hitachi is a registered trademark of Hitachi, Ltd.; IBM and OS/2 are registered trademarks of
International Business Machines Corporation; iNFiNiT! is a trademark of Chyron Corporation; Inscriber is a registered trademark of
Image North Technologies; Intel and Pentium are registered trademarks of Intel Corporation; Key-Log is a trademark of Evertz Microsystems, Ltd.; Mackie Mixer is a trademark of Mackie Designs, Inc.; Match-Maker is a trademark of Audio Technologies Inc.; Mediasound is a trademark of TimeLine Vista, Inc.; Micropolis is a registered trademark of Micropolis (S) PTE Ltd.; Microsoft, MS-DOS, and
Windows are registered trademarks and Excel is a trademark of Microsoft Corporation; Motorola is a registered trademark of Motorola
Corporation; Mylar is a trademark of E.I. duPont de Nemours & Co., Inc.; NuBus is a registered trademark of Texas Instruments, Inc.;
NuVista+ is a registered trademark of Truevision, Inc.; Panasonic is a registered trademark of Matsushita Electric Industrial Company,
Limited; PC Paintbrush is a trademark of Zsoft Corporation; Practical Modem is a trademark of Practical Peripherals, Inc.; PyraMix is a
trademark of Merging Technologies; RCA is a registered trademark of General Electric Company; Seagate is a registered trademark of
Seagate Technology; Silicon Graphics is a registered trademark of Silicon Graphics, Inc.; Speed of Sound Library is a trademark of
Aware, Inc.; Softimage is a registered trademark of Softimage, Inc., a wholly owned subsidiary of Microsoft Corporation, in the United
States and/or other countries; Sony is a registered trademark of Sony Corporation; S/Link is a trademark of The Synclavier Company;
Still File Storage is a trademark of Leitch Video; Sun is a trademark or registered trademark of Sun Microsystems, Inc. in the United
States and other countries; TARGA, TARGA 2000, and Truevision are registered trademarks of Truevision, Inc.; Trans/Port is a trademark of OSC S.A.; Ultimatte is a trademark of Ultimatte Corporation; Vantage is a trademark of Baseline Software, Inc.; Video Explorer
is a trademark of Intelligent Resources Integrated Systems; Video Toaster is a trademark of NewTek Inc.; V-LAN and VLXi are registered trademarks of Videomedia, Inc.; WordPerfect is a registered trademark of WordPerfect Corporation; X Window System is a trademark of X Consortium, Inc. All other trademarks and registered trademarks used herein are the property of their respective owners.
Footage
Bullfrog, Duckhead, and Rain Forest footage was provided courtesy of Fireside Films, Atlanta, GA; Canyonlands and Flowers footage
was provided courtesy of the National Park Service, Harpers Ferry, VA; Softrock (Fields of Gold) footage was provided courtesy of
SouthPaw Productions Chicago, IL. Peter Hawley-Director, Jim Fiester-Director/Editor.
Avid Media Composer Getting Started Guide• Part 0130-00994-01 Rev. A • 2/98
iv
Contents
Preface
Who Should Use This Manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
Symbols and Conventions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
Related Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
If You Have Documentation Comments . . . . . . . . . . . . . . . . . . . . . xviii
Chapter 1
Introduction
Using this Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
What You Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Turning on Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Installing the Media Composer Tutorial Files . . . . . . . . . . . . . . . . . .
Installing AVR 3s Tutorial Files . . . . . . . . . . . . . . . . . . . . . . . . . . .
Installing AVR 70 Tutorial Files . . . . . . . . . . . . . . . . . . . . . . . . . . .
Launching the Media Composer Application . . . . . . . . . . . . . . . . . .
Specifying Audio Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Electronic Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
How to Proceed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Online Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Three Ways of Finding Topics in Help . . . . . . . . . . . . . . . . . . . . .
Finding Topics with the Index . . . . . . . . . . . . . . . . . . . . . . . . .
Searching with the Find Feature . . . . . . . . . . . . . . . . . . . . . . .
Using Online Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v
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20
22
22
25
26
27
29
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31
32
32
32
33
Chapter 2
About Media Composer
About Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Nonlinear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Project Workßow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 3
Starting a Project
About Composer Projects and Avid Users Folders . . . . . . . . . . . . . .
Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Settings Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reviewing Basic Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Projects and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Starting the Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 4
34
35
35
36
37
38
39
40
41
43
44
45
45
46
47
48
49
50
50
51
51
51
Digitizing
Selecting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About the Digitize Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About the Video Input Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digitize Preparations Check List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi
54
55
57
58
60
61
Digitizing and Logging at the Same Time . . . . . . . . . . . . . . . . . . 61
Batch Digitizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Redigitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Chapter 5
Getting Ready to Edit
About Bin Display Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Position Bars and Position Indicators . . . . . . . . . . . . . . . .
Using Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Play, Pause, Stop, Fast Forward, and Rewind Buttons . . . .
Step Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
J-K-L Keys (Three-Button Play). . . . . . . . . . . . . . . . . . . . . . . .
Home, End, and Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stepping with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Shuttling with the Mouse. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Getting Ready to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing Clips in the Source Monitor . . . . . . . . . . . . . . . . . . . . . . .
Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking Edit Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking the planing ms Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking the ducks Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking the draw knife cu Clip . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Timecode to Find a Frame . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Frame Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Subclipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Clearing IN Points and OUT Points . . . . . . . . . . . . . . . . . . . . . . .
vii
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66
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68
68
69
70
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71
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76
76
78
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80
81
82
83
83
84
86
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Closing the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Ending the Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Chapter 6
Editing a Rough Cut
Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Using the Timeline Scroll Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Displaying More or Less Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Displaying Source Material in the Timeline. . . . . . . . . . . . . . . . . . . . 95
Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Monitoring Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Monitoring Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Tutorial: Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Making the First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Splicing an Audio Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
ConÞrming the Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Splicing Video into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Splicing a Clip in a Pop-up Monitor . . . . . . . . . . . . . . . . . . . . . . 105
Playing IN to OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Using the Go to IN and OUT Buttons. . . . . . . . . . . . . . . . . . . . . 107
Moving to the Head and Tail of a Shot . . . . . . . . . . . . . . . . . . . . 108
Using the Splice-in Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Splicing a Shot into the Middle of a Sequence . . . . . . . . . . . . . 109
Undoing an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Using the I/O (IN Point / OUT Point) Tracking Display . . . . . 110
Chapter 7
Refining the Edit
Using Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
viii
Editing in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Distinguishing Two Types of Buttons . . . . . . . . . . . . . . . . . . . .
Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Toggling Between Big and Small Trim Mode . . . . . . . . . . . . . .
Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . .
Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: ReÞning Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overwriting Shots into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking Clips for Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Storyboard Editing the Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rearranging Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overwriting with the Three-Point Edit. . . . . . . . . . . . . . . . . . . .
Rearranging Footage with Extract/Splice-in . . . . . . . . . . . . . . .
Removing Footage from a Sequence . . . . . . . . . . . . . . . . . . . . . . . . .
Removing Footage with Extract/Splice-in . . . . . . . . . . . . . . . . .
Removing Footage with Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dual-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Dual Rollers to Trim the Outgoing Shot. . . . . . . . . . . . .
Trim Shot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Single-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Synced Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting Audio Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting Audio Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 8
113
113
114
114
116
116
117
118
119
122
122
123
124
125
127
129
129
131
132
132
132
133
133
136
137
137
138
139
139
140
Adding Effects
Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
ix
Displaying the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effect Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effect Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Segment Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Applying Effects to a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rendering an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Adding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Displaying Editing Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Fade In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dissolving Between Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Series of Dissolves . . . . . . . . . . . . . . . . . . . . . . . .
Creating Audio Dissolves . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding a Fade Within the Sequence . . . . . . . . . . . . . . . . . . . . . .
Adding a Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Second Video Track . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating the Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . .
Repositioning the Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting a Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Key Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Background Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rendering the Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Screening the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 9
144
144
145
145
146
146
147
147
148
149
149
150
151
152
152
153
153
154
154
156
157
158
159
159
160
Creating Titles
Creating New Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Understanding the Title Tool Window. . . . . . . . . . . . . . . . . . . . . . . .
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Text Formatting Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing Colors and Setting Transparency . . . . . . . . . . . . . . . . . . .
Adjusting the Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
x
162
163
164
164
166
167
Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Creating Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a New Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Repositioning Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding a Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Closing the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing the Title into the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Rolling Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing an Existing Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding a Video Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing the Creation Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing a Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting Excess Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exiting the Title Tool After Creating a New Title . . . . . . . . . . .
Chapter 10
Output
Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Supported File Types for Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing to Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording a Digital Cut to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 11
168
168
169
170
170
171
172
172
172
172
173
173
173
174
175
175
176
176
178
178
179
179
180
181
182
Backing Up
About Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Media Objects and Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Media Relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xi
185
186
187
188
Freeing Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . .
Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Backing Up Project Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Backing Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving Your Work on a Disk or Drive . . . . . . . . . . . . . . . . . . . . . . . .
Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Quitting and Shutting Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
xii
189
190
190
191
192
193
194
196
196
197
197
Tables
Table 1-1
Choosing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Table 6-1
Starting the Tutorial: Rough Cut . . . . . . . . . . . . . . . . . 100
Table 7-1
Starting the Tutorial: Refining Edits . . . . . . . . . . . . . . 123
Table 7-2
Mark Points for Boat Shop Clips . . . . . . . . . . . . . . . . . 126
Table 8-1
Starting the Tutorial: Adding Effects . . . . . . . . . . . . . 148
Table 9-1
Starting the Tutorial: Creating Titles. . . . . . . . . . . . . . 169
Table 10-1
Starting the Tutorial: Output . . . . . . . . . . . . . . . . . . . . 181
Table 11-1
Media Objects and Files . . . . . . . . . . . . . . . . . . . . . . . . 187
Table 11-2
Starting the Tutorial: Backing Up . . . . . . . . . . . . . . . . 193
xiii
Preface
This guide provides information about how to get started using your
Avid¨ Media Composer¨ system.
Who Should Use This Manual
This guide is written for video and Þlm editors who are learning to use
an Avid Composer system.
About This Manual
The Table of Contents that precedes this preface lists all topics
included in the book. They are presented with the following overall
structure:
¥
Chapter 1 explains how to turn on your system, install the tutorial
media, and use the online help and online documentation.
¥
Chapter 2 presents basic editing concepts and walks you through
a typical workßow scenario.
¥
The main body of the guide presents introductory material on various aspects of your work, followed in most chapters by a tutorial
xiv
section. Step through the tutorial for guided hands-on experience
with your Media Composer system.
¥
A detailed Index helps you quickly locate speciÞc topics.
This guide should get you started. For more information, see the
online help and the Avid Media Composer UserÕs Guide.
Symbols and Conventions
The Media Composer documentation uses the following special symbols and conventions:
1. Numbered lists, when order is important.
a. Alphabetical lists, when the order of secondary items is
important.
¥
Bulleted lists, when the order of the items is unimportant.
-
Indented dashed lists, when the order of subtopics is unimportant.
k This symbol refers to the Apple or Command key. Hold down the
Command key and another key to perform the desired keyboard
equivalent.
Look here in the margin
for tips.
In the margin you will Þnd tips that help you perform tasks more easily and efÞciently.
n
A note provides important related information, reminders, recommendations,
and strong suggestions.
c
A caution means that a speciÞc action you take could cause harm to
your computer or cause you to lose data.
w
A warning describes an action that could cause you physical harm.
Follow the guidelines in the manual or on the unit itself when handling electrical equipment.
xv
If You Need Help
If youÕre having trouble using Media Composer, you should:
1. Retry the action, carefully following the instructions given for that
task in this guide.
2. Check the documentation that came with your hardware for maintenance or hardware-related issues.
3. Check the Services & Support section of the Avid web site at
http://www.avid.com for the latest FAQs, Tips & Techniques,
Avid Answers, and other Avid online offerings.
4. Check the Avid Bulletin Board, ÒAvid Online,Ó for information on
product and user conferences. If you do not Þnd the solution to
your problem, you can exchange information with other Avid customers and Customer Support representatives.
5. Contact Avid Customer Support at 800-800-AVID (2843).
Related Information
The following documents provide more information about Media
Composer:
¥
Avid Media Composer UserÕs Guide
¥
Avid Media Composer Products Reference
¥
Avid Media Composer and Film Composer Effects Guide
¥
Avid Media Composer Products Site Preparation
¥
Avid Media Composer Products WhatÕs New for Release 7.0
¥
Avid Media Composer Products Quick Reference
¥
Avid Media Composer Products Online Documentation
You can get help while you use your Composer system from the online
help.
xvi
If You Have Documentation Comments
Avid Technology continuously seeks to improve its documentation.
We value your comments about this manual or other Avid-supplied
documentation.
E-mail your documentation comments to Avid Technology at
TechPubs@avid.com
Please include the title of the document, its part number, revision, and
the speciÞc section youÕre commenting on in all correspondence.
xvii
CHAPTER 1
Introduction
This chapter sets you up to use this guide and work through the tutorial sections that teach you the basics of your Avid Composer system.
This chapter contains the following sections:
¥
Using this Guide
¥
Using the Tutorial
¥
What You Need
¥
Turning on Your Equipment
¥
Installing the Media Composer Tutorial Files
¥
Launching the Media Composer Application
¥
How to Proceed
¥
Using Online Help
¥
Using Online Documentation
Using this Guide
This guide introduces you to Media Composer. It presents the essential features of the system; most chapters also contain hands-on tutorial sections so you can practice what you learn.
19
Using the Tutorial
The self-paced tutorial sections included in this guide are designed as
guided Avid edit sessions using the basic features of the Media Composer system. In the tutorial sections, youÕre going to edit a oneminute sequence about a company in Amesbury, Massachusetts that
makes small Þshing boats called dories.
The footage for the sequence is on the Media Composer Tutorial CDROMs that came with your system. They contain digitized media that
is ready for you to use.
The instructions in this tutorial take you through each step of the edit
process:
¥
Starting a project (in Chapter 3)
¥
Getting ready to edit (in Chapter 5)
¥
Editing a rough draft (in Chapter 6)
¥
ReÞning the edit (in Chapter 7)
¥
Adding effects, titles, and other Þnishing touches to the sequence
(in Chapter 8 and Chapter 9)
¥
Preparing output (in Chapter 10)
¥
Backing up (in Chapter 11)
This tutorial assumes a basic familiarity with the Macintosh¨ computer. If you have never used a Macintosh system, please refer to the
Macintosh Getting Started tutorial.
You donÕt need any previous experience with the Avid Composer system. The terms and techniques needed for each tutorial section are in
each chapter. However, it will help to read Chapter 2 of this manual
before starting any of the tutorial sections. You can also use the Avid
Composer Help (see ÒUsing Online HelpÓ on page 31) and online
books (see ÒUsing Online DocumentationÓ on page 33) for more
information.
20
This tutorial takes approximately four hours. Before you begin, you
need:
¥
An installed Avid Media Composer system
See the Avid Media Composer Products Setup Guide if you have not
yet set up your Media Composer system. See the Avid Media
Composer and Film Composer Release 7.0 Release Notes if you need to
install the Media Composer software.
¥
The Boat Shop media and project Þles on the Media Composer
CD-ROMs
Depending on your level of expertise in editing on Avid systems, you
may choose to go through the tutorial in either of two ways.
¥
If you have no experience with Media Composer or other Avid
systems, you should go through the entire tutorial.
¥
If you have used other Avid systems, you may want to read certain lessons to understand the speciÞc features of
Media Composer, and complete the tutorials for other lessons.
You can do this tutorial in one or several sessions. Each section is selfcontained.
21
What You Need
The CD-ROMs packaged with your Media Composer system include
all Þles necessary to do this tutorial:
¥
Read Me First Þle Ñ contains the installation instructions for each
of the Þles on the CD-ROMs. These instructions also appear in
ÒInstalling the Media Composer Tutorial FilesÓ on page 25.
¥
MediaFiles folder Ñ contains the digitized Þles you need for the
tutorial. You need to copy these Þles onto your external media
drive.
¥
Composer Projects folder Ñ contains the project and bins you
need for the tutorial. You need to copy these Þles onto your Avid
drive.
Turning on Your Equipment
Begin your edit session by turning on the components of your Media
Composer system. If any part of your system fails to turn on, make
sure its electrical cord is plugged snugly into an appropriate electrical
outlet or power strip. See the Avid Media Composer Products Setup Guide
for information on setting up your system.
c
If you fail to follow the proper sequence for starting up your system,
you could damage your Macintosh computer and/or storage drives.
Always turn on the devices as follows:
1. Fixed-storage drives: Turn on Þxed-storage drives before starting
the computer. Allow 10 to 15 seconds for the drives to spin up to
speed before starting the Macintosh.
2. Other peripheral hardware: Turn on all other peripheral units
except the Macintosh. This includes:
¥
Monitors and speakers.
22
n
¥
Tape decks and/or additional autoassembly conÞgurations
(switcher, time-base corrector, and so on) if you plan to digitize or conduct an autoassembly.
¥
Digidesign¨ audio interface hardware, if your system
includes these. Turn on the Digidesign hardware and black
burst generator in order to maintain proper sync between
audio and video while digitizing and editing.
The black burst generator that accompanies the Digidesign hardware should
already be turned on if it is connected to an active power strip.
3. The Macintosh: Press the Power On key located at the upper right
corner of the keyboard.
When you start the Macintosh:
For information on
Macintosh features,
such as the desktop and
icons, see your Macintosh documentation.
¥
You hear a tone that means the hardware is operational.
¥
The computer goes through a self-check routine. If the
Macintosh passes all of its internal logic tests, the smiling
Macintosh icon appears.
¥
The Avid startup screen appears and the initialization process
begins.
23
¥
The Macintosh desktop appears.
Avid drive
(internal)
Media
drives
(external)
c
To avoid damage, do not disconnect or turn off hard disks or individual disk drives while the Macintosh is on.
24
Installing the Media Composer Tutorial Files
The Media Composer Tutorial CD-ROMs contain all of the Þles you
need for the tutorial sections of this guide. It takes about 30 minutes to
copy the media Þles from the CD-ROM to the external hard drive.
The CD-ROMs contain several versions of the tutorial media Þles digitized at different Avid Video Resolutions (AVRs). You must select the
appropriate AVR for your Media Composer product model. Table 1-1
shows the correct tutorial media for your product. You also need to
have enough free space on your external hard drive to accommodate
the media sizes listed in the table.
Table 1-1
Choosing Media
If you have:
Use:
On the CD-ROM named:
Media Size
Media Composer Ofßine
AVR 3s
Avid Media Composer Products
Ofßine Tutorial (PAL and NTSC)
260 MB
Media Composer online
models with striped drives
AVR 70
Avid Media Composer Products
Online Tutorial (PAL) Disks 1 and 2
1100 MB
Avid Media Composer Products
Online Tutorial (NTSC) Disks 1 and 2
970 MB
Avid Media Composer Products
Ofßine Tutorial (PAL and NTSC)
260 MB
Media Composer online
models without striped drives
AVR 3s
25
Installing AVR 3s Tutorial Files
To install the tutorial Þles for AVR 3s:
1. Insert the Avid Media Composer Products Ofßine Tutorial (PAL
and NTSC) and double-click its icon.
2. Double-click the folder at the top level of the CD-ROM.
3. The AVR 3s CD-ROM has two top-level folders. Choose NTSC or
PAL.
You should see two folders labeled Composer Projects and
OMFI MediaFiles.
4. Do one of the following:
¥
If there is an existing OMFI MediaFiles folder on the external
media drive, open the OMFI MediaFiles folder on the CDROM, choose Select All from the Edit menu, and drag the contents to the OMFI MediaFiles folder on the external media
drive.
¥
If there is no OMFI MediaFiles folder on the external media
drive, drag the OMFI MediaFiles folder from the CD-ROM to
the external media drive.
The Þles are loaded on the drive.
5. Do one of the following:
¥
If there is a Composer Projects folder on the Avid drive, open
the Composer Projects folder on the CD-ROM and drag the
Boat Shop folder to the Composer Projects folder on the Avid
drive.
26
¥
If there is no existing Composer Projects folder on the drive,
drag the Composer Projects folder on the CD-ROM to the
Avid drive.
Installing AVR 70 Tutorial Files
The tutorial Þles for AVR 70 require two CD-ROMs for NTSC and two
for PAL. The procedure is the same for installing either type.
To install the tutorial Þles for AVR 70:
1. Insert the CD-ROM labeled Avid Media Composer Products
Online Tutorial (PAL) Disk 1 or Avid Media Composer Products
Online Tutorial (NTSC) Disk 1 and double-click its icon.
2. Double-click the folder at the top level.
You should see two folders labeled Composer Projects and
OMFI MediaFiles.
3. Do one of the following:
¥
If there is an existing OMFI MediaFiles folder on the external
media drive, open the OMFI MediaFiles folder on the CDROM, choose Select All from the Edit menu, and drag the contents to the OMFI MediaFiles folder on the external media
drive.
¥
If there is no existing OMFI MediaFiles folder on the external
media drive, drag the OMFI MediaFiles folder from the CDROM to the external media drive.
27
The Þles are loaded on the drive.
4. Do one of the following:
¥
If there is an existing Composer Projects folder on the Avid
drive, open the Composer Projects folder on the CD-ROM and
drag the Boat Shop folder to the Composer Projects folder on
the Avid drive.
¥
If there is no existing Composer Projects folder on the Avid
drive, copy the Composer Projects folder on the CD-ROM to
the Avid drive.
5. Eject the CD-ROM in the drive.
6. Insert the CD-ROM labeled Avid Media Composer Products
Online Tutorial Disk 2 and double-click its icon.
7. Double-click the top folder.
You should see a folder labeled OMFI MediaFiles-2.
8. Choose Select All from the Edit menu, and drag the contents to the
OMFI MediaFiles folder on the external media drive.
28
Launching the Media Composer Application
The Media Composer application icon is located in the Media Composer folder on the Avid drive. For most users, the desktop or the
Apple menu is a more convenient location for launching the application.
n
For more information
on making an alias and
using the Apple menu,
see your Macintosh
documentation.
The application will not launch properly if the icon is moved out of the Media
Composer folder. To launch the application from a convenient location, Avid
recommends that you create an alias and place it in a convenient location.
To launch the application, double-click the application icon or alias, or
choose it from the Apple menu. The Avid splash screen appears.
Specifying Audio Hardware
The Þrst time you launch the application, a dialog box appears.
Check your audio hardware conÞguration, then do one of the following:
¥
If your audio hardware is labeled Audio Interface, click Digidesign 442 in the dialog box.
¥
If your audio hardware is labeled 8 Channel Audio Converter,
click Digidesign 888.
29
The Avid splash screen returns, then the License Agreement dialog
box appears.
Electronic Licensing
To accept your Avid Composer product license electronically:
1. Read the License Agreement, then click the Accept button or the
Decline button at the bottom of the screen.
The agreement appears the Þrst several times you launch the
application. After several launches, a new button appears at the
bottom of the screen.
2. If you do not want to see the license agreement again, click the
Accept and DonÕt Show Again button.
A dialog box appears.
3. Enter the name of your organization in the dialog box, and click
OK.
After the application starts, the Project Selection dialog box
appears, as described in ÒOpening a ProjectÓ on page 51.
How to Proceed
The following are a few tips for taking full advantage of
Media Composer documentation and other resources:
¥
Complete the tutorial sections in this book before starting a
project.
¥
Begin learning about basic procedures by using the default settings. As your conÞdence builds, begin to explore additional procedures and settings.
30
¥
Keep the Avid Media Composer and Film Composer Quick Reference on
hand during sessions to speed the use of functions, shortcuts, keyboard commands, menus, and icons.
¥
Make a habit of reading AvidÕs newsletters, mailings, and other
trade publications.
¥
Make use of additional training resources provided by Avid whenever possible, such as classes and instructional videotapes. For
more information, contact Avid at 800-867-2843.
¥
Check the Avid web site at www.avid.com/services/training/
training.html for listings of courses, schedules, and locations.
Using Online Help
This release supports online help for your Avid Composer system. The
online help is automatically installed with the application.
You can access online help in two ways:
¥
From the question mark menu in the upper right corner of your
screen, choose Composer Help.
¥
As context-sensitive help:
a. Position the cursor on the window for which you want help.
b. Make sure your Avid Composer system is active.
c. Press the Help key on the keyboard.
A window appears representing the tool or feature for which
you want help.
d. Click on different aspects of the tool or feature to see pop-up
help.
n
If no speciÞc help for the window exists, the Topics window appears.
31
Procedures are displayed in yellow How To windows; background
information and illustrations are displayed in white Reference
windows.
The following sections explain how to use the help system. For more
information, see ÒOnline Help:overviewÓ in the online help index.
Three Ways of Finding Topics in Help
To Þnd a topic in Help:
1. Open the Topics window.
2. Do one of the following:
¥
Click the Contents tab to view lists of topics in the main help
window.
¥
Click the Index tab to open the Index window and view a list
of index entries.
¥
Click the Find tab to search for words or phrases that may be
contained in a help topic.
Finding Topics with the Index
To Þnd topics using keywords in the Index:
1. Click the Index tab to display the Index panel.
2. In the text box, type the keyword youÕre interested in or choose a
topic from the list.
3. Click the Display button to view the topic or double-click the topic
name in the Index scrolling list.
Searching with the Find Feature
To search for words in a help Þle:
1. Click the Find tab to display the Find panel.
32
2. In the text box, type a word you want to Þnd. Use the pop-up
menus to change the way in which you search for words.
3. If youÕd like to search for additional words, click the More Choices
button.
4. Click the Search button. Topics that are found are displayed in the
list.
5. Choose a topic in the list (if any were found) and click the
Display button.
n
DonÕt type quotes or asterisks in the text boxes.
Using Online Documentation
The Media Composer Products Online Publications are a collection of
books on CD-ROM. They include:
¥
Avid Film Composer UserÕs Guide
¥
Avid Media Composer UserÕs Guide
¥
Avid Media Station UserÕs Guide
¥
Avid Media Composer and Film Composer Effects Guide
¥
Avid Media Composer Products Reference
The books are in PDF format. You can read them on the screen or print
out all or part of them.
33
CHAPTER 2
About Media Composer
This chapter provides a general overview of Media ComposerÕs capabilities. It introduces basic concepts along with some tips for the beginning user in the following sections:
¥
About Media Composer
¥
Editing Basics
¥
Project Workßow
About Media Composer
Media Composer streamlines the editing process by combining the
traditional tools of postproduction, the creative control of digital editing, and the simplicity of the interface.
More than a method of saving time and money, nonlinear editing
introduces a whole new style of craftsmanship into the postproduction
suite by allowing greater experimentation in the composition of fullmotion visual media.
In addition, Media Composer blends the traditional beneÞts of previsualization familiar to the conventional ofßine editor with the
advanced production tools and image quality of high-end online production.
34
Editing Basics
The unique nature of nonlinear editing Ñ and the speciÞc features of
the Media Composer system Ñ suggest a new way of approaching the
process of editing and the ßow of your work on projects, as described
in this section.
About Nonlinear Editing
As a digital, nonlinear editing tool, Media Composer provides complete random access to footage, with instantaneous cueing and retrieval
of sequences, segments, shots, and frames. This is much faster than the
time it would take to mount and shuttle through tapes.
In addition, traditional editing requires that you electronically copy
video from a source tape to a master tape. When you make changes in
this linear arrangement, you must reassemble all of the shots that follow the change. By contrast, when you edit with Media Composer,
you are not actually cutting or dubbing the footage. Instead, your
source tapes are digitized into media Þles that can be played just like
the original tapes. When you edit, you work with these images and
sounds (objects) with great freedom, creating data Þles that refer to the
media Þles and to your original source tapes. You can make changes,
and the entire sequence is immediately updated. This is the primary
beneÞt of nonlinear editing.
The system maintains frame-accurate links between each alteration of
the objects you work with and the original media Þles. This allows you
to experiment with every edit you make through multiple generations.
When you play back your work, the system immediately accesses and
plays the appropriate portions of the digitized video and audio.
You can use Media Composer to create:
¥
A Þnal product based on the media Þles
¥
A work print as a reference to editing tapes
35
¥
An edit decision list (EDL) that you can use to control the editing
of tapes in an online or ofßine editing studio
Editing Components
Knowing some basic terms for the editing components will help you
use Media Composer more effectively.
¥
Project: the job that results in one or more sequences; the Project
window organizes all the clips, sequences, effects, and media Þle
pointers for a program or series of programs
¥
Sequence: an edited composition that includes audio and video
clips and rendered effects connected
¥
Bin: the window in which you organize the material to be edited
¥
Source clip: the smallest media object that contains all the information necessary to reference footage
¥
Master clip: editing object that references the compressed media
¥
Media Þle: stored, compressed digital data representing the original video and audio
¥
Source/Record mode: a mode composed of a Source monitor that
displays source clips, a Record monitor that displays the assembled sequence, and controls for making basic edits
¥
Timeline: the graphical representation of every edit made to a
sequence, including all nested effects and layered tracks
¥
Segment mode: editing controls for moving, deleting, marking,
and editing segments in the Timeline
¥
Trim mode: controls for Þne-tuning edits and transitions with various trim procedures
¥
Effect mode: controls in the Timeline and the Effect Mode window
to apply, render, and edit effects into the sequence
¥
IN and OUT point: starting and ending points of an edit
36
¥
Subclip: Part of a master clip, which references the master clip
¥
EDL: edit decision list containing detailed information on your
sequence for online editing of a videotape master
¥
Cut list: a series of output lists containing speciÞcations used to
conform the Þlm work print or negative
¥
Digital cut: a copy struck directly from disk to tape
Project Workflow
The following sections introduce the four basic stages of a project,
along with the basic system terms you encounter in Media Composer.
Complete procedures for each phase are described in this guide, in the
Avid Composer system online help, and the Avid Media Composer
UserÕs Guide. You can alter parts of each stage if necessary.
37
Starting a Project
Starting a project involves the following steps:
1. Turn on your equipment in a prescribed
order and launch the
Media Composer software.
Turn on and launch Media Composer.
2. Select or create a new
project: the job that will
result in one or more
Þnished sequences.
Select or create a project.
3. Create and organize
bins.
Create and organize bins.
4. Back up your project
on a regular basis.
Back up the project.
38
Preparing to Edit
Preparing to edit involves the following procedures:
1. Import your logs into
the bins, or log the
material manually to
create source clips.
log
Source
tapes
1.
2.
2. Digitize your analog
footage, creating media
Þles and master clips.
Import shot logs into the bin.
3.
Digitize footage, creating
master clips and media files.
3. Work with bins and
clips to organize your
source material for easy
access during editing.
Sort and organize clips in bins.
5.
4.
4. Build a storyboard, if
desired, to begin previsualizing your Þnal cut
before editing.
5. Manage media Þles
using controls provided by the system,
such as the Media Tool.
Previsualize with storyboards.
39
Manage media files for storage,
efficiency, and backup security.
Editing a Sequence
Editing a sequence involves the following procedures:
Screen, mark, and subcatalog footage.
Screen and continue
editing as necessary.
1. View your clips in
advance and mark IN
points and OUT points,
or create subclips based
on selected portions of
your master clips.
2. Build your sequence
in Source/Record
mode, which provides
nonlinear editing controls with Source and
Record monitors, and
the Timeline.
Source
monitor
Record
monitor
Timeline
Edit in Source/Record mode and the Timeline.
3. Fine-tune your edits
and effects using functions of the various edit
modes, such as Segment
mode, Trim mode, and
Effect mode.
4. Adjust and mix multiple audio tracks and
prepare for Þnal playback or output using
Media ComposerÕs
Audio Tool and Audio
Mix Tool.
Fine-tune edits and effects.
5. Return to editing if
further adjustments are
required.
Fine-tune audio pan, volume, and EQ.
40
Generating Output
Generating various forms of output based on your sequence involves
selecting among several options:
¥ Export and exchange
material for audio
sweetening or graphics
enhancement in a thirdparty application, or
for incorporating into a
multimedia project.
Export and exchange material for import into
third-party applications such as AudioVision.
Betacam
¥ Record the Þnal
sequence as a digital
cut.
Record a digital cut directly to tape.
¥ Generate an EDL.
EDL
Generate an EDL for online
videotape editing.
41
CHAPTER 3
Starting a Project
The Project window provides controls in three different display modes
for structuring and viewing important information about your current
project. These include a display of bins and folders associated with the
project, a list of all settings, and basic information about the format of
the project and use of system memory.
The overview topics are described in the following sections:
¥
About Composer Projects and Avid Users Folders
¥
Using the Bins Display
¥
Using the Settings Display
¥
Using the Info Display
Tutorial: Starting a Project contains the following sections:
¥
Starting the Application
¥
Opening a Project
42
About Composer Projects and Avid Users Folders
Composer Projects and Avid Users folders allow you to move whole
projects or selected project and/or user settings between systems by
copying and moving Þles on your desktop.
When you create a new project or user, the system creates the following Þles and folders:
¥
When you create a new user, the system creates three items: a user
proÞle Þle, a User settings Þle, and a user folder containing the
two. Each item is given the user name you provide. This new
folder is stored in the Avid Users folder on the Avid drive.
¥
When you create a new project, the system creates three items: a
project Þle, a Project settings Þle, and a folder containing the two,
each of which is given the project name you provide. This new
folder is stored in the Composer Projects folder on the Avid drive.
Your settings are initially set to the default values. As you work, the
Þles maintain current settings, while the project folder Þlls with bin
Þles.
43
Using the Bins Display
Bins are windows that contain titles, Òthumbnails,Ó and information
about the material you digitize. These editable Þles are called master
clips. They refer to the actual media Þles created when you digitize
source material. While the physical media are stored on external hard
drives, the master clips that refer to that media reside in the bin. Bins
also store the sequences, subclips, group clips, and effect clips that you
create during a project. The Project window allows you to make a new
bin, close it, reopen it, and move clips among these bins. You can also
open bins created for different projects.
After you select a user and project in the Project Selection dialog box,
the Project window opens. To view a complete list of bins associated
with the project, click the Bins button in the Project window. A scrolling list appears.
Bins button
Open bin
From the Bins list you can examine the number, names, size, and location of bins, and you can also open bins. Dotted bin icons next to bin
names indicate bins that are currently open; solid icons indicate closed
bins.
44
Using the Settings Display
From the Settings display you can view, select, open, and alter various
User, Project, and Site settings, as described in this section.
To view the Settings display, click the Settings button in the Project
window. A scrolling list of settings appears.
Settings button
Settings type
About Settings
Three types of settings are displayed in the Settings scroll list, as indicated in the third column of information: User, Project, and Site
settings.
¥
User settings are speciÞc to a particular editor. In general, User
settings reßect individual preferences for adjusting the user interface in Media Composer. Individual User settings are stored in
each user folder within the Avid Users folder on the Avid hard
drive.
¥
Project settings are directly related to individual projects. When a
Project setting is changed, it affects all editors working on the
project. SpeciÞc Project settings are stored in each project folder
within the Composer Projects folder on the Avid hard drive.
45
¥
Site settings establish default parameters for all new users and
projects on a particular system. These can apply to particular conÞgurations of equipment installed at the site, for example, spec
and node settings for an external switcher. They can also include
other user or project settings that you copy into the Site Settings
window. Site settings are stored in a separate Settings folder in the
Media Composer folder on the Avid hard drive.
¥
Workspace settings let you associate a conÞguration of windows
with a workspace setting name. If you are used to working with a
particular group of windows arranged and sized in a particular
setup, you can assign a Workspace setting to remember that
arrangement. You can have as many workspace settings as you
want. See the Avid Media Composer UserÕs Guide and ÒWorkspace,
selectingÓ in the online help index for more information.
Reviewing Basic Settings
For a complete description of all settings and
their options, see the
Avid Media Composer
Products Reference.
The following list describes basic system settings to review at the start
of your project:
¥
Bin settings
¥
General settings
¥
Interface settings
Double-click each setting in the Settings scroll list of the Project window to view the following dialog boxes:
¥
¥
Bin settings deÞne general system functions related to bins,
including:
-
Parameters of the Auto-save function
-
Maximum number of bin backup Þles stored in the Attic
folder
General settings deÞne fundamental system defaults, including:
-
Starting timecode for sequences edited in Media Composer
46
¥
-
Setup default for either American NTSC or Japanese NTSC
video input (affects calibration)
-
Whether the system uses the drive-Þltering function to automatically target only the fastest drives when digitizing highresolution media
Interface settings determine the level of basic information displayed in the interface, including whether written labels are displayed beneath icons in the various command palettes.
Using the Info Display
The Info display in the Project window allows you to view basic
project information, such as the video format (NTSC, for example) or
frame rate (24 fps for Þlm projects).
To activate the Info display, click the Info button in the Project
window.
Info button
Fast Menu button
The items listed in this view are for information only and cannot be
changed from the Info list.
To see additional information:
1. Click the Fast Menu button at the bottom of the Info window.
47
A pop-up menu appears.
2. Choose one of the options from the pop-up menu. See the Avid
Media Composer UserÕs Guide or ÒInfo display of project informationÓ in the online help index for more information about these
options.
About Projects and Memory
The way in which a project uses memory has a direct effect on performance. As a project develops, the number of media objects in use
(clips, effects, and other bin items) increases. Because the system keeps
track of them in RAM, they can be played back faster, but the memory
requirements can slow down the system in other ways.
The Avid Media Composer and Film Composer Release Notes provide information about system requirements for RAM. Occasionally you might
need to adjust the way your Macintosh uses its RAM in order to work
efÞciently. There are two factors that can affect the performance of
your system:
n
¥
If you opened and quit several applications during a session, or if
you opened and closed various Media Composer tools repeatedly,
your computerÕs memory may become fragmented. As a result
your system may be sluggish. To solve this problem, close all
applications and restart your Macintosh.
¥
If you need to open more or larger Þles within Media Composer,
you might want to increase the amount of memory allocated to the
application from the desktop.
To check and adjust the allocation of system memory (RAM), consult your
Macintosh documentation.
48
Viewing Memory
To view how your Avid Composer system is using the system memory, press kÐI on the keyboard or choose Memory from the Info window Fast menu. Also see the Avid Media Composer and Film Composer
Release Notes for information about memory requirements.
If the memory in use is already near the limit of the total memory, you
might want to consolidate Þnished elements and eliminate old material from the project, or break the project up into separate, segmented
projects. For more information on consolidating, see the Avid Media
Composer UserÕs Guide.
49
Tutorial: Starting a Project
In this tutorial, you will start Media Composer and select a user and a
project. Before starting this procedure, make sure you have installed
the Tutorial Þles (see ÒInstalling the Media Composer Tutorial FilesÓ
on page 25).
Starting the Application
1. Double-click the desktop alias of the Media Composer folder icon
to open the folder.
2. Double-click the Media Composer application icon to launch the
program.
After a few moments, the Project Selection dialog box appears.
50
For this tutorial, you use the Boat Shop project (along with its settings Þle) that you copied into the Composer Projects folder in
Chapter 1.
Opening a Project
To open a project, you create a new user and select an existing project.
Creating a User
To create a new user:
1. Click the New User button.
A dialog box appears.
2. Type your name and click OK.
The Project Selection dialog box reappears with your name highlighted in the list of users.
Selecting a Project
To select a project:
1. Select Boat Shop from the Composer Projects list and click OK.
51
The Project window opens. It lists the bins, or storage areas, created to hold the clips and sequences you will need for this tutorial.
2. Double-click the icon to the left of Getting Ready to Edit to open
the bin.
This bin contains the clips of the source footage you will use to
begin to build the Boat Shop sequence.
YouÕve Þnished this tutorial section. The next section is Tutorial: Getting Ready to Edit on page 76. Be sure to read Chapter 4 and the introductory material in Chapter 5 before continuing the tutorial.
52
CHAPTER 4
Digitizing
This chapter surveys the digitize process and related tools. Topics
covered include:
¥
Selecting Settings
¥
About the Digitize Tool
¥
About the Audio Tool
¥
About the Video Input Tool
¥
Digitize Preparations Check List
¥
Digitizing
53
Selecting Settings
A number of settings have a direct bearing on the digitizing process.
Before digitizing, review the following options for General Settings,
Deck Settings, and Digitize Settings.
¥
c
Drive Filtering Based on Resolution causes the system to dim all
drives for which speed capabilities are unknown or untested in a
particular Avid Video Resolution (AVR). This setting is selected by
default in the General Settings dialog box.
The Avid Composer system does not prevent you from using nonAvid drives, but their reliability cannot be assured.
¥
Deck Settings include various options for source deck, sync
mode, preroll, drop/non-drop-frame preference, and deck control.
¥
Digitize Settings include essential options for digitizing and
batch-digitizing, including general parameters for capture of the
source material, and special conditions such as digitizing across
timecode breaks or capturing a single video frame.
¥
Deck ConÞguration Settings allow you to establish deck control
parameters for a single deck or for multiple decks. You can manually conÞgure the deck or use the AutoconÞgure option.
54
About the Digitize Tool
The Digitize Tool provides controls for digitizing your footage.
To open the Digitize Tool, choose Digitize from the Tools menu. The
Digitize Tool window opens.
Bin
Resolution
Digitize indicator
Track Selection
Digitize
Digitize/Log mode
Disk time
available
Trash/
Abort
Single/Dual
drives
Subclip
indicator
Record to
the Timeline
Target drive
Message bar
Deck
offline
Deck controls
Tape name
Deck selection
Video Input Tool
Audio Tool
The Digitize Tool has the following characteristics:
¥
Track Selection panel lets you choose which audio tracks you
want to digitize from the source tape, whether you want to digitize video, and whether you want to record timecode.
¥
Bin pop-up menu lets you choose a target bin as the destination
for the master clips created when you digitize on-the-ßy. You can
also choose a target bin containing the logged clips you will use to
batch-digitize your media.
55
¥
Resolution pop-up menu next to the Bin pop-up menu lets you
choose an Avid Video Resolution (AVR).
¥
Digitize indicator ßashes on and off while you are digitizing.
¥
Red Digitize button begins the digitizing process.
¥
Digitize/Log mode button lets you switch between digitize mode
and log mode.
¥
Single/Dual drives button lets you target a single or separate
media drive volumes for digitizing the audio and video for each
clip.
¥
Target drive pop-up menu lets you choose the target drive
volumes.
¥
Disk time available is displayed after you select an AVR and
target a drive or drives for the digitized media.
¥
Trash/Abort button stops the digitizing process and deletes the
digitized media.
¥
Status bar displays information on the current status of the tool.
¥
Subclip indicator displays a subclip IN mark, a subclip OUT
mark, and a clip icon or number. It provides visual feedback when
you create subclips on-the-ßy while digitizing.
¥
Record to the Timeline allows you to digitize footage directly
from tape into a sequence loaded in the Timeline in one step.
Recording to the Timeline works best when you are digitizing onthe-ßy.
¥
Deck Ofßine button takes the deck ofßine: the software ceases to
recognize the deck.
¥
Deck controls operate the deck.
¥
Deck selection pop-up menu lets you choose the deck you want
to play from. It also lets you check and reset serial port connection
to decks.
¥
Tape name display shows the name of the source tape.
56
About the Audio Tool
The Audio Tool controls parameters for incoming audio.
To open the Audio Tool, choose Audio Tool from the Tools menu or
click the Audio Tool icon in the Digitize Tool window. The Audio Tool
window opens.
Setup
Peak/Hold
Output
Display
Setup
Display
Input
In/Out toggle
Reset Peak
Channel
Selectors
Meters
Digital VU scale
Analog VU scale
The Audio Tool has the following options:
¥
Input button displays a panel that contains a single slider control
for raising or lowering global audio input.
¥
Setup button displays a panel that contains information and controls for adjusting various audio hardware parameters.
¥
Reset Peak button resets the current maximum peak measurements. It also stops the playback of the internal calibration tone.
57
¥
In/Out buttons toggle the meter displays for each channel
between input levels from a source device and output levels to the
speakers and record devices. I indicates input, and O indicates
Output.
¥
Peak Hold pop-up menu allows you to choose options for customizing the meter displays, and setting and playing back the
internal calibration tone.
¥
Digital VU scale to the left of the meters displays a Þxed range of
values from 0 to -90 decibels (dB), according to common digital
peak meter standards.
¥
Analog VU scale to the right of the meters displays a Þxed range
of values that you can conform to the headroom parameters of
your source audio.
¥
Meters dynamically track audio levels for each channel as follows:
¥
-
Meters show green below the target reference level (the
default reference level is -14 on the digital scale).
-
Meters show yellow for the normal headroom range, above
the reference level to approximately -3 dB.
-
Meters show red for peaks approaching overload, between -3
dB and 0 (zero) dB.
-
Thin green lines at the bottom indicate signals below the display range.
Channel Selector pop-up menus let you map tracks in the
sequence to output channels.
About the Video Input Tool
The Video Input Tool controls parameters for incoming video.
To open the Video Input Tool, choose Video Input Tool from the Tools
menu or click the Video Input Tool icon in the Digitize Tool window.
The Video Input Tool window opens.
58
Internal
Vectorscope
Waveform button
Monitor
button
Internal
waveform
monitor
Vectorscope
Input
Settings
Preset
buttons
Slider
Click the Internal Waveform Monitor button to bring up the Waveform
monitor. Click the Vectorscope button to bring up the Vectorscope.
The Video Input Tool has the following options:
¥
Input pop-up menu lets you choose either a Composite or Component video input source.
¥
Sliders let you change the value for each setting.
¥
Preset buttons are highlighted when the factory preset levels are
displayed. When you click a lit Preset button, it turns gray and the
slider returns to the most recent manual level setting.
¥
Settings pop-up menu lets you save the site settings for an individual tape each time you calibrate bars.
¥
Internal Waveform monitor lets you adjust luminance values.
¥
Vectorscope monitor lets you adjust hue and saturation.
59
Digitize Preparations Check List
1. Check your hardware conÞgurations: power switches, cable connections, pull-down switch on the Video Slave Driver, and remote
switch on the source deck for deck control (see the Avid Media
Composer Products Setup Guide for hardware conÞgurations).
2. In the Project Settings scrolling list, make sure you have the
desired options selected in the General Settings, Deck Settings,
Deck Preferences, Deck ConÞguration, and Digitize Settings dialog boxes.
3. Consider striping your drives in advance according to the
AVIDdrive Utility UserÕs Guide if you are working on a complex
project with multiple streams of video and high-resolution
images. You must stripe your drives if you work with AVR
4. Insert a tape into the deck and set up the Digitize Tool for track
selection, target bin, target drives, source tape, and source deck.
5. Set up the Compression Tool for resolution (AVR) and color
compression (see the Avid Media Composer UserÕs Guide and ÒCompression ToolÓ in the online help index for more
information).
6. Use the Audio Input Tool to set the audio input levels.
7. Use the Video Input Tool to set the video input levels; save your
video settings for future use.
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Digitizing
You can digitize your source material in one of the following ways:
¥
Digitize and log at the same time
¥
Batch digitize
¥
Redigitize
¥
Use Avid MediaLog and import shot logs
Digitizing and Logging at the Same Time
When you digitize without entering log information in a bin ahead of
time, the system creates clips and associated media Þles while you digitize. Digitizing in this manner involves manually cueing source footage with an Avid-controlled deck using the deck controls in the
Digitize Tool.
See ÒDigitizingÓ in the
online help index for
more information.
There are several ways to digitize and log at the same time:
¥
Digitizing from a mark IN to a mark OUT. This method lets you
specify the exact timecode location to begin and end digitizing.
You can also specify only a mark IN or mark OUT, and enter the
other mark on-the-ßy.
¥
Digitizing on-the-ßy. This method is easier than setting marks,
but it is more imprecise. It involves using the deck controls in the
lower left corner of the Digitize Tool to cue, play, and stop the
source footage manually while digitizing.
¥
Autodigitizing. This method requires the least amount of supervision and effort, but usually calls for more digitizing time and disk
storage space. It involves playing each source tape from a cue
point near the beginning and letting the system digitize the entire
tape, automatically naming and entering each long clip into the
bin.
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Batch Digitizing
Once you have imported a log or manually logged a group of clips
into a bin, you can automate the digitize process by using your Avid
Composer systemÕs batch digitizing capabilities. In order to batch digitize, source tapes must have timecode. For more information and procedures, see ÒBatch digitizingÓ in the online help index.
Redigitizing
Redigitizing is the process of capturing previously digitized source
footage based on existing clips and sequences. Redigitizing uses the
batch digitize process and does not require extra logging time because
the clip information for such things as source tracks, timecodes, and
compression settings already exists in the bin. For more information
and procedures, see ÒRedigitizingÓ in the online help index.
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CHAPTER 5
Getting Ready to Edit
To get ready to edit, you need to understand how to organize your
clips and manipulate them. The overview is in the following sections:
¥
About Bin Display Modes
¥
About Bin Views
¥
Controlling Playback
¥
Marking IN and OUT Points
¥
Creating Subclips
Tutorial: Getting Ready to Edit contains the following sections:
¥
Viewing Clips
¥
Playing Clips
¥
Marking Edit Points
¥
Subclipping
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About Bin Display Modes
You can use three display modes for viewing and working with clips
in a bin: Text mode, Frame mode, and Script mode.
¥
In Text mode, clips are displayed in a database text format using
columns and rows, with icons representing the various objects.
You can save various arrangements of columns, text, and objects
as customized views by using the Bins settings in the Project window and the Bin Fast menu.
Column headings
Object icons
Bin view menu
Text mode
Bin Fast menu
Frame mode
Script mode
To enter Text mode, click the Text Mode button (labeled T) in the
lower left portion of the bin.
¥
In Frame mode, each clip is represented by a single picture frame,
with the name of the clip. You can play back the footage in each
frame, change the size of frames, and rearrange frames in any
order within the bin.
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To enter Frame mode, click the Frame Mode button (labeled F) in
the lower left border of the bin.
¥
In Script mode, the system combines the features of Text mode with
Frame mode, and adds space for typing notes or script. The frames
are displayed vertically on the left side of your screen with a text
box to the right of each clip. Clip data is displayed above the text
box.
65
To enter Script mode, click the Script Mode button (labeled S) in
the lower left portion of the bin.
About Bin Views
To the right of the Display Mode buttons is a pop-up menu of titles for
different Bin views. This option is available only in Text mode. Bins
have the following default views that are automatically loaded:
¥
Statistics view uses the standard statistical column headings
derived from information established during capture, such as
Start and End timecodes, Duration, Resolution, and so on.
¥
Custom view allows you to create and save customized views.
The only required heading is the clip name, displayed by default.
You can customize the view by adding, hiding, or rearranging column headings.
Controlling Playback
There are several ways to play, view, and cue clips:
¥
Instantly access frames or move through footage using the position
indicator within the position bar under the Source or Record monitors
¥
Play, step (jog), or shuttle through footage using user-selectable
buttons
¥
Play, step, or shuttle using keyboard equivalents
¥
Step or shuttle using the mouse
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Using Position Bars and Position Indicators
You can quickly access frames within a clip thatÕs been loaded into a
monitor or move through the footage using the position indicators
that appear in the position bars under Source or Record monitors, and
in the Timeline when you are viewing a sequence.
¥
You can move the position indicator within the position bar under
the Source or Record monitors by clicking anywhere in the position bar, or by dragging the position indicator to the left or right.
The speed with which you drag the position indicator determines
the speed at which you move through the footage.
Position bar
Position indicator
¥
In the Timeline, the position indicator shows your position within
the sequence. It is always in the same position as the position indicator in the Record monitorÕs position bar, and works in the same
way: you can click anywhere in the Timeline to relocate the position indicator, or you can drag the position indicator through footage at varying speeds.
Position indicator in Timeline
¥
You can go directly to the beginning or end of a clip or sequence
by clicking at the far left or far right of the clip or sequence.
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Using Buttons
You can use the user-selectable buttons that appear below the Source
and Record monitors to play and step through your footage. You can
also use the keyboard to manipulate footage.
Aside from the default conÞgurations, these buttons can be remapped
from the Command Palette in any conÞguration onto any of the user
palettes and the keyboard.
Play, Pause, Stop, Fast Forward, and Rewind Buttons
The Play, Pause, Stop, Fast Forward, and Rewind buttons work much
like the buttons on any conventional VCR. With a clip loaded in a
monitor, the Play button plays your footage at a normal rate. The Play
Reverse button plays backward at a normal rate. The Fast Forward
and Rewind buttons instantly cue you to the beginning or the end of
the clip.
Play, Fast Forward, and Rewind buttons appear by default in the Þrst
row of buttons below the Source and Record monitors. Map the Play
Reverse, Stop, and Pause buttons onto your button rows from the
Command Palette. Mapping replaces the existing button functions.
n
During playback, the Play button also acts as a Stop button.
When viewing sequences in the Record monitor, you can play only
video and audio tracks that are currently monitored in the Track Selector panel.
Track Selector panel
Video Monitor buttons
Audio Monitor buttons
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To play a clip:
1. Load a clip or sequence into a monitor.
2. For sequences in the Record monitor, click the Video or Audio
Monitor buttons in the Track Selector panel.
3. Go to the start of the clip or sequence by clicking the start of the
position bar under the monitor, or pressing the Home key.
4. To play the clip or sequence, click the Play button under the chosen monitor.
5. To stop playback, press the space bar or click the Play button
again.
Step Buttons
You can also use the Step buttons under the monitors to play the clip
backward or forward in 1- or 10-frame increments.
When you have a single row of buttons displayed under your monitors, the Step Forward and Step Backward buttons appear. If you press
and hold the Option key while clicking either button, you can advance
ten frames forward and ten frames backward.
n
To display all four Step buttons, you must display two rows of buttons under
the monitors when conÞguring the Source/Record window in the Composer
Settings dialog box.
To step through footage:
1. Load a clip or sequence into a monitor.
2. Press the appropriate key to step one or ten frames forward or
back.
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Using the Keyboard
The default keyboard contains all of the buttons discussed so far.
Step buttons
Play/Step/Shuttle buttons
Home key
End key
Play button
Stop button
n
You can move and replace buttons on the keyboard using the Command Palette; see ÒUser-selectable buttons, mappingÓ in the online help index.
J-K-L Keys (Three-Button Play)
The J-K-L keys on the keyboard allow you to play, step, and shuttle
through footage at varying speeds. This feature, also referred to as
three-button or variable-speed play, allows you to use three Þngers to
manipulate the speed of playback for greater control.
To shuttle through the footage using the J-K-L keys on the keyboard:
1. Do one of the following:
¥
Load a clip or sequence into the Source or Record monitor.
¥
Select a clip in a bin in Frame mode.
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2. Use the following keys to shuttle at varying speeds:
¥
Press the L key to move forward through the footage at normal speed. Press once to increase the forward speed 2 times,
twice to increase it 4 times, and 3 times to increase it 8 times
normal speed, as desired.
¥
Press the J key to move backward at the same shuttle speed
increments.
¥
Hold and press the K and L keys together for slow forward.
¥
Hold and press the K and J keys together for slow backward.
3. To pause the shuttling, press the K key.
4. To stop shuttling, press the space bar.
Home, End, and Arrow Keys
You can also use the Home, End, and arrow keys on the keyboard to
move through footage when a clip is loaded in a monitor.
¥
The Home key takes you to the beginning of a clip or sequence.
¥
The End key takes you to the end of a sequence.
¥
The Left Arrow key moves the footage one frame backward.
¥
The Right Arrow key moves the footage one frame forward.
Using the Mouse
You can also use the mouse for one-handed control of playback. You
can either step or shuttle by using the mouse.
Stepping with the Mouse
To step by using the mouse:
1. Do one of the following:
71
¥
Load a clip into the Source monitor or a sequence into the
Record monitor.
¥
Select a clip in a bin in Frame mode.
2. Do one of the following:
Mouse Step
button
¥
Press the N key to activate mouse control for stepping.
¥
Activate the buttons on the Command Palette by deselecting
both boxes at the bottom of the Palette, then click the Mouse
Step button, which is available on the Play tab of the Command Palette and can be mapped to any button under the
Record monitor (see ÒUsing the Command PaletteÓ on
page 119).
3. Move the mouse to the right to step forward, or to the left to step
backward.
4. To quit stepping with the mouse, press the space bar.
Shuttling with the Mouse
To shuttle by using the mouse:
1. Do one of the following:
¥
Load a clip or sequence into the Source or Record monitor.
¥
Select a clip in a bin in Frame mode.
2. Do one of the following:
Mouse Shuttle
button
¥
Press the semicolon (;) key to activate mouse control for
shuttling.
¥
Activate the buttons on the Command Palette by deselecting
both boxes at the bottom of the Palette, then click the Mouse
Shuttle button, which appears on the Play tab of the Command Palette and can be mapped to an editing button under
the Record monitor (see ÒUsing the Command PaletteÓ on
page 119).
72
3. Move the mouse to the right to increase the shuttle speed, or to the
left to decrease the shuttle speed.
4. To quit shuttling with the mouse, press the space bar or doubleclick the mouse button.
You can also use the keyboard in conjunction with the mouse to control shuttling. For example, if youÕre shuttling with the mouse and you
press the L key, the playback speeds up to the next normal play rate
(30, 60, 120, 240 fps for NTSC; 25, 50, 100, 200 fps for PAL; 24, 48, 96,
192 for Þlm projects). You can continue to change the shuttle speed
and direction with the mouse.
Marking IN and OUT Points
You can mark IN and OUT points for your clips in advance, which
provides several advantages:
¥
You can quickly build a sequence by splicing the marked clips into
place one after another.
¥
You can use the process of rough-cut or storyboard editing, which
allows you to instantly splice several prepared clips into a
sequence, as described in the Avid Media Composer UserÕs Guide.
¥
You can play back and mark clips in the bin before loading a single
clip, saving several steps.
Even if your marks are not accurate now, Media Composer allows you
to trim the edit points and Þne-tune the sequence later without reediting the material.
Creating Subclips
When you mark footage with IN and OUT points, you can either save
the entire clip along with the new marks, or you can create subclips
73
based on the marks you set to break up longer master clips into
smaller segments of selected footage.
This is similar to creating selects of all your best footage before editing.
Unlike selects, however, subclips do not directly reference the original
media. Subclips remain linked to the master clips from which they are
created, and the master clips in turn reference the digitized media Þles
located on your storage drives. As a result, none of the original footage
is lost.
You can also create subclips while digitizing
as described in
ÒSubclips:creating onthe-ßyÓ in the online
help index.
You can create subclips directly from the marked section of material in
the monitors by using one of the following methods:
¥
Option key: Press and hold the Option key, then drag the picture
from the monitor to the bin in which you want to store the subclip.
¥
Clip icon: Click the icon next to the clip name in the Source monitor, then drag the icon to the bin in which you want to store the
subclip.
Clip icon
The clip icon changes to an icon of a frame during the drag, then
becomes a subclip icon when you release the frame in the intended
bin.
¥
Subclip button: Click the Subclip button located in one of the
command palettes to create the subclip and place it into the active
bin by default. If you press the Option key while you click the Subclip button, a dialog box allows you to choose the destination bin
for the subclip.
The new subclip will be listed in the bin, preceded by a subclip icon
and identiÞed with a numbered .Sub sufÞx, as shown in the following
illustration.
74
A new subclip
as referenced in
Bin Text view
For more information on trimming, see ÒTrim EditsÓ in the online help
index.
Subclips do not limit your access to the original, digitized master clip
material when trimming. Therefore, if you must trim beyond the
marked IN to OUT boundaries of the subclip to make it longer or
shorter, your system does accommodate the boundary adjustments
during the trim.
75
Tutorial: Getting Ready to Edit
The following tutorial steps correspond to the clips and sequence in
the bin titled Getting Ready to Edit.
n
Be sure to read Chapter 2 and the preceding overview sections of this
chapter before you start this tutorial.
1. If Media Composer is not already running, launch it by doubleclicking the application icon.
2. Choose your User name and your Boat Shop project and click OK.
3. From the Boat Shop Project window, double-click the Getting
Ready to Edit bin.
The clips associated with the lesson are displayed in the bin.
Viewing Clips
The information in a bin can be viewed in several ways.
¥
Text mode displays columns of information about your clips.
¥
Frame mode displays each clip as a single representative image.
¥
Storyboard mode displays each clip with an image and an area in
which to enter text as part of a storyboard.
76
Text Mode
Name Heading
Frame Mode
Zoom box
Text Mode button
Frame Mode button
The S button is for
Script mode.
LetÕs look at Text mode.
1. Click the Text Mode button (T) in the lower left corner of the bin to
view information about clips in the Getting Ready to Edit bin.
If the button is dark, you are already in Text mode.
You can rearrange the clips in the bin by sorting on a particular
column. LetÕs sort by clip name so we can easily locate any clip.
2. Click the Name heading in the bin.
3. Choose Sort from the Bin menu along the top of the screen.
The clipsÕ names are rearranged in alphabetical order.
n
To sort in numerical order, select another heading, for example, duration.
Now letÕs look at Frame mode.
1. Click the Frame Mode button (F) to see a pictorial representation
of each clip in the bin.
77
n
The sorted order of clips does not carry over to Frame mode.
2. Choose Reduce Frame or Enlarge Frame from the Edit menu.
To change frame size at the keyboard, you can also press k-K
(Reduce Frame) and k-L (Enlarge Frame).
If some clips are now off screen, do one of the following:
¥
Click the zoom box in the upper right corner of the bin
window.
¥
Choose Fill Window from the Bin menu.
¥
Drag the size box in the lower right corner of the bin window.
3. Click the zoom box in the upper right corner of the bin window
labeled Getting Ready to Edit.
The bin zooms out to enclose all the clips. However, they might be
scattered randomly in the bin window. LetÕs Þx that.
4. Choose Fill Window from the Bin menu.
The clips are arranged in neat rows and columns in the bin.
Now you can adjust frame size so the clips are ÒreadableÓ but not
so large that they wonÕt Þt in the bin window.
Playing Clips
Your Avid Composer system offers a variety of ways to play clips. The
more you practice the various methods, the more control you will
have over the editing process.
Playing Clips in the Source Monitor
The Source monitor is a window in which you can play clips.
1. In the Getting Ready to Edit bin, select the clip named bridge by
double-clicking anywhere in the frame.
78
The bridge clip appears in the Source monitor.
2. Press the Home key on the keyboard (between the main keyboard
and the numeric keypad) to go to the start of the clip.
The End key, just below the Home key, moves the position indicator to the end of the clip.
3. Press the Play (5) key on the keyboard to play the clip at normal
speed.
4. Press the Play (5) key again (or press the space bar on the keyboard) to stop playback at any point.
5. Press the L key (Play) on the keyboard to play the clip forward at
normal speed. Press the key repeatedly to play the clip at 60, 90,
150, and 240 frames per second (fps).
6. Press the J key (Reverse Play) to play the clip backward at normal
speed. Press the key repeatedly to play the clip backward at 30, 60,
90, 150, and 240 frames per second (fps).
7. Press the K key to stop playback.
8. To move forward or backward at slow speed, press and hold the K
key while you press and hold the L or J key.
79
9. Use the 1, 2, 3, and 4 keys to step through the footage forward or
backward in 1-frame or 10-frame increments.
Step Backward
Step Forward
Step Forward 10 Frames
Step Backward 10 Frames
Controlling Playback
In the Source monitor, you can use:
¥
Playback control keys
¥
Equivalent buttons below the Source monitor
¥
Blue position indicator to go to a speciÞc position or scroll through
a clip
Position
indicator
Position
bar
Play
Step
Step
Backward Forward
1. Double-click the tools clip in the Getting Ready to Edit bin.
The clip appears in the Source monitor.
2. Click the Play button.
You can press the 5 key on the keyboard for the same purpose.
3. Click the Play button again (or press the space bar on the keyboard) to stop playback at any point.
80
4. Step through the footage forward or backward in 1-frame and 10frame increments using the Step Forward and Step Backward buttons under the Source monitor. You can also use the 4, 3, 2, and 1
keys on your keyboard.
5. Locate the vertical blue position indicator in the position bar in the
Source monitor.
6. Click to the left of the position indicator to step several frames
back in the clip.
To step several frames forward, click just to the right of the position indicator.
7. Press the Home key to go to the beginning of the clip.
Press the End key or click the Fast Forward key to go the end of
the clip.
8. Step through the clip by clicking different spots in the position bar.
9. Drag the position indicator to the left, then to the right, to scroll
through the clip.
Marking Edit Points
Before making your Þrst edit, you can mark the segments of the clips
you want to use in your sequence. You can mark clips in the Source
monitor.
In this section, you will:
¥
Mark IN and OUT points in the Source monitor
¥
Locate IN and OUT points by timecode in the Source monitor
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Marking the planing ms Clip
LetÕs Þrst display clips in the Source monitor, and then mark a couple
of clips you will use when you edit the sequence.
1. Activate the Getting Ready to Edit bin by clicking anywhere in it
or by choosing Getting Ready to Edit from the Windows menu.
The bar above the active window turns purple.
2. Double-click the planing ms clip to activate it.
The clip name turns pink and the clip appears in the Source
monitor.
3. Play the clip from the head by pressing Home and then the Play
(5) key, and Þnd the approximate place where the boatbuilder
begins to plane. Then use the Step Forward and Step Backward (3
and 4) keys to locate the frame where he starts the Þrst planing
stroke.
4. Mark an IN point by pressing the Mark IN (I) key.
A white sawtooth pattern appears on the left edge of the Mark IN
frame.
5. Step forward two full strokes of the plane.
6. Mark an OUT point by pressing the Mark OUT (O) key.
82
Media Composer remembers your IN and OUT points until you
change them.
Marking the ducks Clip
Now mark the IN and OUT points for the ducks clip. This time,
instead of using the 5 key, use the J-K-L keys to play the clip.
1. Double-click the ducks clip to activate it.
2. Locate the frame where the second duck enters the right edge of
the frame behind the duck swimming in the foreground.
Use the 3 and 4 keys to locate the precise frame.
3. Mark an IN point by pressing the I key.
A white sawtooth pattern appears on the left edge of the Mark IN
frame.
4. Step forward to locate the Þrst frame where the same duck ßies
beyond the left edge of the screen.
5. Mark an OUT point by pressing the O key.
A white sawtooth pattern appears on the right edge of the Mark
OUT frame.
Marking the draw knife cu Clip
LetÕs mark another clip weÕll use in the sequence.
1. Display the draw knife cu in the Source monitor by doubleclicking it in the Getting Ready to Edit bin.
When you edit the sequence, you want to show just three strokes
of the knife.
2. Place the position indicator around the midpoint of the clip, and
play forward until just after the Þrst fairly large wood chip falls
off.
83
Use the Play button (or J-K-L keys) to get close to the frame, and
then use the Step buttons to locate the frame you want to use as
your IN point.
3. Mark an IN point by clicking the Mark IN button under the
monitor.
A white sawtooth pattern appears on the left edge of the Mark IN
frame.
4. Step forward, and locate a frame just after three strokes of the
knife.
5. Mark an OUT point by clicking the Mark OUT button under the
monitor.
A white sawtooth appears on the right edge of the Mark OUT
frame.
Using Timecode to Find a Frame
You can mark IN and OUT points by using timecode as your reference
point. If you know the timecode for the frame you want to mark, you
can go to that frame instantly by typing it on the numeric keypad.
In this section, you will use visual cues to mark an IN point, and then
locate a speciÞc timecode. First, you need to display the appropriate
timecode information.
1. Double-click the chiseling clip to open it.
2. Place the cursor in the gray title bar area over the timecode information displayed above the Source monitor.
3. When the cursor changes to a downward arrow, click to display
the pop-up menu, then choose TC, V1 (timecode for track V1)
from the menu. A checkmark means it is already selected.
84
Timecode shows the following:
Hours
Minutes
Seconds
Frames
One second holds 29 frames.
The timecode references the frame displayed in the Source
monitor.
4. Use the Play and Step buttons to locate the frame where the boatbuilder begins one of the Þrst strokes of the chisel.
5. Click the Mark IN button.
6. Read the timecode in the Timecode display at the IN point. Add 15
frames (13 frames PAL) to the timecode number. (Remember, there
are 29 frames in a second.)
For example, if the timecode is 04:11:34:15, adding 15 frames gives
you a result of 04:11:35:00.
7. Type +15 on the numeric keypad on the right side of the keyboard
and press Enter on the numeric keypad.
As you start typing, a window opens in the middle of the Source
monitor, showing the numbers you type. When you press Enter,
the position indicator locates the speciÞed frame.
The Timecode window displays the current number.
85
n
To locate frames using the numeric keypad, you must show the appropriate
timecode in the Timecode display. For example, the timecode display must
show track V1 to go to a speciÞc frame on the V1 track.
Timecode
display
Timecode
entered
8. Click the Mark OUT button.
Using Frame Offset
Whenever you use the
numeric keypad, you
must press Enter after
typing the number.
You can also use the numeric keypad to move the position indicator
forward or backward a speciÞed number of frames, with the frame offset feature. LetÕs mark an IN point for the planing cu clip and then use
frame offset to locate the OUT point.
1. Double-click the planing cu clip to open it.
2. Use the Play and Step buttons to locate the frame where the boatbuilder begins making the Þrst stroke of the plane.
3. Click the Mark IN button.
4. To advance two seconds, type +129 (+124 PAL) in the numeric
keypad and press Enter. The system inserts the colons for you.
86
Since Media Composer counts the frame it is parked on, you type
one frame less than two seconds.
When using frame offset, type one frame less
than the number of
frames you want to
advance.
If you want to move back a certain number of frames, type a
minus sign (Ð) instead of a plus sign (+) in front of the number.
5. Mark that frame as the OUT point.
Subclipping
Now you will copy portions of one clip into shorter clips, called subclips. Subclipping is a great tool for organizing your footage into manageable units.
1. Double-click the tools clip in the Getting Ready to Edit bin.
2. Press the Home key to go to the start of the clip.
3. Scroll through the clip by clicking the Play button or dragging the
blue position indicator, and notice there are two separate actions
that can be copied into separate subclips.
4. Mark an IN point when the boatbuilder begins turning the auger
drill.
5. Mark an OUT point 14 seconds later by typing +1400 in the
numeric keypad and pressing Enter.
Actually, you have marked an OUT after 14 seconds and 1 frame,
but thatÕs okay because you need not be so precise here.
6. Click the clip icon next to the clip name in the upper left corner of
the Source monitor, and drag the icon into the Getting Ready to
Edit bin.
As you begin dragging, the pointer changes to a hand attached to
a small box.
A new item called tools.Sub.01 appears in the Getting Ready to
Edit bin. The subclip has the name of the original clip, followed by
87
Sub.n, where n is the number of times the master clip has been
cataloged to that bin. The name is highlighted.
7. Type drilling and press Return (or Enter on the numeric keypad)
to name the subclip.
Clearing IN Points and OUT Points
1. With the tools clip in the Source Monitor, click the Clear Both
Marks button under the Source monitor to clear IN and OUT
points.
2. Mark an IN point in the clip when the boatbuilder begins hammering, after he takes a few practice swings.
3. Mark an OUT point at the end of the clip.
4. Press and hold the Option key and drag the clip from the Source
monitor to the Getting Ready to Edit bin.
The clip name is highlighted in the Getting Ready to Edit bin.
5. Type hammering and press Return (or Enter on the numeric
keypad).
YouÕve Þnished this lesson. You can go on to Tutorial: Rough Cut on
page 100, or end the session.
Closing the Project
To close the project:
1. Choose Close Bin from the File menu.
The bin closes.
2. Choose Close from the File menu.
The system saves and closes the project. A dialog box appears.
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3. Do one of the following:
¥
Select an existing project.
¥
Create a new one.
¥
Click Quit.
Ending the Session
To end the session:
1. Choose Save Bin or Save All Bins from the File menu.
2. Click in the Project window labeled Boat Shop.
3. Choose Save All from the File menu.
4. Pull down the menu from under the Source monitor name and
choose Clear monitor.
5. Do one of the following:
¥
Go to the next lesson.
¥
If you are ready to take a break, choose Quit from the File
menu to leave Media Composer, then click OK in the Quit dialog box.
The system returns to the desktop.
89
CHAPTER 6
Editing a Rough Cut
Beginning to edit involves moving around in the Avid Composer system. This is described in the following sections:
¥
Viewing Methods
¥
Navigating in the Timeline
¥
Displaying Source Material in the Timeline
¥
Using the Track Selector Panel
Tutorial: Rough Cut contains the following sections:
¥
Making the First Edit
¥
Splicing Video into the Sequence
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Viewing Methods
You can work with clips and sequences in several different ways,
depending upon your needs and preferences. Each method has its
own uses and advantages, as follows.
¥
Viewing in bins: Frame mode shows you pictorial images of the
clips in your bins; Text mode shows you the clips listed by name.
¥
Viewing in the Source monitor: You can load clips and sequences
into the Source monitor to view and mark or subcatalog shots for
use in a sequence that you build in the Record monitor.
¥
Viewing in the Record monitor: You can load a sequence into the
Record monitor to view, mark, or modify an existing sequence.
You can Option-drag a clip or group of clips into the Record monitor to create a sequence.
Record monitor
with sequence
loaded
Source monitor
with clip loaded
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¥
Viewing in pop-up monitors: You can load clips into pop-up
monitors to view and mark one or several clips simultaneously in
smaller, movable windows. (Enable a pop-up monitor by selecting
Opens New Monitor for Clips in the Bin Settings dialog box.)
Two pop-up
monitors with
clips loaded
¥
Viewing in the Timeline: Use the Timeline to view individual
tracks for either a sequence or a source clip.
Timeline in
Source mode
for viewing
tracks
¥
Viewing in full-screen: You can use the third, full-screen monitor
to view your footage in a larger screen format.
92
Navigating in the Timeline
The Timeline window provides various controls for quickly moving
through a sequence and adjusting your view of details displayed in
the tracks while editing. You can make changes in the Timeline format
by using the Timeline Fast menu or choosing Timeline in the Bin
settings scrolling list.
Using the Position Indicator
The position indicator (the vertical blue line) in the Timeline marks
your place in the sequence. It also determines how some of your commands are interpreted. For example, when you perform an edit, the
system takes the location of the position indicator as the Mark IN in
the absence of established marks.
When you move the position indicator in the Timeline, the smaller
position indicator within the Record monitorÕs position bar also
moves.
Using the Timeline Scroll Bar
The scroll bar functions like any standard Macintosh scroll bar. You
can drag the scroll box to reposition yourself within the Timeline, or
click the arrows to scroll left or right.
Scroll box
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Scroll bar
Displaying More or Less Detail
The scale box on the scale bar stretches and contracts the Timeline area
centered around the blue position bar, allowing you to either zoom in
to focus on a speciÞc area of your sequence, or zoom out for you to see
your whole sequence. This is especially useful when you have a
lengthy sequence with many edits.
Scale box
Scale bar
The Timeline always expands or contracts proportionally on both
sides of the position indicator.
¥
To see more detail, click and drag the scale box to the right.
As the Timeline expands, a second ÒshadowÓ position indicator
appears next to the blue position indicator showing the end of a
single frame, and the two continue to move apart as you expand
the Timeline.
As Timeline expands, a
shadow position indicator appears
The position indicator and its shadow mark the beginning and
end of each frame. The solid bar is the mark or edit point. You can
click on either the bar or the shadow to move exactly one frame
forward or backward.
In addition, the Timeline will split in half (or thirds) as it wraps
through the sequence for you to see all the clips.
¥
To contract an expanded Timeline to see less detail but more of the
sequence, click and drag the scale box to the left.
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Focusing the Timeline
Another alternative to the scroll and scale functions is the Focus
button.
Focus
The Focus button allows you to center the position indicator quickly
and expand the Timeline. Unlike the scroll and scale functions, the
Focus button expands the Timeline to one frame per four pixels. The
position indicator is centered in the window. When you click the Focus
button a second time, it always returns the Timeline to its previous
size.
Displaying Source Material in the Timeline
The Source/Record toggle button allows you to view a Timeline of the
clips in the Source monitor. This is especially useful if you are editing
multitrack effects.
By default, the Timeline displays only the source materialÕs tracks.
Source tracks
Source/Record toggle
When you click the button to display the source material, both the button and the position indicator turn green to indicate that you are viewing source material.
95
Button and position indicator
turn green
This feature is particularly useful when you are editing a sequence or a
subclip created from a sequence; you can also use it to look at the contents of any source clip in a Timeline display.
n
Heads or Tails views are disabled when you are displaying material from the
Source monitor.
Using the Track Selector Panel
The Track Selector panel provides numerous controls for working
effectively with multiple tracks. With this one resource you can select,
delete, monitor, enlarge, reduce, lock, patch, and move any video or
audio track.
The Track Selector panel also provides a quick display of track information. You can see which tracks (on the source or record side) are
available, active, patched, monitored, or locked. The conÞguration
shown below is just one example. The Track Selector panel may look
very different depending on the nature of the source material or the
work underway in the sequence.
96
Source track monitors
Source tracks
Track lock indicators
Record tracks
Record track monitors
Timecode track
The source side (left side) of the panel displays only those tracks available for the clip currently loaded and displayed in the Source monitor.
For instance, a clip that has audio digitized for track A1 only does not
display an A2 track in the Track Selector panel.
The record side of the panel displays only those tracks currently in use
for the sequence. However, if you edit source material with a track
selected that does not yet exist on the record side (A3 or V2, in the previous example), by default the track appears on the record side after
the edit takes place.
A clip (or sequence) needs to be loaded in the Source and Record monitors to display both track panels.
Selecting Tracks
You can select tracks on either the record side or the source side as follows:
¥
You can edit selected tracks on the source side directly into the
sequence, assuming you have selected parallel tracks on the
record side.
¥
You cannot edit deselected tracks on the source side into the
sequence, regardless of record track selections.
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¥
You cannot edit deselected tracks on the record side, regardless of
source track selections.
There are four methods for selecting tracks:
¥
Click any deactivated Track Selector button to select it. Click any
activated Track Selector button to deselect it.
¥
Drag a lasso around multiple Track Selector buttons to select them
at once.
¥
With the Timeline window active, choose Select All Tracks from
the Edit menu to select all tracks on the record and source side.
¥
Click the Cycle Picture/Sound button on the Command Palette to
cycle among selection of the video tracks, the audio tracks, and all
tracks.
For example, you might select the source and record tracks for V1, A1,
and A2 to edit video and audio from the source clip into the sequence.
Select only V1 source and record tracks to edit the video without
sound. Or, select only A1 and A2 to edit the sound without the video.
n
Selected tracks change color.
n
There are also keyboard equivalents for selecting tracks. Check your keyboard
or the Keyboard settings in the Project window Settings scroll list.
Monitoring Tracks
You determine the monitoring of tracks by clicking the monitor column of either the source- or record-side tracks to activate or deactivate
the monitor icons. Video and audio monitors behave differently in
some circumstances, as described in this section.
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Video track monitors
Audio track
monitor
Audio track
monitor
Monitoring Video
The video track monitor determines whether you see video during
playback. You can turn it off at any time to monitor only audio during
editing. When there are multiple video tracks, all tracks below the
monitored track are active during playback.
When you edit with multiple tracks, you can activate the monitor on a
lower track to monitor only the video on that track. This is especially
useful when you have multiple layers of video effects, and need to see
one track without the additional layers.
n
If you reposition the video monitor, be sure to return it to the topmost track to
view, render, or record all the tracks together. Unmonitored tracks are not
included in playback.
99
Tutorial: Rough Cut
In this tutorial you begin editing the Boat Shop sequence. This section
corresponds to the clips and sequence in the bin titled Rough Cut.
n
Be sure to read the preceding overview sections of this chapter before you start
this tutorial.
Table 6-1
Starting the Tutorial: Rough Cut
If you have worked on the
previous tutorial and
Media Composer is still
running:
If you have worked on the
previous tutorial but have
quit the Media Composer
system:
If you are just starting out
with this tutorial and
havenÕt completed the
previous tutorials:
1. Double-click the Rough
Cut bin to open it.
1. Launch Media Composer by
double-clicking the application
icon.
1. Launch Media Composer by
double-clicking the application
icon.
2. Press the Option key and
drag the sequence you were
working on from the previous
tutorial into the Rough Cut
bin. Close the Getting Ready
to Edit bin.
2. From the Boat Shop Project
window double-click the Getting Ready to Edit bin and the
Rough Cut bin to open them.
2. Click and drag the Rough Cut
Sequence clip into the Composer monitor to begin the
tutorial.
3. Drag the sequence you
were working on from the
Rough Cut bin into the Composer monitor.
3. Press the Option key and drag
the sequence you were working
on from the previous tutorial
into the Rough Cut bin. Close
the Getting Ready to Edit bin.
4. Drag the sequence you were
working on from the Rough Cut
bin into the Composer monitor.
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Making the First Edit
In this section, you lay down the audio clip, which contains the
sequenceÕs music and narration. You learn how to mark exactly one
minute of the clip, which will be the duration of your Þnished
sequence. First, you play the clip.
1. Double-click the Audio Track clip and play the clip in the Source
monitor.
The clip displays as black because itÕs audio only.
2. Go to the head of the clip by pressing the Home key on your keyboard or clicking the Rewind button under the Source monitor.
Using Digital Audio Scrub
Digital audio scrub is used to locate a speciÞc frame of audio. Use it
now to locate the Þrst frame of music in the audio clip.
1. Press the Caps Lock key to activate digital audio scrub.
2. Play the clip again and click the Play button to stop at the approximate place where the music begins.
3. Press the Step (jog) keys (1, 2, 3, 4 on the keyboard) to locate the
Þrst frame of the music and click the Mark IN button.
When you use the Step keys, a frame of music or speech sounds
scratchy or buzzlike. You might want to increase the volume of
your speakers to hear the Þrst frame of music.
4. Press the End key on the keyboard.
5. Press the Step Backward key to Þnd the last frame of music.
6. Mark that frame as the OUT point.
7. Press the Caps Lock key again to exit digital audio scrub.
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Splicing an Audio Clip
Yellow
Splice-in
If no points are selected,
the entire clip is edited
into the Timeline.
Click the yellow Splice-in button between the Source and Record
monitors control panel to copy the clip into the Record monitor.
The clip is edited onto track A1 of the Timeline. The Þrst frame is
the IN point you marked in the clip; the last frame is the OUT
point you marked in the clip.
The audio track appears in the Timeline. The sequence also
appears in the Record monitor (the audio track appears black).
Playing a Sequence
The Rough Cut bin contains your newly created sequence. By default,
Media Composer names it Untitled Sequence.01. LetÕs change this
name.
1. Click the name Untitled Sequence.01 to select it; do not click the
sequence icon.
The name is highlighted in black and has a box around it.
2. Type Boat Shop Cut and press Return.
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Audio
Monitor
button
The Audio Monitor
button appears when a
speaker is activated.
3. Click the position bar beneath the Record monitor or anywhere
near the left side of the Timeline, then click the Play button to play
the audio.
This audio track should run the length of the sequence, and its
duration should be approximately one minute.
Confirming the Duration
The next steps explain how to conÞrm the duration by displaying the
master timecode, which is the timecode of your sequence.
1. If Master timecode is not displayed, click and pull down the Timecode display from the gray area above the Record monitor and
select Mas (Master) timecode.
The master timecode displays the location of the position indicator
in your sequence.
2. Move the position indicator in the Timeline or the Record monitor
to the last frame of the sequence.
The master timecode should read approximately 01:01:00:00.
Splicing Video into the Sequence
Now weÕll start laying some video over the audio. For the opening
shot in the sequence, use the bridge clip.
1. From the Rough Cut bin, double-click the bridge clip to display it
in the Source monitor.
Play the whole clip
through once Þrst to get
a sense of the material.
2. Mark an IN point midway through the clip, about 2 seconds after
the camera begins to pan left. Watch the timecode at the top of the
Source monitor to determine 2 seconds after the camera pans left.
3. Mark an OUT point 3 seconds and 6 frames (5 frames PAL) later, at
approximately 01:13:43:23.
103
n
If you do not mark an IN point and OUT point, the entire clip will be edited
into the sequence.
4. Move the position indicator in the Timeline or Record monitor to
the head of the sequence.
Deselect
5. Deselect record track A1.
A track changes color when it is selected; it is gray when it is
deselected.
Yellow
Splice-in
6. Press the Splice-in (V) key on the keyboard or click the Splice-in
button under the Source monitor.
The bridge clip is edited into the V1 track in the Timeline and is
displayed in the Record monitor. The position indicator rests on
the Þrst frame of black following the splice.
When you want to
bring an open bin or
monitor to the foreground, you can click
anywhere in it or
choose its name from
the Windows menu.
7. Click anywhere in the Record monitor to activate it.
8. Do one of the following to move to the head of the sequence:
¥
Press the Home key.
¥
Click the beginning of the Timeline.
9. Click the Play button to play the shot in the sequence.
10. Choose Clear Monitor from the clip name pop-up menu above the
Source monitor to close the clip.
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Splicing a Clip in a Pop-up Monitor
The default setting is to open a clip in the Source or Record monitor. If
you want, you can change the default to open clips up in a pop-up
monitor.
1. From the Project window, click the Settings button.
Settings button
Bin selection
2. Double-click the Bin selection (you might have to scroll to locate
the Bin selection).
The Bin Settings (Current) window opens.
105
Click to open pop-up monitors.
3. Click the ÒOpens new monitor for clipÓ option and click OK.
By default, this loads the clip into a pop-up monitor when you
double-click the clip.
4. From the bin, double-click the ducks clip.
This opens a pop-up monitor. Previously, you entered IN and
OUT points, but we need to create different ones. ItÕs not necessary to clear the IN and OUT points. When you create a new IN
point and OUT point, the system automatically clears previously
set points.
5. Locate a frame in the pop-up monitor just after the clipÕs midway
point where the duck that has been sitting in the water is about to
take off. Using the Step Backward key, mark an IN point Þve
frames before the duck begins to move its wings to ßy.
6. Mark an OUT point in the Þrst frame after the duck leaves the
monitor to the left.
106
Playing IN to OUT
Now you can take a look at the marked portion of the clip to make
sure it is what you want.
1. Click the Play IN to OUT button or press the 6 key on the keyboard.
The Play IN to OUT key plays a clip from the IN point to the OUT
point.
If possible, it would be nice to provide a little Òbreathing spaceÓ
before the next shot.
2. Play the rest of the clip to see if there are several frames of water
after the duck leaves the shot.
Using the Go to IN and OUT Buttons
Media Composer provides a number of methods for snapping the
position indicator to an IN or OUT point.
1. Click the Go to OUT button or press the W key on the keyboard.
Go to
IN
Go to
OUT
Whenever you use the
numeric keypad, you
must press Enter after
typing the number.
The Go to IN (or Q) key places the position indicator at the IN
point.
2. Type +6 in the numeric keypad and press Enter to add 7 frames to
the shot.
3. Mark that frame as the OUT point.
The OUT point automatically moves to the new position.
n
You can also press the Option key and the Mark IN button to go to the IN
mark. Press the Option key and the Mark OUT button to go to the OUT
mark.
107
Moving to the Head and Tail of a Shot
Before splicing in the next shot, make sure the position indicator is on
the Þrst frame of black after the bridge edit. To do this:
1. Move the position indicator anywhere to the right of the bridge
clip in the Timeline.
To snap the position
indicator to the last
frame of a shot, press
OptionÐk instead of k
and click the mouse
between the ending
transition and the position indicator.
2. While pressing the k (Command) key, click the mouse between
the transition and the position indicator. The position indicator
snaps to the Þrst frame of the shot.
3. Select source and record tracks V1 in the Timeline.
Using the Splice-in Button
To splice a shot:
Yellow
1. With the position indicator at the end of the bridge clip, click the
yellow Splice-in button under the Source monitor.
The second shot is now edited into the sequence.
2. Go to the head of the sequence and play through the Þrst two
shots.
108
Splicing a Shot into the Middle of a Sequence
With nonlinear editing, you can splice a shot anywhere in your
sequence.
1. To open the clip in the Source monitor, click the Settings button in
the Project window.
2. Double-click the Bin selection.
The Bin Settings dialog box appears.
3. Click the ÒLoads clip into source or record monitorÓ option again
(to deselect it) and click OK.
By default, this loads the clip into the Source monitor when you
double-click the clip.
4. From the Rough Cut bin, open the kids rowing clip in the Source
monitor.
5. Mark IN and OUT points to mark 4 seconds of the camera panning from the girl to the boy.
LetÕs see what this shot looks like between the Þrst and second
shots.
6. Turn on the V1 and turn off the A1 record tracks.
7. Click in the middle of the ducks clip, between the position indicator and the bridge clip.
8. Press and hold k and click the mouse within the ducks clip in the
Timeline to place the position indicator on the Þrst frame of the
ducks clip.
9. Press the Splice-in (V) key on the keyboard.
Wherever you splice a shot into the middle of a sequence, the rest
of the sequence moves down. Splicing lengthens the material on
the track.
10. Play the sequence so far to see what you have done.
109
Undoing an Edit
The kids rowing shot doesnÕt seem to Þt here. LetÕs undo the last step.
Choose Undo Splice-in from the Edit menu or press k-Z.
Use the Undo feature whenever you feel you have made a mistake or
want to go back a step. You can undo or redo up to 32 previous actions
listed in the Edit menu.
Using the I/O (IN Point / OUT Point) Tracking Display
Now you will add two more shots to the sequence.
1. Open the kids in shadow clip.
2. Click the Clear Both Marks button.
3. Mark an IN point in the Þrst half of the clip, one frame before the
second boat enters screen left.
4. Mark an OUT point 3 seconds and 17 frames later (PAL: 3 seconds
and 14 frames) by following this procedure:
a. Choose I/O from the timecode display pop-up menu (under
the timecode) in the gray area above the Source monitor.
The I/O option displays the duration from the IN to OUT
points. If you only mark the IN point, the I/O displays the
duration from the IN point to the position indicator.
b. Step forward until the I/O display reaches 3:17, and mark the
OUT point.
5. Turn off the A1 record track.
6. Move the position indicator to the Þrst black frame.
7. Press the V key on the keyboard to splice the clip into the Timeline
as the third shot.
110
8. Open the rowing forward clip and mark an IN point a little less
than halfway through the clip, when the dory is evenly centered
between the right and left edges of the frame.
9. Mark an OUT point 5 seconds later.
10. Save the bin.
11. Splice the clip into the Timeline as the fourth shot.
12. Choose Save All Bins from the File menu.
YouÕve Þnished this tutorial. You can go on to Tutorial: ReÞning Edits
on page 123, or exit Media Composer.
111
CHAPTER 7
ReÞning the Edit
ReÞning edits tightens and improves the relationship between pictures and sound. This is described in the following sections:
¥
Using Segment Mode
¥
Basic Trim Procedures
¥
Using the Command Palette
¥
Audio Editing
Tutorial: ReÞning Edits contains the following sections:
¥
Overwriting Shots into a Sequence
¥
Marking Clips for Storyboarding
¥
Rearranging Shots
¥
Removing Footage from a Sequence
¥
Trimming
¥
Working with Audio
112
Using Segment Mode
Segment mode provides editing controls for moving, deleting, marking, and editing entire segments in the Timeline. A segment is a portion
of the sequence that includes two or more transitions. There are two
modes for editing segments or adding shots: Extract/Splice-in, indicated by a yellow arrow, and Lift/Overwrite, indicated by a red arrow.
Unlike traditional tape editing, Segment mode allows you to instantly
reposition entire segments using visual controls as though you were
physically ÒdraggingÓ portions of your sequence around on a tape.
You can move shots separately or together, on one track or across
tracks.
Editing in Segment Mode
Observe the following guidelines when editing in Segment mode:
¥
Transition effects on either side of a moved selection are deleted.
Transition effects inside the selection are preserved.
¥
You can track the audio while moving segments by pressing the
Caps Lock key to enable audio scrub.
¥
When you are Þnished, Segment mode continues to affect your
editing in Source/Record mode or Trim mode unless you click the
active Segment Mode button to deactivate it.
Distinguishing Two Types of Buttons
In Chapter 6, you used the Splice-in button. The Splice-in button and
the Overwrite button (see ÒOverwriting Shots into a SequenceÓ on
page 124) take clips from the Source pop-up monitor and put them
into the Timeline. The Segment mode buttons, Extract/Splice-in and
Lift/Overwrite, move segments around within the Timeline. The
names are similar but you use them for different purposes.
113
Basic Trim Procedures
For illustrations of the
various types of trim
edits you can perform
in Trim mode, see the
Avid Media Composer
and Film Composer
Quick Reference.
You can enter Trim mode in several different ways, depending on the
type of trim you expect to perform. Once in Trim mode you can:
¥
Select additional tracks
¥
Toggle between Big and Small Trim mode
¥
Toggle between trim sides
¥
Perform and play back the trim
Entering Trim Mode
There are four alternative methods for entering Trim mode:
¥
Clicking the Trim Mode button. By default the system enters
Trim mode and selects the tracks nearest the position indicator for
dual-roller trimming. This method is useful for selecting straightcut transitions on one track or across video and audio tracks.
Transition selected
for trimming
When you deselect one or more tracks in the Track Selector panel,
by default only the transitions in the highlighted tracks are
selected for trimming. If the transitions are not straight cuts (overlap cuts or L-edits), the system highlights the topmost track nearest the position indicator.
¥
Lassoing the transitions in the Timeline. This method is useful
when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming.
114
Lasso drawn across three tracks
Transitions are selected for dual-roller trim
You can drag from right to left, or left to right, and you can lasso
single transitions across several contiguous tracks. However,
avoid lassoing more than one transition on a single track, because
this activates Segment mode.
n
To select transitions located below several track layers, draw a lasso within
the Timeline by pressing the Control key while you drag.
¥
Using the Go to Previous/Next Edit. By default the system selects
the nearest transition in either direction of the selected track for
dual-roller trimming.
If the transition is a straight cut, the system selects all edited
tracks. If the transition is an overlap edit with staggered transition
points, the system selects the topmost track.
¥
n
Using the Play Loop button. This is useful if you like to trim
quickly as you edit, going back and forth between Trim mode and
other edit modes.
The Play Loop button does not appear in Source/Record mode by default. You
must map it to the keyboard or a palette in advance. For information on button mapping, see ÒUser-selectable buttons, mappingÓ in the online help
index.
115
Exiting Trim Mode
You can exit Trim mode at any time in one of several ways:
¥
Click the Source/Record Mode button or the Effect Mode button.
¥
Press the Escape key on the keyboard to enter Source/Record
mode by default.
¥
Click a speciÞc location in the Timecode (TC1) track at the bottom
of the Timeline to exit Trim mode. The position indicator moves
to that location.
esc
The system exits to Source/Record
mode, and relocates the position
indicator
Click in the TC track at a
selected location
Toggling Between Big and Small Trim Mode
When you click the Trim Mode button, by default the system enters
Big Trim mode. If you click the Trim Mode button again, the interface
toggles between Big and Small Trim mode. This feature has the following uses:
¥
If you prefer the display of Small Trim mode, but need quick
access to the Playback Duration controls from time to time, you
can perform most of your work in Small Trim mode. Whenever
you need the controls, click the Trim Mode button. This saves you
the extra step of opening the Trim Settings dialog box each time.
116
¥
If you prefer the larger monitors and controls of Big Trim mode,
select this as the default. When you need to use the Monitor
menus to switch between sequences, or have occasion to edit
source material into the sequence, you can click the Trim Mode
button to enable Small Trim mode, which includes the Source
monitor controls.
Selecting Between Trim Sides
There are three ways to select sides of a transition to trim:
A-side B-side A and B
A and B
A-side
B-side
A-side
B-side
Highlight indicates
Active sides
¥
In Big or Small Trim mode display, click the outgoing (A-side) or
incoming (B-side) monitor to deÞne which side of the transition to
trim. Notice that the pointer changes to a single-roller A-side, single-roller B-side, or double-roller icon depending on position.
¥
You can also use the Trim-side keys on the default keyboard (or
map them onto one of the monitor palettes while in Trim mode) to
select side A, side B, or both.
¥
You can use the Cycle Trim Sides button to cycle between selection
of the A-side, B-side, or both.
The selected parts of the transition are highlighted, and the corresponding rollers appear in the Timeline. Also, one or both of the
frame counter indicators below the monitors are highlighted to
reßect the active trim sides: A-side, B-side, or both. The number
indicates how many frames have been added or subtracted (-)
from the transition.
117
Performing a Basic Trim
With your transitions and trim sides selected, you can perform a basic
trim using one of the following alternative procedures:
1 Frame 10 Frames
¥
Use the Trim buttons to trim forward or backward by one- or tenframe increments.
¥
Use the numeric keypad at the right side of the keyboard, as
follows:
¥
-
To move the transition a speciÞc number of frames, type a
plus sign (+) or minus sign (Ð) and the number of frames (from
1 to 99) you want to move forward or backward. Then press
Enter. If the number of frames is larger than 99, type an F after
the number to indicate frame count. For example, to enter 200
frames, type 200F and press Enter.
-
To move the transition to an exact timecode, type a timecode
number larger than 99, including frames. For example, type
102 to enter 1 second and 2 frames.
Use controls in the Timeline by clicking a roller at the selected
transition and dragging forward or backward in the sequence.
Click and drag a transition in the Timeline
¥
For greater control:
-
Press the Option key as you drag to move one frame at a time.
-
Press the Command key to snap to other transition points.
As you trim, all selected transitions in the Timeline move in unison.
The Frame counter displays the frame count backward or forward for
118
one or both trim sides, and the monitors display the new incoming or
outgoing frames.
Using the Command Palette
The Command Palette provides a central location for all user-selectable
buttons (USBs) that you can map to various locations for ease of use.
User-selectable buttons allow you to perform a wide range of commands with a single click. You can map buttons to any command palette in a pop-up, Source, or Record monitor and to reconÞgure the
keyboard, AvidDroid buttons, or the Manual User Interface (MUI)
keys. You can also map menu commands to various buttons and keys.
You can use the buttons directly from the Command Palette without
mapping them by deselecting the two boxes at the bottom of the Command Palette, ÔButton to ButtonÕ Reassignment and ÔMenu to ButtonÕ
Reassignment.
The Command Palette groups buttons by editing function. Tabs are
displayed for each function and the buttons that perform those functions are displayed within each tab. The functions are: Move, Play,
Edit, Trim, FX, 3D, MCam, and Other.
All buttons are displayed in the Command Palette. If you cannot Þnd a
particular button, open the Command Palette from the Tools menu
and search for it there. For procedures on mapping user-selectable buttons and menu commands, see ÒUser-selectable buttons, mappingÓ in
the online help index.
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Move buttons
Play buttons
Edit buttons
Trim buttons
Figure 7-1
Master Command Palette Tabs
120
Effect buttons
3D buttons
MCam buttons
Other buttons
Workspace buttons
Figure 7-2
Master Command Palette Tabs (Continued)
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Audio Editing
The Media Composer system provides audio scrub features and
waveform plots speciÞcally designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during
editing or while making adjustments with the audio tools.
Adjusting Volume
You can use the Audio Mix Tool to adjust volume (level) and balance
(pan).
Level adjustment
Pan adjustment
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Tutorial: Refining Edits
In this tutorial you reÞne and trim edits and adjust audio levels. This
section corresponds to the clips and sequence in the bin titled ReÞning
Edits.
n
Be sure to read the preceding overview sections of this chapter before you start
this tutorial.
Table 7-1
Starting the Tutorial: Refining Edits
If you have worked on the
previous tutorial and
Media Composer is still
running:
If you have worked on the
previous tutorial but have
quit the Media Composer
system:
If you are just starting out
with this tutorial and
havenÕt completed the
previous tutorials:
1. Double-click the ReÞning
Edits bin to open it.
1. Launch Media Composer by
double-clicking the application
icon.
1. Launch Media Composer by
double-clicking the application
icon.
2. Press the Option key and
drag the sequence you were
working on from the previous
tutorial into the ReÞning
Edits bin. Close the Rough
Cut bin.
2. From the Boat Shop Project
window double-click the Rough
Cut bin and the ReÞning Edits
bin to open them.
2. Click and drag the ReÞning
Edits Sequence clip into the
Composer monitor to begin the
tutorial.
3. Drag the sequence you
were working on from the
ReÞning Edits bin into the
Composer monitor.
3. Press the Option key and drag
the sequence you were working
on from the previous tutorial
into the ReÞning Edits bin.
Close the Rough Cut bin.
4. Drag the sequence you were
working on from the ReÞning
Edits bin into the Composer
monitor.
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Overwriting Shots into a Sequence
In addition to splicing, you can overwrite shots into a sequence. An
overwrite edit replaces a section of a sequence with other source footage. An overwrite edit does not affect the length of the sequence.
The rowing forward shot is too long. In this section you will edit the
next shot into the sequence before the end of the rowing forward clip.
1. Make sure the Record monitor is active.
2. Place the position indicator in the Timeline on the Þrst frame of
rowing forward.
3. Advance 3 seconds by entering +229 (+224 PAL) in the numeric
keypad, then pressing Enter.
4. Mark an IN point.
Mark In point
5. Open the dories passing clip.
6. Mark an IN point in the Þrst half of the clip, 18 frames (15 frames
PAL) after the tips of the two boats seem to touch in the middle of
the screen.
7. Mark an OUT point a few frames less than 7 seconds later, when
the girlÕs oars are both out of the water, and her left oar just catches
the light.
Red on the
monitor
8. Click the Overwrite button or press the B key on the keyboard.
The shot overwrites the end of the rowing forward clip and
extends beyond it, thus lengthening the video portion of the
sequence.
124
You should now be at about 19:20 into the sequence, with Þve video
clips in it.
Marking Clips for Storyboarding
Storyboarding allows you set up a group of clips in a sequence of
events and then load them into the Record monitor all at once.
In this section, you will mark a group of clips using instructions in
Table 7-2. The table provides a timecode to set the IN point and based
on the duration, you can use the numeric keypad to Þgure out the
OUT point.
Use the following procedure to set your IN and OUT points for each
clip in the table:
1. Load a clip listed in Table 7-2 in its Source monitor.
2. Choose V1 in the timecode display pop-up menu above the Source
monitor.
You will use the V1 numbers to go to the IN point.
3. Mark your IN point based on the Mark IN timecode in Table 7-1.
You might have set the IN and OUT points for these clips in the
previous lesson. Check them to see whether or not they need to be
reset.
125
4. To set the OUT point, enter the duration (from Table 7-2) in the
numeric keypad and press Enter.
5. Mark the OUT point.
6. Continue marking IN and OUT points for the remaining clips, but
do not edit the clips into the sequence yet.
Table 7-2
Mark Points for Boat Shop Clips
Clip name
Mark IN point
Duration
draw knife cu
05:02:08:09
1:16 (NTSC)
1:13 (PAL)
chiseling
04:11:34:22
00:16 (NTSC)
00:13 (PAL)
hammering
04:05:10:08
1:00
drilling
04:04:47:25
1:00
planing cu
04:10:05:17
2:00
planing ms
04:09:24:00
3:19 (NTSC)
3:16 (PAL)
sanding
04:06:52:03
3:12 (NTSC)
3:10 (PAL)
wood burning
04:14:24:02
6:15 (NTSC)
6:12 (PAL)
two dories
01:11:03:03
1:22 (NTSC)
1:18 (PAL)
rowing in mist
01:02:38:29
1:22 (NTSC)
1:18 (PAL)
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Table 7-2
Mark Points for Boat Shop Clips (Continued)
Clip name
Mark IN point
Duration
dories ws
01:06:38:26
4:00
dories to models
04:25:22:28
3:23 (NTSC)
3:19 (PAL)
sign
05:06:52:01
10:00 (NTSC)
10:00 (PAL)
Storyboard Editing the Clips
Frame mode
1. Display the ReÞning Edits bin in Frame mode and click the zoom
box so the bin Þlls the screen, or click and drag the lower right corner of the bin to enlarge the window.
2. Choose Fill Window from the Bin menu to arrange the clips in the
bin.
3. Drag the draw knife cu clip to a clear space in the lower left area
of the bin.
4. Arrange the following clips (after draw knife cu) in two or three
rows, from left to right, and top to bottom, to form the storyboard.
Make sure you maintain the order of clips:
¥
chiseling
¥
hammering
¥
drilling
¥
planing cu
¥
planing ms
¥
sanding
¥
wood burning
¥
two dories
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¥
rowing in mist
¥
dories ws
¥
dories to models
¥
sign
Now youÕre ready to load the marked clips into the sequence.
5. Place the position indicator in the Timeline on the Þrst frame of
black following the dories passing clip and press k while clicking
the mouse.
6. Select only record track V1 and deselect A1 in the Timeline.
7. Select the storyboarded clips all at once:
a. Position the mouse pointer in the bin in the blank area just to
the left of the draw knife cu clip.
b. Lasso the clips by dragging the pointer to the right and down,
making sure to select all of the storyboarded clips.
A box forms as you move the mouse, starting next to the draw
knife cu clip and ending at the last pointer position. All the
names are highlighted in pink.
8. Hold the Option key, press the mouse on one of the clips (on the
image, not the name), and drag the group into the Record monitor.
128
Release the mouse when a yellow arrow appears in the Record
monitor.
The shots are edited in the sequence in the order you speciÞed.
9. To play the sequence:
a. Move the position indicator to the head of the sequence.
Record
track
monitor
b. Activate the speaker icons for tracks A1 and A2 by clicking the
record track monitors (only one record track monitor can be
activated at a time).
Track A2 contains sound for several clips.
c. Click the Play button under the Record monitor.
Rearranging Shots
You can rearrange shots by overwriting material, lifting material, or
removing material. Overwriting material doesnÕt change the length of
the sequence. Lifting material leaves Þller and doesnÕt affect the
length of the sequence. Removing material shortens the length of the
sequence.
Overwriting with the Three-Point Edit
The three-point edit is an excellent way to replace a shot in a sequence.
Use the Mark Clip button to select the shot in the sequence (or mark an
IN and OUT point for a segment thatÕs not a single shot), and mark
either the IN or OUT point in the source clip. The system calculates the
exact duration of the source clip to insert.
LetÕs replace the chiseling shot with draw knife ms to create a
smoother movement across the cut.
129
1. To enlarge this area, in the Timeline:
a. Press the Home key.
b. Click the scale bar and drag the scale box to enlarge the Timeline.
The Timeline wraps onto another line, displaying multiple
Timelines.
c. Click and drag the scale box to the right until you see the
entire chiseling clip.
The Timeline splits in half (or thirds) as it wraps through the
sequence.
2. Move the position indicator to the chiseling clip.
3. Select only record tracks V1 and A2.
4. Click the Mark Clip button in the row of buttons below the Record
monitor, or press T on the keyboard.
The IN and OUT points appear at the head and tail of the clip in
the TC1 track of the Timeline; the marked segment turns purple.
The IN and OUT points also appear in the Record monitorÕs position bar.
5. Open the draw knife ms clip in the Source monitor and mark an
IN point around 2.5 seconds into the clip, when the boatbuilderÕs
motions become smooth.
6. Clear any OUT marks.
7. Click the red Overwrite button or press the B key on the keyboard
to make the three-point edit.
The shot draw knife ms replaces the chiseling shot.
8. Return to the previous Timeline view by doing the following:
a. Click and drag the scale box to the left.
130
b. Move the position indicator in the Record monitor to the head
of the sequence.
Rearranging Footage with Extract/Splice-in
Extract/Splice-in is a great tool for changing the order of shots in a
sequence. LetÕs see what it looks like if we reverse the position of two
shots in the sequence, rowing in mist and two dories.
1. Expand the Timeline again with the scale box; drag and click the
scale box toward the end of the sequence until you reach the rowing in mist clip.
2. Click the yellow Segment Mode (Extract/Splice-in) button below
the Timeline.
When the button is activated, its background turns light gray.
c
DonÕt confuse the Extract/Splice-in and Splice-in buttons. The
Extract/Splice-in button is located below the Timeline; the Splice-in
button is located on the keyboard and between the Record monitor
and the Source monitor (see ÒDistinguishing Two Types of ButtonsÓ
on page 113).
3. Select only track V1. Deselect all audio tracks.
4. Press and hold k key and click and drag the rowing in mist shot
to the left, so it is completely over the two dories shot, and release
the mouse.
Two dories should now follow rowing in mist.
5. Click the Extract/Splice-in button again to deactivate it.
6. Click the Timeline in front of the two shots and play the shots.
The edit works.
131
Removing Footage from a Sequence
You can remove footage from your sequence, and either close or retain
the gap that results. Extract/Splice-in closes the gap, and Lift retains
the gap.
Removing Footage with Extract/Splice-in
The planing ms shot breaks up the feeling of being close to the action.
LetÕs remove it from the sequence and close the gap that results.
1. Use the scroll bar to locate the planing ms clip.
2. Click the yellow Segment Mode (Extract/Splice-in) button below
the Timeline.
To eliminate footage
that does not start and
end at a transition, use
IN and OUT points to
delimit the segment
that you want to
extract.
3. Click anywhere in the planing ms clip on V1, then Shift-click the
audio portion of the clip in track A2.
The clip is highlighted in both tracks.
4. Press the Delete key on the keyboard.
The selected shot is eliminated and the surrounding shots close
the gap.
5. Click the Extract/Splice-in button again to deselect it.
Removing Footage with Lift
Lift retains the gap after lifting footage from the sequence. Use Lift if
you want to maintain the rhythm of a sequence or the synchronization
of the video and audio tracks.
The dories passing shot plays for too long, but we want the next shot,
draw knife cu, to remain in sync with the audio. We will use Lift to
132
shorten dories passing, but maintain the same entrance point for the
next shot. Later, weÕll Þgure out something to put in its place.
1. Display the master timecode in the Record monitorÕs timecode
display by choosing Mas from the timecode pop-up menu.
2. Turn off track A2.
3. Mark an IN point in the sequence at master timecode 01:00:17:29
(01:00:17:24 PAL) by using the Mark IN button below the Record
monitor.
4. Go to the last frame of the dories passing segment by placing the
position indicator in the next clip beyond dories passing. Press
and hold k-Option and click the mouse.
5. Mark an OUT point.
You must mark an IN and OUT point in the sequence.
6. Click the Lift button or press the Lift key (Z) on the keyboard to
remove the segment.
The selected segment lifts out and leaves black Þller in its place.
7. Play the entire sequence in the Record monitor.
Trimming
Trimming allows you to adjust incoming and outgoing frames of your
clip. There are two types of trims: dual-roller and single-roller.
Dual-Roller Trimming
Use a dual-roller trim to adjust both sides of a transition simultaneously, adding frames to one shot while subtracting frames from the
adjacent shot. The total duration of the sequence does not change.
LetÕs cut the kids in shadow shot right on the beat of the music.
133
1. Select record track V1 and deselect the audio tracks. Make sure the
A1 speaker is turned on in the Timeline.
2. Place the position indicator near the ducks/kids in shadow transition, and click the Trim Mode button below the Timeline.
The position indicator snaps to the transition.
Trim
transition
The Record monitor shows the last (tail) frame of the ducks shot
and the Source monitor shows the Þrst (head) frame of the kids in
shadow shot on the right.
New buttons appear below the trim windows. Note that during
double-roller trim mode, both frame counters are purple.
Outgoing video
Incoming video
Transition effect
Trim frame buttons
palette
134
Frame
counters
Play Loop button
n
To see the second row of buttons, click Settings in the Boat Shop Project window, then choose Composer. In the Composer Settings dialog box, click Second Row of Buttons, then click OK.
3. Play the transition by clicking the Play Loop button.
If this button does not appear, choose Command Palette from the
Tools menu, click the Play tab, deselect the boxes at the bottom of
the tab, then click the Play Loop button.
The transition plays repeatedly.
4. To stop the playback loop, click the Play Loop button again.
5. Press the Caps Lock key on the keyboard so you can hear the
audio as you trim.
To use digital audio scrub, make sure the speaker icon for record
track A1 is hollow and increase the speaker volume, if necessary.
6. Press the Option key and click the speaker icon for track A1 if it is
not hollow.
Hollow speaker icon
7. Click the Trim Right One Frame button under the Source monitor
until you hear a change in loudness around the seventh frame
(sixth frame PAL).
Trim Left
Trim Right
Ten Frames
Ten Frames
Trim Left
Trim Right
One Frame One Frame
This adds frames to the tail of the outgoing shot and removes
them from the head of the incoming one. The duration of the video
track remains unchanged.
8. Play the transition again by using the Play Loop button.
135
9. Do one of the following to exit Trim mode:
¥
Click the Source/Record Mode button below the Timeline.
¥
Press the Left Arrow key on the keyboard.
Using Dual Rollers to Trim the Outgoing Shot
LetÕs insert a shot to take the place of the Þller we left in the sequence.
YouÕll replace the Þller with pan lumber, because this shot will provide continuity of movement from the previous shot. Once you overwrite the shot into the sequence, youÕll trim it.
1. Place the position indicator within the Þller between the dories
passing and the draw knife cu clips.
2. Select record tracks V1 in the Timeline, and deselect A1 and A2.
3. Click the Mark Clip button under the Record monitor or press T
on the keyboard.
4. Open the pan lumber clip and mark an OUT point where the lumber is in sunlight and the camera stops panning. Do not mark an
IN point.
5. Select record tracks V1 and A2.
6. Click the red Overwrite button between the Source/Record
window.
c
DonÕt confuse the Lift/Overwrite and Overwrite buttons. The Lift/
Overwrite button is located below the Timeline; the Overwrite button is located on the keyboard and between the Source/Record
window.
136
Trim Shot
In the next steps, you will trim the pan lumber shot so it enters a little
earlier.
1. Enter Trim mode by lassoing the Timeline tracks:
a. Click the cursor above all the Timeline tracks just to the left of
the dories passing/pan lumber transition.
b. Drag the mouse down and to the right to surround the
transition.
The trim rollers appear.
Trim mode
2. Move the transition 74 frames earlier by clicking the Trim
Left Ten Frames button 7 times and the Trim Left One Frame button 4 times.
You see the numbers change in the purple frame counters.
Single-Roller Trimming
In the trims you made so far, you trimmed both the head and the tail
shots an equal number of frames, adding to one side and subtracting
from the other. Now letÕs trim the tail of the pan lumber shot without
affecting the head of the draw knife cu shot.
1. While still in Trim mode, advance to the pan lumber / draw knife
cu transition by pressing S on the keyboard.
2. Select track A2 in addition to V1 in the Timeline because you will
trim both the audio and video of the shot.
137
3. Click the left frame counter (A-Side Trim counter).
Left frame
counter
Your trim will only affect the outgoing shot, which is in the left
Trim monitor. The left frame counter remains purple, while the
right one is deselected.
4. Type -10 and press Enter on the numeric keypad to subtract 10
frames from the outgoing shot.
This moves the transition 10 frames to the left.
5. Leave Trim mode by pressing the Left Arrow key on the keyboard
or by clicking the Source/Record mode button below the
Timeline.
Adding Synced Audio
Now weÕll add some synced audio to the sequence.
1. Open the intervu: LowellÕs Boat Shop clip.
Be sure the volume on the speakers is turned up.
2. Mark the IN point at the start of the Þrst phrase, ÒLowellÕs Boat
Shop isnÕt quite the same as it always has been...Ó and mark the
OUT point at the end of the last phrase, Ò...a great symbol of New
England.Ó
3. Press the Play IN to OUT (6) button on the keyboard to play the
clip from the IN to OUT marks.
The audio is on track A1 in the source clip, but we want to add it to
the end of track A2 in the Timeline.
First weÕll patch from source track A1 to record track A2.
4. To patch the track, quickly drag the cursor from the A1 source
track icon to the A2 record track icon.
138
5. Display the master timecode (Mas) in the timecode display above
the Record monitor.
6. In the sequence, place the Mark IN point at master timecode
01:00:41:00 (01:00:40:25 PAL), in the middle of the dories ws clip.
7. Make sure source track A1 and record tracks V1 and A2 are
selected.
8. Click the Splice-in button between the Source/Record window.
The audio is patched into the sequence.
Working with Audio
In this section, youÕll adjust audio levels to the already placed intervu:
LowellÕs Boat Shop clip.
Adjusting Audio Level
The volume in the intervu: LowellÕs Boat Shop shot is noticeably
lower than in the rest of the sequence. LetÕs make this shot louder.
1. Select record track A2 and deselect track A1.
2. Place the position indicator anywhere within the intervu: LowellÕs
Boat Shop shot.
3. Choose Audio Mix from the Tools menu.
4. In the A2 area, move the A2 Audio Level slider to level +6 by
doing one of the following:
139
¥
Drag the slider to level +6.
¥
Type 6.
¥
Press the Up or Down Arrow key on the keyboard to reach
level +6.
Type a number
Level slider
5. Play a portion of the shot.
The volume is still too low.
6. Activate the Audio Mix Tool by clicking in it, and move the slider
to level +10.
Adjusting Audio Pan
Most of the audio for the sequence plays only out of the left speaker;
the intervu: LowellÕs Boat Shop shot plays only out of the right
speaker. You can adjust the audio pan (balance) so the sound plays
equally from both speakers.
1. Clear any IN or OUT points from the sequence by pressing the G
key on the keyboard.
2. Select record tracks A1 and A2.
3. Activate the Audio Mix window by clicking anywhere in it.
140
4. Click the TimelineÕs position indicator at a point that has audio on
track A1.
5. From the Audio Mix window, pull down None and choose A1
from the Þrst Pan Adjustment window.
6. Pull down the Pan Adjustment window for track A1.
The Pan slider appears.
Choose A1.
Click here
to open the
Pan Adjustment
window.
Drag Pan slider.
7. Drag the Pan slider to the middle of the scale until it reads MID.
To make the slider snap
to MID, press the
Option key and click
the Pan slider.
8. Pull down the Pan Adjustment window for track A2 and drag the
Pan slider until it reads MID.
9. Play a portion of the sequence to check speaker balance.
10. Click the close box to close the Audio Mix window.
YouÕve Þnished this tutorial. You can go on to Tutorial: Adding Effects
on page 123, or exit Media Composer.
141
CHAPTER 8
Adding Effects
Adding an effect to a clip enhances your sequence by fading in or out
of a scene or adding video or a graphic on top of a clip. This is
described in the following sections:
¥
Effects Editing
¥
Displaying the Effect Palette
¥
Effect Types
¥
Applying Effects to a Sequence
¥
Transition Effects
¥
Working in Effect Mode
¥
Rendering an Effect
Tutorial: Adding Effects contains the following sections:
¥
Adding Transition Effects
¥
Adding a Picture-in-Picture Effect
¥
Screening the Sequence
142
Effects Editing
The Avid Composer system offers many effects that you can apply to
your sequences. You can also use third-party plug-in effects that are
compatible with Adobe Photoshopª. The effects that are available on
your Avid Composer system depend on the model and options that
you purchased. For the list of effects available for your model, see the
online book Avid Media Composer Products Reference.
This chapter explains how to apply effects to transitions or segments
(clips) in your sequence. After you have selected the effect and applied
it to a transition or segment, you can adjust the effect parameters to
meet your requirements.
Many effects are real time, which means you do not have to render
them before you play them. You can preview effects that are not real
time before rendering. Rendering an effect creates a media Þle that
plays with the sequence.
After you create an effect, you can save it as an effect template and
reapply the template to other transitions or segments in your
sequence. Some effects can be applied only to transitions, other effects
can be applied only to segments, and some effects can be applied to
both transitions and segments. In addition, some effects can be applied
to a single video layer, and others to multiple video layers.
For an explanation of particular effects and the effect parameters, see
Ó2D Effects ReferenceÓ and Ò3D Effects EditingÓ in the Avid Media
Composer and Film Composer Effects Guide.
143
Displaying the Effect Palette
You select most effects from the Effect Palette in the Tools menu. The
exceptions are Motion effects that you access from the Fast menu
above the Source monitor, the Freeze Frame effect that you access from
the Clip menu, and titles that you create with the Title Tool.
Effect Categories
The effects available through the Effect Palette are grouped by effect
category:
¥
Blend
¥
Box Wipe
¥
Conceal
¥
Edge Wipe
¥
Film
¥
Image
¥
Key
¥
L-Conceal
¥
Matrix Wipe
¥
Peel
144
¥
Push
¥
Saw Tooth Wipe
¥
Shape Wipe
¥
Spin
¥
Squeeze
Each of these effect categories contains multiple effects.
Effect Types
There are two primary effect types that are deÞned by where you use
them in a sequence:
¥
Transition effects
¥
Segment effects (single-layer and multilayer)
Transition Effects
A transition is the point where two clips meet. You apply a transition
effect to the cut point between two clips on the same video track. After
you apply a transition effect, you can adjust its relative position and
duration. Depending on the speciÞc effect, other effect parameters
may apply.
Transition effects are included in all effect categories on the Effect
Palette, except the Image effect category.
For an explanation of the transition effects in each effect category, see
the Avid Media Composer and Film Composer Effects Guide.
145
Segment Effects
You apply a segment effect to an entire clip or a group of clips. There
are two types of segment effects:
¥
A single-layer segment effect, such as a Mask, is applied to a segment on one video track.
¥
A multilayer segment effect, such as a Picture-In-Picture effect, is
applied to the top layer of segments that contain two or more
video tracks that will be played simultaneously.
All of the Avid effects and their effect types are listed in the Avid Media
Composer and Film Composer Effects Guide.
Applying Effects to a Sequence
This section explains how to apply an effect to a sequence in the
Record monitor. You can apply an effect:
¥
To one transition or segment on a single video layer
¥
To multiple transitions or segments on a single video layer
¥
To multiple transitions or segments on multiple video layers
The effect type (transition or segment) determines where you can
place the effect in the sequence. For an explanation of the effect types,
see ÒEffects:types ofÓ in the online help index.
After you apply an effect, the next step is to adjust the effectÕs parameters. To understand how to adjust the effect parameters, see ÒEffect
Mode:adjusting parameters inÓ in the online help index.
146
Working in Effect Mode
After you have created an effect and applied it to a transition or segment in your sequence, you can adjust its appearance and operation
by changing its effect parameters in Effect mode.
Not all effect parameters apply to all effects. Parameters that do not
apply to an effect are disabled in the Effect Mode window. To determine which parameters pertain to an effect, refer to the effectÕs
description in the Avid Media Composer and Film Composer Effects Guide.
Rendering an Effect
You must render a non-real-time effect before it can be played. When
an effect is rendered, the system stores the effect and its media Þle as a
precomputed master clip (often referred to as a precompute). The system uses the precompute to play the effect at its normal speed.
147
Tutorial: Adding Effects
In this tutorial you add dissolves and a picture-in-picture effect. This
section corresponds to the clips and sequence in the bin titled Adding
Effects.
n
Be sure to read the preceding overview sections of this chapter before you start
this tutorial.
Table 8-1
Starting the Tutorial: Adding Effects
If you have worked on the
previous tutorial and
Media Composer is still
running:
If you have worked on the
previous tutorial but have
quit the Media Composer
system:
If you are just starting out
with this tutorial and
havenÕt completed the
previous tutorials:
1. Double-click the Adding
Effects bin to open it.
1. Launch Media Composer by
double-clicking the application
icon.
1. Launch Media Composer by
double-clicking the application
icon.
2. Press the Option key and
drag the sequence you were
working on from the previous
tutorial into the Adding
Effects bin. Close the ReÞning Edits bin.
2. From the Boat Shop Project
window double-click the ReÞning Edits bin and the Adding
Effects bin to open them.
2. Click and drag the Adding
Effects Sequence into the
Composer monitor to begin the
tutorial.
3. Drag the sequence you
were working on from the
Adding Effects bin into the
Composer monitor.
3. Press the Option key and drag
the sequence you were working
on from the previous tutorial
into the Adding Effects bin.
Close the ReÞning Edits bin.
4. Drag the sequence you were
working on from the Adding
Effects bin into the Composer
monitor.
148
Adding Transition Effects
Transition effects are added in between two clips. Effects you can use
include: Blend, Box Wipe, Conceal, Edge Wipe, Film, Image, Key, LConceal, Matrix Wipe, Peel, Push, Saw Tooth Wipe, Shape Wipe, Spin,
and Squeeze.
Displaying Editing Buttons
Before you add effects to the tutorial sequence, you need access to
some effects editing buttons.
1. Choose Composer Settings from the Special menu.
The Composer Settings window opens.
2. Make sure the Second Row of Buttons is selected.
Second row of
buttons option
149
3. Click OK.
A second row of buttons appears under the Source/Record
window.
Adding Fade In
Now weÕll add a fade in effect to a transition.
1. If you donÕt see any video in the Record monitor, click the box to
the right of V1 so a square (tiny monitor) appears.
The video appears in the Record monitor.
2. Select the V1 record track and click the head of the sequence.
3. Press and hold the Fast Menu button between the Source/Record
monitors.
Fast Menu button
4. Click the ADD DISS (Add Dissolve) button.
A dialog box appears.
150
5. Create a 20-frame dissolve (fade in), starting at the cut by doing
the following:
a. Choose Dissolve from the Add pop-up menu.
b. Type 20 in the Duration text box.
c. Choose Starting at Cut from the Position pop-up menu.
6. Choose the disk on which the effect media Þle should be stored
from the Target Disk pop-up menu.
The default disk is Effect Source Disk.
n
Make sure the DonÕt Render Real-Time Effects box is not selected.
7. Click the Add and Render button to render the effect.
The system creates the media Þle of the video effect during the
rendering process. It also places a box in the Timeline where you
added the effect.
8. Play the effect. Press the space bar to stop playback.
Dissolving Between Shots
You can create a nice effect by adding a dissolve between the Þrst two
shots of the sequence.
1. Select the V1 record track and click the Þrst frame of the ducks
clip.
2. Click the Add Dissolve button in the Fast menu.
3. Create a 20-frame dissolve, centered on the cut.
a. Choose Dissolve from the Add pop-up menu.
b. Type 20 in the Duration text box.
c. Choose Centered on Cut from the Position pop-up menu.
4. Choose the disk on which the effect media Þle should be stored.
5. Click the Add and Render button.
151
6. Play the effect. Press the space bar to stop playback.
Creating a Series of Dissolves
After you create one dissolve, you can quickly add it to other transitions in a sequence. In this section, youÕll add a series of dissolves in
the middle of the sequence to smooth the transition between several
short shots.
1. Place the position indicator at the transition between dories passing and pan lumber.
2. Create a 10-frame dissolve, centered on the cut.
3. Repeat steps 1 and 2 for all transitions through sanding/wood
burning.
If you canÕt see the clips in the Timeline, use the scale bar to
expand the Timeline.
n
You do not have to change any dissolve parameters when you make these dissolves.
4. Play the sequence through to see your work.
Creating Audio Dissolves
ItÕs just as easy to add audio dissolves, and the procedure is the same
as adding video dissolves.
As an exercise, create audio dissolves for every audio transition on
track A2 through sanding/wood burning except the beginning and
the end.
Use 10-frame dissolves, centered on the cut. Be sure to select track A2
and deselect other tracks.
152
Adding a Fade Within the Sequence
Now weÕll create a fade to black within the sequence after the dories
passing shot, to cut more forcefully on the words, Òwooden boat
building.Ó Notice that the transition already has a 10-frame dissolve.
1. Place the position indicator on the last frame of the dories passing
shot.
2. Select only track V1.
3. Click the REMO EFFE (Remove Effect) button in the Fast menu.
The dissolve is removed from the transition.
4. Without moving the position indicator, mark both an IN and an
OUT point on that frame.
DonÕt use the Mark Clip button.
5. Click the red Segment Mode (Lift/Overwrite) button below the
Timeline.
6. Press k-X.
A single frame is lifted from the sequence, leaving one frame of
black.
7. Deselect the Lift/Overwrite button.
8. Add a 20-frame dissolve, ending at the cut.
9. Select the disk drive and click the Add and Render button to add
and render the dissolve.
Adding a Picture-in-Picture Effect
WeÕll make one Þnal change to increase the impact of the last part of
the sequence. Using a Picture-in-Picture effect, youÕll squeeze the
image of the boat shop owner into the lower left corner of the screen,
and lay some other images behind him.
153
Using the Second Video Track
This effect will take up two video tracks: V1 for the shots of boats and
boating and V2 for the interview. First, you have to move the interview shot from track V1 to V2.
1. Select the V1 track only.
2. On the V1 track, place the position indicator within the intervu:
LowellÕs Boat Shop shot in the Timeline and click the Mark Clip
button under the Record monitor.
The intervu: LowellÕs Boat Shop shot is highlighted.
3. To add a new video track, choose New Video Track from the Clip
menu on the toolbar.
4. Click the red Segment Mode (Lift/Overwrite) button below the
Timeline.
5. Hold down the Command key and click and drag the intervu:
LowellÕs Boat Shop clip to the track above, V2.
The clip appears on track V2.
6. Click the Segment Mode (Lift/Overwrite) button again to deselect
it.
7. Select track V2 and its monitor.
Creating the Picture-in-Picture Effect
To create the picture-in-picture effect:
1. Select the V2 track and its monitor.
2. Choose Effect Palette from the Tools menu.
The Blend effects, including Picture-in-Picture, are displayed in
the right window.
154
3. Place the position indicator anywhere in the intervu: LowellÕs
Boat Shop clip on V2.
Effect icon
4. Click and drag the Picture-in-Picture Effect icon from the Effect
Palette to the intervu: LowellÕs Boat Shop shot on track V2.
The Effect icon appears in the Timeline.
Effect icon
The boat shop owner appears in a box mid-screen.
155
Background
filler (V1)
Foreground
image (V2)
Repositioning the Image
LetÕs move the image to the lower left corner of the screen.
1. In the Timeline, move the position indicator directly over the effect
icon.
2. Click the Effect Mode button to enter Effect mode.
Parameters for the Picture-in-Picture appear in the Effect Editor.
156
3. Click the image of the boat shop owner. Drag handles (the dots at
the edges and in the middle of the box) appear, and a white hand
appears when the mouse is over a handle.
4. Click the drag handle in the middle of the picture and drag the
image to the lower left corner of the screen.
Adjusting a Parameter
Now letÕs use one of the Picture-in-Picture parameters to soften the
edge of the image.
1. From the Effect Editor, click the Soft slider.
2. Drag the Soft slider to the right to a value of 30.
You can also enter 30 in the numeric keypad.
Soft slider
3. Click the Play Preview button in the Effect Editor to view the
effect.
Add Key
Frame button
Play Preview button
You can click the mouse button or press the space bar at any time
to stop.
157
Adding Key Frames
To add dissolves within the Picture-in-Picture effect, you need to add
key frames. These let the system know this is the location in the Picture-in-Picture effect you want to start the dissolve.
1. Choose V1 from the timecode track menu.
2. In the Record monitor, click the Þrst key frame.
3. Drag the Level slider all the way to the left to display 0.
4. Type +1:00 on the numeric keypad and press Enter to move the
position indicator one second after the Þrst key frame.
5. Click the Add Key Frame button.
6. Drag the Level slider all the way to the right to display 100.
7. Click the mouse button on the last key frame.
8. Drag the Level slider all the way to the left to display 0.
9. Type -15 on the numeric keypad and press Enter to move the position indicator 15 frames before the last key frame.
10. Click the Add Key Frame button.
11. Drag the Level slider all the way to the left to display 0.
Last Key
Frame
First Key
Frame
12. Return to Source/Record mode by clicking the Source/Record
mode button.
158
Adding Background Images
In this section youÕll have the opportunity to add a background image
on track V1, below the intervu: LowellÕs Boat Shop image.
1. Select track V1 and its monitor and deselect V2.
2. Place the position indicator in the Þller just above and below the
intervu: LowellÕs Boat Shop clip in V1 track.
3. Click the Segment Mode (Extract/Splice-in) button.
4. Press k-X.
This removes the Þller and adds the three clips at the end of the
sequence as your background to the picture-in-picture.
5. Select the V2 track.
6. Click the dories to model and Shift-click the sign clips on the A2
audio track.
7. Press k-X to delete the excess audio.
8. Click the Segment Mode (Extract/Splice-in) button again to deselect it.
9. Play your sequence through.
Rendering the Effect
You must render the Picture-in-Picture effect to play it at full speed.
1. Place the position indicator on the Effect icon in intervu: LowellÕs
Boat Shop.
2. Select track V2.
3. Click the REND EFFE (Render Effect) button in the Fast menu
below the Record monitor or choose Render at Position from the
Clip menu.
The Render Effect dialog box appears.
159
4. Select a disk drive in the Render Effect dialog box and click OK.
The Effect Source Disk is the default disk for storing the rendered
effect.
5. After the effect is rendered, close the Effect Palette.
6. To save your work, choose Save All Bins from the File menu.
Screening the Sequence
YouÕve done a lot of work. Now take a look at the sequence.
1. Move the position indicator to the beginning of the sequence.
2. Select the V2 monitor.
3. Click Play.
YouÕve Þnished this tutorial. You can go on to Tutorial: Creating Titles
on page 169, or exit Media Composer.
160
CHAPTER 9
Creating Titles
You can create a new title with the Title Tool and save the title in a bin,
or add a new video track to the Timeline if you want the title to appear
over video. This is described in the following sections:
¥
Creating New Titles
¥
Understanding the Title Tool Window
¥
Working with Text
¥
Text Formatting Tools
¥
Choosing Colors and Setting Transparency
¥
Saving Titles
¥
Editing a Title into a Sequence
Tutorial: Creating Titles contains the following sections:
¥
Adding a Title
¥
Saving a Title
¥
Closing the Title Tool
¥
Editing the Title into the Sequence
¥
Adding Rolling Credits
161
Creating New Titles
You can create a new title with or without a sequence in the Timeline.
However, if you want to create a title with a video background, you
can load a video clip into the Record monitor to use as a reference
frame while you create the title. The video reference frame you select
appears in the background of the Title Tool while you create the title.
The reference frame makes it easier to position text and objects exactly
where you want them and to select colors from the frame to use in the
text and objects.
Because the Avid Composer system automatically loads the new title
into the Source monitor, you can immediately use the standard editing
procedures to edit the title into your sequence. If you create multiple
titles in the same Title Tool session, the system loads the last title you
create into the Source monitor.
n
After you create a title with a particular video format (PAL or NTSC), if you
want to create a title for a project using the other video format, you must exit
and restart the Avid Composer system.
The Avid Composer system saves into a bin each title you create. You
can load a title into the Source monitor at any time or drag the Title
Effect icon from the bin to a segment in the Timeline. You can also drag
a title from the bin onto an existing title in the Timeline; this causes the
existing title to be replaced.
n
The procedures described in this section use a video reference frame to create a
title.
162
Understanding the Title Tool Window
The Title Tool window has several major components:
¥
The tool bar at the bottom of the screen
¥
A video or color background
¥
The title that you create
¥
The safe title and safe action area guidelines. For more information, see ÒSafe Title/Action AreaÓ in the online help index.
The following illustration shows a title over a video background:
Safe action
area
Safe title
area
Video
background
Title
Tool bar
163
Working with Text
By default, the Text Tool is active when you open the Title Tool. Click
in the tool at the position where you wish to begin entering text.
Text Tool
To use the Text Tool at any other time, click the Text Tool icon, click
anywhere within the title frame, and begin typing. A blinking vertical
bar indicates your cursor position in the frame.
The Text Tool remains selected until you select another tool.
Text Formatting Tools
The text formatting tools control the appearance of text. If a text object
is selected when you change an attribute, the Avid Composer system
automatically applies the attribute to the object.
Text formatting tools
164
The text formatting tools allow you to change the following text
characteristics:
¥
Current font
¥
Bold and italic
¥
Point size
¥
JustiÞcation
¥
Kerning
¥
Leading
This section describes how to change these characteristics on a text
string basis. You can also change these attributes on a character-bycharacter basis by editing the text string. For more information, see
ÒTitles:text for, working withÓ in the online help index.
You can also modify the following text attributes on a text string basis:
¥
Color
¥
Transparency
¥
Drop and depth shadows
¥
Outlines surrounding text
While you type text, only the text color is apparent. Shadows, outlines,
and other color attributes appear when you Þnish typing the text and
click the Selection Tool.
n
If you have multiple text elements in a title, and you want to give each element a different appearance, create separate text strings.
165
Choosing Colors and Setting Transparency
You can select the color and transparency for objects, shadows, and
borders.
The following illustration shows the boxes associated with color and
transparency:
Blend and Transparency preview
Color selection
Transparency selection
¥
The Color selection boxes control the Þll (Fill), shadow (Shad), and
border (Bord) color selection.
¥
The Transparency selection boxes control the Þll, shadow, and border transparency selection.
¥
The Blend and Transparency preview windows appear when you
select the Þll or border color or transparency selection box.
If you select a color selection box, the top windows show the two
colors that are used to create the blend. The bottom window
shows the blended color and allows you to control the direction of
the blend or transparency.
If you select a transparency selection box, the top windows show
the two transparency values that are used to create the blend. The
bottom window allows you to control the direction of the transparency blend.
166
Adjusting the Color
To select a color from the Title Tool Color Picker, use an eyedropper to
select a color from any open application on your computer, or use the
Macintosh Color Picker to select a color. All of these features are available through the Title Tool Color Picker (see Figure 9-1).
Color selection bar
Grayscale
selection bar
New Color window
Eyedropper
Original Color window
Select to open
Macintosh Color Picker
Figure 9-1
Shade selection palette
Title Tool Color Picker
The Title Tool Color picker allows you to select object, shadow, or outline color. The box you use controls whether the color applies to an
object, creates a colored shadow, or places a colored outline around the
selected object.
167
Saving Titles
There are three basic ways to work with titles:
¥
Create a new title by choosing New Title from the Clip menu.
¥
Edit an existing title by Control-double-clicking a Title Effect icon
in a bin.
¥
Edit an existing title that is in a sequence.
The main difference between the three methods is that you can use
Save As for the Þrst two but you cannot use Save As for the third
method.
Editing a Title into a Sequence
After you have created a title with the Title Tool, you can use one of
the following two methods to edit the title into your sequence:
¥
Method 1: Add a new video track, load the title into the Source
monitor, mark an IN point and an OUT point, and splice/overwrite the title into the sequence.
¥
Method 2: In Segment mode, drag the Title Effect clip from the bin
to an existing segment in the Timeline between the edit points.
You edit titles into a sequence by using the same editing procedures
you use for video. The only difference is that if you want to key the
title over video, you must add a new video track.
168
Tutorial: Creating Titles
In this tutorial you create a title and edit and add a rolling credit to the
end of the sequence. This section corresponds to the clips and
sequence in the bin titled Creating Titles.
n
Be sure to read the preceding overview sections of this chapter before you start
this tutorial.
Table 9-1
Starting the Tutorial: Creating Titles
If you have worked on the
previous tutorial and
Media Composer is still
running:
If you have worked on the
previous tutorial but have
quit the Media Composer
system:
If you are just starting out
with this tutorial and
havenÕt completed the
previous tutorials:
1. Double-click the Creating
Ttiles bin to open it.
1. Launch Media Composer by
double-clicking the application
icon.
1. Launch Media Composer by
double-clicking the application
icon.
2. Press the Option key and
drag the sequence you were
working on from the previous
tutorial into the Creating
Titles bin. Close the Adding
Effects bin.
2. From the Boat Shop Project
window double-click the Adding Effects bin and the Creating
Titles bin to open them.
2. Click and drag the Creating
Titles Sequence into the
Composer monitor to begin the
tutorial.
3. Drag the sequence you
were working on from the
Creating Titles bin into the
Composer monitor.
3. Press the Option key and drag
the sequence you were working
on from the previous tutorial
into the Creating Titles bin.
Close the Adding Effects bin.
4. Drag the sequence you were
working on from the Creating
Titles bin into the Composer
monitor.
169
Adding a Title
Once you create and add a title to your sequence, you can reposition it,
change the text color, adjust the font and point size, add a shadow or
border, adjust levels and kerning, and bold or italicize it.
Creating a New Title
To create a new title:
1. In the Record monitor, place the blue position indicator on the
bridge clip in the sequence.
2. Choose New Title from the Clip menu.
The Title Tool window opens.
3. Click the Text Tool button. If it is already selected on the tool bar,
the cursor becomes an I-beam when you click in the Title Tool
window.
4. Click in the water below the bridge.
A blinking insertion point appears.
5. Type The Dory.
6. Click the Selection Tool on the tool bar.
Object selection handles surround the title.
7. Choose 72 for the point size.
8. Change the font to Palatino.
9. Click B for bold if itÕs not already selected.
170
Selection
Tool
Font
n
Bold
Point size
Fill box
Shadow Depth box
You might want to drag the right side of the text selection box to eliminate
any unused space, especially if you want to use the Alignment menu commands. To drag the right side, click the middle handle on the right side of the
text selection box and drag it to the left until it is closer to the text.
Repositioning Text
Option-click anywhere in the Title Tool window to switch between the
Selection Tool and the Text Tool.
1. With the Selection Tool selected, click and drag the title so that it
appears across the water.
2. Use the arrow keys to move the title more precisely.
171
Changing Color
1. Click and hold the Fill box.
The Macintosh Color Picker appears.
2. Click a blue color.
The color is applied to the title.
Adding a Shadow
Enter a value of 3 in the Shadow Depth box.
Saving a Title
To save your title:
1. Choose Save Title from the File menu.
A dialog box appears.
2. Type The Dory in the name text box.
3. Choose the Creating Titles bin and a target disk to store your title.
4. Click OK.
Closing the Title Tool
Click the close box. The title appears in the Source monitor and in the
bin where you chose to save it.
172
Editing the Title into the Sequence
To add your title to your sequence:
1. Turn the V2 track on and turn V1, A1, and A2 off.
2. Click and drag the V1 source track to the V2 record track.
3. With the title clip loaded in the Source monitor, set an IN mark at
the beginning of the clip and an OUT mark at 1:00:02:15.
4. In the Timeline, move the position indicator to 1:00:00:06.
5. Click the Overwrite button.
This adds the title to the V2 video track.
6. Play the sequence to see your title.
Adding Rolling Credits
You can create a title in the Title Tool and then make it scroll vertically;
this is known as a rolling title. You can also scroll horizontally; this is
known as a crawling title.
Editing an Existing Title
To edit an existing title:
1. In the bin, Control-double-click the RollingTitle: Credits clip to
open it in the Title Tool.
173
2. Drag the cursor over the entire Your Name text to select it.
3. Type in your name.
4. Click the close box.
A dialog box appears.
5. Click Save.
Two titles appear in the bin (the old title and the new title you just
edited).
Adding a Video Background
1. Double-click the rowing in mist clip to load it into the Source
monitor.
2. Clear any IN and OUT marks.
3. Turn on the V1 record track and turn off all others.
4. Drag the V1 source track to the V1 record track.
5. In the Timeline, move the position indicator to the end of the sign
clip.
6. Click the Splice-in button.
The rowing in mist clip is added to the sequence.
174
Viewing the Creation Date
Your edited title has the same name as the version originally in the bin.
To distinguish the two, you can look at the creation date.
1. Click the Creating Titles bin to select it.
2. Choose Headings from the Bin menu.
3. Select creation date and click OK.
Editing a Title into a Sequence
To splice the title into your sequence:
1. Double-click the new Rolling Title: Credits title clip to load it into
the Source monitor. The new credits clip (you created) will have a
new creation date.
2. From the Source monitor, click the Play button to play through the
rolling credit.
Black appears at Þrst, then eventually the credits appear.
3. Set an IN mark at 00:00:02:12.
4. From the numeric keypad type +33:09 and Enter, then click the
Mark OUT button.
5. Drag the position indicator to the end of the intervu: LowellÕs
Boat Shop clip on V2.
6. Select the V2 record track and turn off all other tracks.
7. Drag the V1 source track to the V2 record track.
8. Click the yellow Splice-in button.
The Rolling Title: Credits clip appears over the rowing in mist
clip.
9. Press Play to view the rolling title over video.
175
Deleting Excess Footage
There is excess footage that continues beyond the rolling title that we
can delete. To do this:
1. Turn on the V1 record track.
2. In the Timeline, move the position indicator to the end of the
Credits clip.
3. From the Fast menu, click the Add Edit button.
This creates a transition.
4. Click the Segment Mode (Lift/Overwrite) button at the bottom of
the Timeline.
5. On the V1 track, click the last clip (the second rowing in mist clip)
in the Timeline to select it.
6. Press the Delete key.
The clip is deleted.
7. Save your project and bins and play the sequence.
Exiting the Title Tool After Creating a New Title
To exit the Title Tool, click the close box.
YouÕve Þnished this tutorial. You can go on to Tutorial: Output on
page 181, or exit Media Composer.
176
CHAPTER 10
Output
Media Composer provides tools for generating output for individual
tracks or entire sequences to various videotape or audiotape formats.
In addition, you can generate an edit decision list (EDL) to be used by
editors in a videotape suite for preparing a master tape. This is
described in the following sections:
¥
Output Options
¥
Preparing for Output
¥
Digital Cut
¥
Supported File Types for Export
¥
Preparing to Export
Tutorial: Output contains the following section:
¥
Recording a Digital Cut to Tape
177
Output Options
Media Composer provides tools for generating output for individual
tracks or entire sequences to various videotape or audiotape formats.
In addition, you can generate an EDL to be used by editors in a videotape suite for preparing a master tape. You can also use VTR emulation
for direct playback of sequences using an edit controller in an analog
editing suite.
Preparing for Output
Preparing for video output involves the following procedures:
For more information
on mixing down audio
tracks, see
ÒAudio:tracks, mixing
downÓ in the online
help index.
¥
Render all non-real-time effects, as described in the Avid Media
Composer and Film Composer Effects Guide.
¥
Calibrate and adjust video output levels (see ÒVideo:output, calibrating (basic or advanced)Ó in the online help index).
¥
Calibrate and adjust audio output levels (see ÒAudio output:preparing forÓ in the online help index).
¥
Decide whether you want to generate stereo or mono audio.
¥
Mix down multiple audio tracks if necessary. Systems equipped
with a two-channel audio board can generate a maximum of two
channels. Systems equipped with the Digidesign audio interface
can generate a maximum of four channels.
¥
(Optional) Select settings for direct four-channel audio output (see
ÒFour-channel audio:output, generatingÓ in the online help
index).
¥
Prepare the record tapes.
¥
(Optional) Record reference bars and tone to tape.
178
Digital Cut
The Digital Cut Tool provides frame-accurate control when recording
a sequence to tape. You can also use the Digital Cut Tool to preview
the sequence with a computer-generated countdown.
If you have a Media
Reader connected to
your system, you can
create burn-in timecode
on the digital cut. For
more information, see
the Avid Media Reader
Setup and UserÕs Guide.
The Digital Cut Tool provides several options for managing the
recording of your sequence. For example, you can:
¥
Record using either assemble or insert edits.
¥
Record a selected portion of the sequence or selected tracks.
¥
Record according to different timecode parameters.
Supported File Types for Export
There are several reasons why you might want to export video, audio,
or both from the Media Composer system:
¥
You can export audio Þles for audio sweetening in compatible
applications.
¥
You can export video Þles for touching up or creating special
effects in third-party applications.
¥
You can export Þles compatible with CD-ROM for use in multimedia projects.
¥
You can export Þles to be viewed as a Quicktime¨ Codec movie.
You can export Þles in the following formats:
¥
Shot log
¥
PICT
¥
QuickTime
¥
OMF Interchange¨
179
Preparing to Export
If you are exporting part or all of a sequence, you can speed the export
process by preparing the sequence in advance as follows:
See the Avid Media Composer and Film Composer
Effects Guide for more
information on rendering.
¥
Render all effects in advance. Although any unrendered effects are
rendered on export (except for an OMF export), rendering effects
in advance saves you time.
¥
Consider mixing down additional tracks in advance, see
ÒVideo:performing mixdownÓ and ÒAudio:performing mixdownÓ
in the online help index.
¥
Check and adjust all pan and audio levels in advance, see ÒUsing
the Audio Mix ToolÓ in the online help index. All current pan and
level settings in the sequence are carried through to the exported
media.
¥
If you are exporting an OMF Þle, remember that OMF does not
mix down the tracks in a sequence during export. OMF maintains
all editing information in your sequence, allowing changes later.
Media Composer mixes down video for PICT and QuickTime formats and audio for PICT formats.
¥
If you are exporting an OMF Þle, consider consolidating the media
to save time and disk space. See ÒConsolidating:mediaÓ and
ÒTransferring:OMF Þles to AudioVisionÓ in the online help index.
180
Tutorial: Output
In this tutorial you create a digital cut. This section corresponds to the
clips and sequence in the bin titled Output.
n
Be sure to read the preceding overview sections of this chapter before you start
this tutorial.
Table 10-1
Starting the Tutorial: Output
If you have worked on the
previous tutorial and
Media Composer is still
running:
If you have worked on the
previous tutorial but have
quit the Media Composer
system:
If you are just starting out
with this tutorial and
havenÕt completed the
previous tutorials:
1. Double-click the Output
bin to open it.
1. Launch Media Composer by
double-clicking the application
icon.
1. Launch Media Composer by
double-clicking the application
icon.
2. Press the Option key and
drag the sequence you were
working on from the previous
tutorial into the Output bin.
Close the Creating Titles bin.
2. From the Boat Shop Project
window double-click the Creating Titles bin and the Output
bin to open them.
2. Click and drag the Output
Sequence into the Composer
monitor to begin the tutorial.
3. Drag the sequence you
were working on from the
Output bin into the Composer monitor.
3. Press the Option key and drag
the sequence you were working
on from the previous tutorial
into the Output bin. Close the
Creating Titles bin.
4. Drag the sequence you were
working on from the Output bin
into the Composer monitor.
181
Recording a Digital Cut to Tape
1. Choose New Deck Controller from the Tools menu. Use the deck
controller to cue and the record tape during Digital Cut recording.
2. Load the Boat Shop sequence (or Output Sequence) into the
Record monitor.
3. Choose Digital Cut from the Output menu.
The Digital Cut Tool appears.
4. Select the Entire Sequence option based upon the following:
¥
Select the Entire Sequence option if you want the system to
ignore any IN or OUT marks and play the entire sequence
from start to Þnish.
¥
Deselect this option if you have established IN and/or OUT
marks for recording a portion of the sequence.
5. Choose an option from the Record to Tape pop-up menu as
follows:
¥
Choose Sequence Time to start the recording at a timecode
existing on tape that matches the start timecode of the
sequence. If you intend to record several sequences to tape
182
one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the
tape.
¥
Choose Record Deck Time to ignore the timecode of the
sequence, and start the recording wherever the record deck is
currently cued.
¥
Choose Mark In Time to ignore the sequence timecode and
establish a speciÞc IN point on the record tape.
6. Select the audio and video tracks you want represented in the digital cut. Only those tracks beside and beneath the speaker icon and
the monitor icon are included in the digital cut.
The display of tracks in the Digital Cut window varies according
to the tracks existing in the sequence.
7. Press Play.
The system cues the record deck, then plays and records the digital cut. The playback appears in the Record monitor and the fullscreen monitor.
8. To stop the recording at any time, press the space bar.
n
After assemble-edit recording, a freeze frame is usually added after the OUT
point for one or more seconds, depending upon the record deck model. This
provides several frames of overlap for the next IN point, before control track
and timecode break up.
YouÕve Þnished this tutorial. You can go on to Tutorial: Backing Up on
page 193, or exit Media Composer.
183
CHAPTER 11
Backing Up
When you digitize footage, the system creates digital media Þles for
the video and audio tracks on the media drives attached to your system. Media Composer provides useful tools and features for directly
managing media Þles for storage and playback, backup and transfer
between systems. This is described in the following sections:
¥
About Media Files
¥
Basic Media Tool Features
¥
Freeing Storage Space
¥
Consolidating Media
¥
Backing Up Media Files
¥
Backing Up Project Folders
Tutorial: Backing Up contains the following sections:
¥
Using the Consolidate Command
¥
Saving Your Work on a Disk or Drive
¥
Restoring from a Backup
¥
Quitting and Shutting Down
184
About Media Files
The system stores the media Þles created during digitizing in folders
on your media drives labeled OMFI MediaFiles (or 6.x MediaFiles if
you are using an earlier release of the Media Composer software).
Media Þles are created in the following circumstances:
¥
During digitizing, a media Þle is created for each selected track
(for example, V1, A1, A2), and they all are linked to the master
clip.
¥
When you render effects, the system creates effect media Þles, otherwise known as precomputes, that are linked to the effect clip.
¥
When you create subclips and sequences, you do not create new
media Þles. These refer to the media Þles for the source master
clips.
To manage media Þles, the system also creates a Database Þle that is
stored in each MediaFiles folder. The system updates the Database Þle
each time you make a change to a media Þle.
The following illustration shows the links among media Þles (stored
on the media drives), the various clips (stored in the bin Þles in the
Composer Project folders on the Avid drive), and an edited sequence
(shown in the Timeline and stored in the bin).
185
Media Objects and Files
Media drive files
Avid (internal) drive files
Drives
OMFI MediaFiles
Composer Projects
Desktop files
Media Database
Bin
Media Composer
Precompute media file
186
Media Relationships
Table 11-1 displays the Media File icon and a description of each icon.
Table 11-1
Media Objects and Files
Object Icon
Object Description
Source Clip
A clip that references the original videotape source
footage for master clips.
Master Clip
A clip that references audio and video media Þles
formed from digitized footage or imported Þles.
Subclip
A clip that references a selected portion of a master
clip.
Sequence
A clip that represents an edited program, partial or
complete, that you create from other clips.
Group clip
A Þle in the bin that combines two or more clips
based on marks or tracking info sync points.
Motion effect
A Þle in the bin that references effect media Þles
generated when you create motion effects.
A clip that references an effect media Þle generated
Rendered effect when you render an effect.
(precompute)
Effect and Title
A clip that references an unrendered effect that you
create.
(For multicamera editing) A clip containing two or
Multigroup clip more grouped clips, strung together sequentially
according to common timecodes.
187
Table 11-1
Object Icon
Media Þle
Media Objects and Files
Object Description
A Þle on the media drive containing digital audio
or video material. Media Þles are formed when you
digitize footage or import Þles, mix down audio or
video tracks, create an effect (precompute media
Þle), or render an effect.
Basic Media Tool Features
The Media Tool provides many of the same controls for viewing and
managing information that you use with bins, including the following:
¥
Three display modes in the Media Tool function like those in bins:
Text mode, Script mode, and Frame mode.
¥
The Media Tool Fast menu gives you quick access to all the same
commands available in the Bin Fast menu.
¥
You can highlight, move, copy, duplicate, delete, and sift clips. You
can also select media relatives, sources, and unreferenced clips.
¥
You can use Text mode headings and display options for columns
of clip and media Þle data. You can also use procedures such as
customizing the display of columns, moving within columns, and
sorting information described in ÒMedia Tool:comparing with
binsÓ in the online help index.
¥
You can use the same Frame mode display options described in
ÒAbout Bin Display ModesÓ on page 64.
¥
You can use the same Script mode display options described in
ÒAbout Bin Display ModesÓ on page 64.
¥
You can print Media Tool data using the same procedures for
printing bins, described in ÒBins:printingÓ in the online help
index.
188
In addition to the procedures just described, the Media Tool has a
number of unique functions, described in this section. These include
the following:
¥
Unlike bins, the Media Tool displays all the tracks digitized for
each clip as separate media Þles. Therefore, when you view, delete,
and manipulate Þles, you have the added option of specifying
individual video and audio tracks.
¥
The Media Tool does not display sequences and subclips. Only
master clips, precompute (rendered effect) master clips, and associated media Þles are displayed.
¥
The following Bin and Clip menu commands do not apply to the
Media Tool: Modify, Select Ofßine Items, and Relink. You must
perform these functions from the bin.
¥
The Media Tool database and display options are not saved as
they are with bins. Instead they are re-created each time you open
the tool. Likewise, when you close the Media Tool, any customization of columns or other views elements is deleted.
Freeing Storage Space
Unlike the bin Þles stored in project folders on the Avid drive, media
Þles require considerable storage space. To maximize your use of storage during larger projects, you can abridge and/or convert media
Þles. You can perform these procedures on clips selected in either the
Media Tool or in bins.
In addition, you can delete unreferenced media Þles for a Þnished
sequence. This procedure is performed on clips selected in bins only.
189
Consolidating Media
When you consolidate media Þles, the system Þnds the media Þles or
portions of media Þles associated with selected clips, subclips, or
sequences. It then makes copies of them, and saves the copies on a target disk that you specify. Because the Media Tool displays only master
clips, you cannot consolidate subclips or sequences with the Media
Tool. You can consolidate master clips, subclips, and sequences in the
bin.
About the Consolidate Feature
For illustrations of the
different types of consolidation, see the Avid
Media Composer and Film
Composer Quick
Reference.
The Consolidate feature operates differently depending upon whether
you are consolidating master clips, subclips, or sequences. There are
also different advantages in each case, as follows:
¥
Master clips: When you consolidate a master clip, the system creates exact copies of the media Þles. If you link the original master
clip to the new Þles, the system creates a master clip with the
extension .old that remains linked to the old Þles. If you choose to
maintain the link between the original master clip and the old
media Þles, the system creates a new master clip with the extension .new that is linked to the new Þles. The new clips are also
numbered incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the
same amount of media for each clip.
¥
Subclips: When you consolidate a subclip or group of subclips,
the system copies only the portion of the media Þles represented in the subclip, and creates a copy of both the master
clips and the subclips. The sufÞx .new is attached, along with
incremental numbering beginning with .01.
¥
Sequences: When you consolidate a sequence, the system copies
only the portions of media Þles edited into the sequence, and creates new master clips for each shot in the sequence. The sufÞx
.new is attached to the master clips, along with incremental
190
numbering beginning with .01. The sequence is not renamed,
but is automatically relinked to the new media Þles.
n
Because a consolidated sequence is linked to the new Þles by default, consider
duplicating the sequence each time you consolidate if you need to maintain
links to the original Þles.
Backing Up Media Files
The MediaFiles folders on your external media drives contain the individual media Þles created when you digitize source material. Unlike
the smaller Composer Project and Avid User folders, these folders are
too large to back up onto diskettes.
The following are the options for backing up media Þles:
For information on
archiving procedures,
see your AVIDdrive
DLT documentation.
For information on purchasing AVIDdrive
DLT, contact your Avid
sales representative.
¥
You can use the Consolidate feature, described in ÒConsolidating
MediaÓ on page 190, to make copies of selected media Þles on a
target hard drive connected to the system.
¥
You can archive larger media Þles and folders to a dedicated massstorage system, such as AVIDdrive DLT (digital linear tape).
¥
You can consolidate or make copies of media Þles for transfer to
another system. For more information, see ÒConsolidating:mediaÓ
in the online help index.
191
Backing Up Project Folders
To back up the larger
media Þles that are created when you digitize
footage, you must use a
mass-storage device
such as the Avid digital
linear tape (DLT)
device. For more information, see the Avid
DLT Tape Drive Setup
and UserÕs Guide.
Although Media Composer automatically saves your bins, projects,
and settings, you should back up these items frequently to avoid losing any of your work in case of a hard drive crash or corruption of the
Þles. Because the storage requirements are minimal, you can back up
these Þles easily to a variety of storage devices, such as:
¥
Diskette
¥
Network storage device, such as a Þle server
¥
Mass storage device
192
Tutorial: Backing Up
In this tutorial you learn to back up and free up space on your media
drive. This section corresponds to the clips and sequence in the bin
titled Backing Up.
n
Be sure to read the preceding overview sections of this chapter before
you start this tutorial.
Table 11-2
Starting the Tutorial: Backing Up
If you have worked on the
previous tutorial and
Media Composer is still
running:
If you have worked on the
previous tutorial but have
quit the Media Composer
system:
If you are just starting out
with this tutorial and
havenÕt completed the
previous tutorials:
1. Double-click the Backing
Up bin to open it.
1. Launch Media Composer by
double-clicking the application
icon.
1. Launch Media Composer by
double-clicking the application
icon.
2. Press the Option key and
drag the Boat Shop sequence
you were working on from
the previous tutorial into the
Backing Up bin. Close the
Output bin.
2. From the Boat Shop Project
window double-click the Output
bin and the Backing Up bin to
open them.
2. Click and drag the Backing
Up Sequence into the
Composer monitor to begin the
tutorial.
3. Drag the sequence you
were working on from the
Backing Up bin into the Composer monitor.
3. Press the Option key and drag
the Boat Shop sequence you
were working on from the previous tutorial into the Backing Up
bin. Close the Output bin.
4. Drag the sequence you were
working on from the Backing
Up bin into the Composer monitor.
193
Using the Consolidate Command
To consolidate the Boat Shop sequence:
For more information
on rendering effects, see
the Avid Media Composer
and Film Composer
Effects Guide.
1. Select the Boat Shop sequence (or Backing Up Sequence).
2. Choose Duplicate from the File menu.
This allows you to maintain links to the original Þles, if necessary,
and render any unrendered effects.
3. Choose Consolidate from the Clip menu.
The Consolidate dialog box appears.
4. Choose one of the following:
¥
ÒDelete original media Þles when doneÓ to delete original
media Þles automatically.
¥
ÒSkip media Þles already on the target diskÓ if some related
media Þles are already located on the target disk.
¥
ÒRelink selected clips to target disk before skippingÓ to ensure
that all selected clips are linked to media on the target drive.
This option appears when you select ÒSkip media Þles already
on target disk.Ó
5. Choose a target disk from the pop-up menu.
194
Make sure that you choose a target disk with enough storage
space for all the consolidated media Þles.
6. Enter a handle length for the new clips in the entry Þeld, or leave it
at 60 frames to accept the default.
7. Click OK.
If you did not choose to delete the original media Þles, a second
dialog box appears and offers you a choice.
8. Link the original master clips to the new or old media Þles, according to preference.
9. Click OK.
Another way to back up media Þles is to copy them directly onto
another hard drive in the Finder. You cannot, however, take advantage
of the storage-saving features of the Consolidate command, and it is
more difÞcult to identify particular media Þles when searching
directly through folders.
c
Do not make copies of media Þles in the Finder while Media
Composer is running. Also, do not keep duplicate copies of media
Þles online; either delete the originals, take the backups ofßine, or
store the backups in a folder with a different name.
195
Saving Your Work on a Disk or Drive
To save your work on a diskette or drive:
1. Mount or insert the drive or diskette as appropriate.
2. Double-click the icon for the targeted storage drive or diskette to
open it. Double-click any additional folders to target the appropriate storage location.
3. Double-click the Avid drive to open it.
4. Drag a project folder, user folder, or Settings Þle to the targeted
storage location.
5. When the system Þnishes copying the Þles, eject the diskette or
drive and store it when appropriate.
Restoring from a Backup
To restore a project, user proÞle, or settings from a backup storage
device:
1. Mount or insert the drive or diskette as appropriate.
2. Open the drive or diskette, and the Avid drive.
If you are restoring an
individual bin or bins,
you must relink them to
the project from within
the Project window. For
more information, see
ÒMedia Þles:relinkingÓ
in the online help index.
3. Drag the copies from the storage device to the appropriate folder
on the Avid drive:
¥
Project folders and settings Þles go in the Composer Projects
folder.
¥
User folders and settings Þles go in the Avid Users folder.
¥
Site settings Þles go in the Media Composer folder.
4. Launch the Media Composer application. The restored project/
user proÞle appears in the Project Selection dialog box.
196
Quitting and Shutting Down
To quit and shut down:
1. Click Quit in the Project Selection dialog box.
2. Choose Leave when the system prompts you.
3. Choose Shut Down from the Special menu.
4. After a few seconds, turn off the rest of your hardware.
Summary
Congratulations on completing the Avid Media Composer Tutorial!
We hope youÕve enjoyed this introduction to the Avid editing process.
After mastering these skills, you can proceed to learn more advanced
techniques for inputting media, adding other effects and titles, and
outputting work for digital cuts or EDLs.
For further information about any Media Composer techniques or features, see the online help system or the Avid Media Composer UserÕs
Guide.
Avid also recommends that you consult the latest Avid Training
Catalog for complete descriptions and schedules of AvidÕs course
offerings. All classes are led by trained, experienced professionals. A
variety of hands-on student activities encourage participant learning.
Call 800-867-2843 for more information.
197
Index
ABCDEFGHIJKLMNOPRSTUVW
A
B
Add Dissolve button (Fast menu) 150, 151
Adding audio 138
Adding shots to a sequence 110
Adjusting
audio hardware 57
hue and saturation 59
luminance 59
volume 139
Adobe Photoshop 143
Agreeing to electronic license 30
Alias, launching an application from 29
Analog VU scale (Audio Input Tool) 58
Applying effects 146
Arrow keys, jogging with 71
A-side (outgoing frames), in trims 117
Audio
adding 138
locating specific frame 101
tracks, monitoring 98
Audio Monitor buttons (Track Selector panel)
Backing up
media files 191
project folders 192
Basic settings 46
Batch digitizing 62
Big Trim mode, toggling between Small Trim
mode 116
Bin display modes 64
Bin pop-up menu (Digitize Tool) 55
Bin settings, defined 46
Bin views 66
Bins
autosaving 162
defined 36
displaying in Project window 44
Frame view 77
Info Display 47
saving, using system backup 192
Text view 77
viewing clips in 76, 91
Bins display (Project window) 44
Black burst generator, turning on 23
Blue bar See Position indicator
B-side (incoming frames), in trims 117
Buttons
Add Dissolve (Fast menu) 150, 151
68
Audio Tool 57
Autodigitizing 61
Avid Composer system, launching the
application 29
Avid Users folder, described 43
198
Audio Monitor (Track Selector panel) 68
Clear Both Marks 88
Cycle Picture/Sound (Command Palette) 98
Cycle Trim Sides (Command Palette) 117
Deck Offline (Digitize Tool) 56
Digitize (Digitize Tool) 56
Digitize/Log mode (Digitize Tool) 56
Fast Menu 150
Focus (Timeline) 95
Frame mode (Bin window) 65
Go to IN (Command Palette) 107
Go to Next Edit (Command Palette) 115
Go to OUT (Command Palette) 107
Go to Previous Edit (Command Palette) 115
In/Out (Audio Input Tool) 58
Internal Waveform Monitor (Video Input
Tool) 59
Lift/Overwrite 132
Mouse Shuttle (Command Palette) 72
Mouse Step (Command Palette) 72
on Command Palette 119
Output (Audio Tool) 57
Overwrite 124
Play IN to OUT (Command Palette) 107
Play Loop (Command Palette) 115
Remove Effect (Fast menu) 153
Reset Peak (Audio Input Tool) 57
Review Transition 115
Script Mode (Bin window) 66
Setup (Audio Input Tool) 57
Single/Dual Drives (Digitize Tool) 56
Source/Record toggle 95, 95
Splice-in 102, 108
Step 69
Subclip (Source monitor) 74
Text Mode (Bin window) 64
Trash/Abort (Digitize Tool) 56
Trim A-side 117
Trim B-side 117
Trim Mode 114
using to control playback 68
Vectorscope (Video Input Tool) 59
Video Monitor (Track Selector panel) 68
C
Clear Both Marks button 88
Clip icon 74
Clips
exporting 179
marking 81
playing 68, 78
sorting by clip name 77
splicing 102
viewing 76, 91
Closing a project 88
Color Picker 167
Color selection boxes in Title Tool 166
Command Palette, using 119
Composer Projects folder, described 43
Composer system
application 29
overview 34
Consolidate command (Clip menu) 194
Consolidate dialog box 194
Consolidating media files 190, 194
Controlling playback 66
Controlling transparency 166
Countdown
customizing 179
in a digital cut 179
Creating
new user 51
subclips 74
Custom Time option (Digital Cut Tool) 183
Custom view 66
Cut list, defined 37
Cycle Picture/Sound button (Command
Palette) 98
Cycle Trim Sides button (Command Palette)
117
199
components 36
nonlinear, defined 35
overview 40
preparing for 39
titles 168
EDL, described 41
Effect 144
Effect categories 144
Effect mode
defined 36
in workflow 40
working in 147
Effect Palette, displaying 144
Effect parameters
segment effects 145
transitions 145
Effect template 143
Electronic license 30
End key 71, 79
Ending the session 89
Entering Trim mode 114
Exiting Trim mode 116
Exporting files
preparing for 180
supported formats for 179
Extract/Splice-in tool 131, 132, 132
Eyedropper tool 167
D
Deck Configuration settings 54
Deck controls (Digitize Tool) 56
Deck Offline button (Digitize Tool) 56
Deck Selection pop-up menu (Digitize Tool) 56
Deck Settings 54
Deleting digitized media 56
Desktop, Composer elements on 24
Digidesign hardware, turning on 22
Digital audio scrub 101
Digital Cut Tool 179
Digital cuts
defined 37
previewing 179
Record to Tape options 183
recording 179
Digital VU scale (Audio Input Tool) 58
Digitize button (Digitize Tool) 56
Digitize Indicator (Digitize Tool) 56
Digitize settings 54
Digitize Tool 55
Digitize/Log mode button (Digitize Tool) 56
Digitizing 61
Digitizing and logging at the same time 61
Digitizing from a mark IN to a mark OUT 61
Digitizing on-the-fly 61
Digitizing preparations 60
Diskette, saving work on 192
Displaying digitizing status 56
Displaying project settings 45
Dissolves, creating a series of 152
DLT for backup 192
Drive, saving work on 196
Dual-roller trim 133 to 136
F
Fade in, adding 150
Fast Forward button 68
Fast Forward button (Command Palette) 68
Fast Menu button 150
File formats for exporting 179
Fixed-storage drive, turning on 22
Focus button (Timeline) 95
Focusing the Timeline 95
Footage
marking IN and OUT 73
E
Editing
basics 35
200
rearranging 131
removing 132
viewing and playing 66 to 73
Frame Mode button (Bin window) 65
Frame offset 86
Frame view 77
Frames
finding with timecode 84
locating with digital audio scrub 101
title background in 162
using frame offset 86
Freeing storage space 189
Freeze Frame effect, accessing 144
Internal Waveform Monitor button (Video
Input Tool) 59
J
J-K-L keys (Three-Button Play) 70, 79
Jogging See Stepping
K
Key frames, adding 158
Keyboard, using to control playback 69
G
L
General settings, defined 46
Go to IN button (Command Palette) 107
Go to OUT button (Command Palette) 107
Launching the application 29
Left Arrow key 71
License agreement, accepting 30
Lift/Overwrite button 132
Luminance, adjusting 59
H
Hardware, starting 22
Home key 71, 79
Hue, adjusting 59
M
Macintosh computer, turning on 23
Macintosh desktop 24
Marking clips
for storyboarding 125
using IN and OUT points 81, 82
using timecode 84
Masks, effect types 146
Master clips
consolidating 190
defined 36
Master timecode, displaying 103
Media files
backing up 191
consolidating
I
IN and OUT points
clearing 88
defined 36
marking 73, 82 to 85
In/Out buttons (Audio Input Tool) 58
Info display (Project window) 47
Input button (Audio Tool) 57
Input pop-up menu (Video Input Tool) 59
Installing tutorial files 25
Interface settings, defined 47
201
defined 190
procedure 194
defined 36
Media Tool features 188
Memory See RAM
Memory window 49
Menu commands
Consolidate (Clip menu) 194
Digital Cut (Output menu) 179
Select All Tracks (Edit menu) 98
Meters (Audio Input Tool) 58
Monitor icons 98
Monitoring audio/video tracks 98
Monitors, viewing in 91
Motion effects, accessing 144
Mouse Jog button 71
Mouse Shuttle button (Command Palette) 72
Mouse Step button (Command Palette) 72
Mouse, using to control playback 71
Moving through clips 68
Multiple layer effects, defined 145
P
Pause button 68
Peak Hold pop-up menu (Audio Input Tool) 58
Peripheral hardware, turning on 22
Picture tracks, monitoring 98
Picture-in-Picture effect
applying 153
defined 146
Play button 68, 80
Play IN to OUT button (Command Palette) 107
Play key 79
Play Loop button (Command Palette) 115
Playback, controlling
with buttons 68
with position bars and indicator 67
with the keyboard 69
with the mouse 71
Playing clips 69, 107
Pop-up monitor
splicing a clip into 105
viewing in 92
Position bar 67
Position indicator
in the Timeline 93
moving with frame offset 86
positioning for title creation 170
snapping to IN or OUT 108
using 67
Precompute 147
Preparing to digitize 60
Preparing to edit, overview 39
Previewing digital cuts 179
Project
closing 88
saving 192
selecting 51
workflow for 37
Project settings, defined 45
Project window
bins display 44
N
New Title command 170
Nonlinear editing, defined 35
Non-real-time effects 147
Numeric keypad 84, 86
O
Online help, accessing 31
Output
See also Digital cuts, EDL, Playback
options 178
overview 41
preparing for 178
Overwrite button 124
Overwriting shots 124, 129
202
Info display, using 47
Settings display (Project window) 45
Projects folder See Composer Projects folder
Second Row of Buttons, displaying 149
Segment effect
applying 145
multiple layer effects 145
single layer effects 146
types of 145
Segment mode
defined 36
in workflow 40
using 113
Select All Tracks command (Edit menu) 98
Selecting
a project 51
Digitize settings 54
title colors 166
tracks for digitizing 55
tracks in the Timeline 97
transitions for trimming 114
trim sides 117
Sequence Time option (Digital Cut Tool) 183
Sequences
adding shots to 109
changing name of 102
consolidating 190
defined 36
dissolving between shots 152
editing a title into 168
editing, overview 40
exporting 179
output options for 178
playing 102
rearranging footage in 129
removing footage from 132
splicing into 104
title editing 168
Settings 45
Settings pop-up menu (Video Input Tool) 59
Setup button (Audio Input Tool) 57
Shuttling
with J-K-L keys 70
with the mouse 71
R
RAM 49
Random access to footage, defined 35
Real-time effects 147
Record Deck Time option (Digital Cut Tool) 183
Record monitor, viewing in 91
Recording digital cuts 179
Recording to the Timeline 56
Redigitizing 62
Remove Effect button (Fast menu) 153
Removing footage from a sequence 132
Rendering effects 147
Repositioning title text 171
Reset Peak button (Audio Input Tool) 57
Resetting peak measurements 57
Resolution pop-up menu (Digitize Tool) 56
Restoring files from backup 196
Review Transition button 115
Rewind button 68
Right Arrow key 71
Rollers See Trim mode
Rolling title, adding 173
S
Saturation, adjusting 59
Saving bins 192
Saving on a drive 196
Saving projects 192
Saving settings for video input 59
Scale bar in Timeline 94
Script mode 65
Script Mode button (Bin window) 66
Scroll bar in Timeline 94
203
Single/Dual Drives button (Digitize Tool) 56
Single-layer segment effects 146
Single-roller trim 137
Site settings, defined 46
Small Trim mode, toggling between Big Trim
mode 116
Source clips
defined 36
in workflow 39
Source material, displaying in Timeline 95
Source monitor
marking edit points in 73, 83
playing clips in 68, 78
viewing clips in 91
Source/Record mode
defined 36
in workflow 40
Source/Record toggle button (Timeline) 95
Splice-in button 102, 108
Splicing a shot 108
Splicing an audio clip 102
Splicing video into audio 103 to 111
Starting a project, overview 38
Status bar (Digitize Tool) 56
Step buttons 69
Stepping
with buttons 69
with mouse 71
with the keyboard 70
Storyboard editing 127
Storyboard, defined 39
Subclip button (Source monitor) 74
Subclip indicator (Digitize Tool) 56
Subclipping 87
Subclips
consolidating 190
creating 74
defined 37
handle (dot) 74
in workflow 40
Switching between digitize mode and log mode
56
T
Tape drive, backing up on 192
Tape Name display (Digitize Tool) 56
Target Drive pop-up menus (Digitize Tool) 56
Text for titles, repositioning of 171
Text formatting tools 164
Text Mode button (Bin window) 64
Text Tool, working with 164
Text view 77
Three-button play See J-K-L keys
Three-point edit 129
Timecode, using as reference for marking 84
Timeline
defined 36
focusing 95
lassoing transitions in 114
monitoring tracks in 98
position indicator 93
scroll bar 93
segment editing of titles 168
source material, displaying 95
title development 162
Track Selector panel 96
viewing in 92
Title text, repositioning 171
Title Tool
creating a new title with 162 to 170
creating multiple titles 162
window 163
Title, editing 168
Tools for text formatting 164
Track Selection panel (Digitize Tool) 55
Track Selector panel, using 96
Tracking audio levels 58
Tracks
monitoring 98
204
selecting 97
video, titles over 161
Transition effects
adding 149
applying 145
Transitions, selecting for trimming 114
Transparency selection boxes in Title Tool 166
Trash/Abort button (Digitize Tool) 56
Trim A-side button 117
Trim B-side button 117
Trim mode
basic procedures in 114
Big Trim mode, toggling between Small
Trim mode 116
defined 36
entering 114
exiting 116
in workflow 40
performing 114
selecting
single transitions in 114
trim sides in 117
using Play Loop button in 115
Trim Mode button 114
Trim sides, selecting 117
Turning on the system 22
Tutorial files, installing 25
Video Input Tool 58
Video Monitor buttons (Track Selector panel)
68
Video output, preparing for 178
Video tracks, monitoring 98
Videotape, recording digital cut to 179
Viewing clips
in bins 76, 91
in monitors 91
Viewing in monitors 91
Viewing source tape name while digitizing 56
Volume, adjusting 139
W
Workspace settings, defined 46
U
Undo command (Edit menu) 110
User profile, creating new 43
User settings, defined 45
User-selectable buttons 119
V
Variable-speed play See Playback
Vectorscope button (Video Input Tool) 59
205
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