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Migrating from Final Cut Pro 7 to Avid Media Composer 5.5 is a thorough comparison of the interfaces, concepts, tools, and workflow behind each of these two programs, covering the key differences video editors need to know to master Media Composer and make the switch. The course covers the basics of editing in Avid Media Composer, including sequence creation, project organization and navigation, importing and linking media, timeline editing techniques, and how to work with audio and add transitions and effects.
Up till now we've been dealing with material all within the same project. What happens when we need to share material between projects, or what happens if we need to access material of a different frame rate? Over here in the 01_06 subfolder, I have the different_frame_rate bin. Single-click to open up that bin. And you can see here that I've got a sequence called SwingDance. Double-click on that, load it into the Record viewer. Let's play it and have a look at it. (Music playing) (Female speaker: Swing dancing brings you together.) Okay, good start, but it looks like we're actually missing a clip from the beginning of the sequence here.
Let's go find a clip, but let's say that clip is in a different project. How do we get to it? What I'm going to do is I'm going to come up here and click on the Project window, Fast menu, and choose Open Bin. Now initially, this is going to open me up in my current project showing me my current folders and current bins within those folders. However, if I want to go to a different project, if I go out of my current project and into another project, then I can look at the bins and folders within that project instead.
In this case, it's a project that's at a different frame rate and here I have a bin called broll_23976. Let's go ahead and open that up. Now what's happened is that we've opened the bin from the other project inside our current project. If I want to start using the clips now, I simply drag them, drop them into the Source viewer like any other clip, and play them back. (Male speaker: 24 frames a second, Take 1.) (Male speaker 2: Okay and go ahead.) That will do me.
So I've marked myself a clip up now and I'd like to add it to this Timeline. I'm going to drag and drop down into the Timeline area. I know from this yellow arrow here that when I let go of this, what's going to happen is it's going to actually ripple material down my Timeline and throw some things out of sync. So I'm going to use Command+Z to undo that and I want to show you something in the Timeline window itself. Right-click and go to Timeline Settings. Notice here that the Default Segment tool is set to Insert. Let's change it to Overwrite.
That's more useful when we're editing within a sequence that already exists. This time when I drag the clip down, notice I get a red arrow. And if I drag this and snap it to the head of my sequence, this time because I'm in Overwrite mode, I'm not going to ripple any other clips out of sync down my Timeline. (Music playing) (Female speaker: Swing dancing brings you together, brings you to a simple time.) So that was pretty easy. Let's have a look at this clip though, because it looks a bit different than some of the other clips in this sequence.
Notice first of all that the frame rate is displayed and we've got this green dot. That indicates that Media Composer has taken material of a different frame rate and applied a real time time- warp effect to it, so that it plays back correctly in this project. Of course, the material could just be from a different project at the same frame rate. Nevertheless, we'd use the same approach to get material from any project into our current project. Let's say we're really happy where we've gotten to with our sequence and we'd like to save a copy and continue working.
To do that, I'm going to highlight the sequence in my bin and use Command+D to duplicate the sequence. Now I'm going to label the new sequence SwingDance-02 and I'm going to have to double-click on that in order to load that sequence into my Record viewer for further editing. The original version of SwingDance can stay in the bin for safekeeping. One further thing I'd like to point out is just like on the source side, on the record side we also have access to a Timecode menu where I can choose timecode from source video tracks, source audio tracks.
I can change through a frame count, and so on. In the first chapter here, we've gone through some various different methods for getting us up and running in Media Composer and starting to learn the interface. In the next chapter, we'll look at media, projects, and levels of organization.
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