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Migrating from Final Cut Pro 7 to Avid Media Composer 5.5
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Applying audio effects


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Migrating from Final Cut Pro 7 to Avid Media Composer 5.5

with Steve Holyhead

Video: Applying audio effects

In Final Cut Pro, we've got the choice of using audio filters and audio transitions directly within the application itself, but we also have Soundtrack Pro, which has some really great audio EQ, and effect capabilities. In Media Composer, there are really two ways of adding audio effects or filters to our work. The first way is to apply a clip-based effect. There are a couple of different tools for applying clip-based efects. Let's look at those now. I'm going to come up here to my Audio Mixer, and I'm going to choose the Audio Mixer button here.
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  1. 3m 43s
    1. Welcome
      53s
    2. Hardware and software requirements for this course
      1m 6s
    3. Using the exercise files
      1m 44s
  2. 52m 17s
    1. Exploring the similarities and differences
      8m 6s
    2. Comparing the interfaces
      8m 17s
    3. Clips, bins, folders, and the Project window
      9m 32s
    4. Viewing, selecting, navigating, and playing clips
      6m 5s
    5. Marking clips and using the Timeline window
      6m 32s
    6. Creating basic sequences
      9m 20s
    7. Accessing clips from other projects
      4m 25s
  3. 45m 24s
    1. Project structure, formats, frame rates, and the Format tab
      11m 31s
    2. Comparing backup structure
      9m 51s
    3. Organizing media and project assets
      5m 32s
    4. Bringing media into the project
      8m 19s
    5. Understanding media resolutions and locations
      10m 11s
  4. 30m 59s
    1. Exploring site, project, and user settings
      7m 39s
    2. Customizing user settings and keyboard layout
      6m 52s
    3. Using toolsets and workspaces
      6m 36s
    4. Customizing the Bin and Timeline views
      5m 18s
    5. Creating a custom tool palette
      4m 34s
  5. 1h 0m
    1. Linking to multimedia files using Avid Media Access (AMA)
      15m 8s
    2. Importing video, audio, and graphics
      15m 40s
    3. Deleting clips and using the Media tool
      4m 30s
    4. Consolidating
      5m 20s
    5. Transcoding
      9m 58s
    6. Managing an offline to online workflow (with AMA and batch importing)
      9m 38s
  6. 38m 39s
    1. Customizing bin layouts, columns, and tools
      11m 6s
    2. Creating subclips and subsequences
      11m 3s
    3. Using locators for organizing, logging, and editing
      10m 54s
    4. Searching using metadata and PhraseFind
      5m 36s
  7. 46m 10s
    1. Getting tracks into the timeline
      6m 59s
    2. Touring the Timeline window
      9m 41s
    3. Using drag, drop, and gestural editing techniques
      5m 48s
    4. Using timeline selections
      7m 1s
    5. Editing with the keyboard and interface buttons
      9m 45s
    6. Editing vertically
      6m 56s
  8. 56m 31s
    1. Using basic trim tools
      4m 59s
    2. Using smart trim tools
      7m 32s
    3. Combining trim tools
      7m 7s
    4. Using the Trim mode
      8m 0s
    5. Trimming with transition effects
      3m 48s
    6. Using sync locks
      3m 10s
    7. Using Slip and Slide mode
      7m 56s
    8. Setting up the timeline for multi-cam editing
      8m 41s
    9. Multi-cam editing
      5m 18s
  9. 33m 16s
    1. Exploring the audio environment
      5m 29s
    2. Understanding audio basics
      4m 25s
    3. Using the Audio Mixer and audio keyframes
      8m 29s
    4. Applying audio effects
      5m 5s
    5. Importing audio and input settings
      6m 19s
    6. Exporting audio and output settings
      3m 29s
  10. 1h 1m
    1. Creating freeze frames and motion effects
      7m 11s
    2. Using timewarp effects
      4m 40s
    3. Adding transition effects
      7m 33s
    4. Using segment-based effects and nesting effects
      8m 15s
    5. Compositing with keyframes
      11m 0s
    6. Creating titles
      8m 15s
    7. Adding titles and using them in sequences
      7m 27s
    8. Using the color correction interface
      7m 34s
  11. 10m 18s
    1. Preparing and outputting master sequences
      10m 18s
  12. 21s
    1. Additional resources
      21s

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Migrating from Final Cut Pro 7 to Avid Media Composer 5.5
7h 19m Beginner Jul 13, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Working with clips, bins, folders and the project window
  • Customizing user settings and keyboard layout
  • Importing video, audio, and graphics
  • Accessing clips from other projects
  • Comparing backup structure
  • Organizing media and project assets
  • Understanding media resolution and locations
  • Editing in the timeline
  • Mixing audio
  • Compositing with keyframes
  • Creating titles
  • Color correcting footage
  • Preparing and outputting master sequences
Subjects:
Video Video Editing
Software:
Final Cut Pro Media Composer
Author:
Steve Holyhead

Applying audio effects

In Final Cut Pro, we've got the choice of using audio filters and audio transitions directly within the application itself, but we also have Soundtrack Pro, which has some really great audio EQ, and effect capabilities. In Media Composer, there are really two ways of adding audio effects or filters to our work. The first way is to apply a clip-based effect. There are a couple of different tools for applying clip-based efects. Let's look at those now. I'm going to come up here to my Audio Mixer, and I'm going to choose the Audio Mixer button here.

This is actually the effect mode selector. If I click on this, I've got the choice of going to EQ or AudioSuite. Let's start out with EQ. So EQ would allow me obviously to come in and start to do some primary alteration here. Basic alteration to the way that my clip sounds. (Female speaker: ?brings you together, brings you to a simpler time.) I could drop the clip into a loop playback mode, make adjustments, loop again and see what the results are going to sound like.

In addition, I've got access to a number of different presets in here that I can try out against my audio to see how that affects it. So this might be a fast way to solve the problems such as hum or hiss or something like that. If we now move to the next clip, what I can show you is that I can now click back on EQ and choose AudioSuite instead. Now, we've switched from the Audio Mixer to the EQ window and through to the AudioSuite Window. The AudioSuite Window contains a range of other effects that we can apply, everything from Time Shift and Pitch Shift through to Normalize, Delay, Multi-Tap Delay, and there is also EQ choices here as well.

So obviously I make my selection here. I can open up the plug-in interface using this button here, make my adjustments, and move on to the next clip. So there are some tools for adding clip-based effects to your work. Let's go ahead and close this window now, because I'd like to show you another technique. Here in the track I've got access to the RTAS tool. This is actually going to allow me to place an effect over the entire track. So, for example, if I went into here, maybe into Reverb, and then add AIR Non-Linear Reverb.

This is going to pull out my plug-in interface and now I could stop making adjustments as I play back. (Female speaker: ?1950s, across the street from a company in Los Angeles and since I was a little girl?) So as you can see I can mix together both clip-based effects and track-based effects. Incidentally, if we look here, this track-based effect is only on A1 at the moment. So if I wanted to copy this down to A2, what I would do is hold down my Alt button and now I can drop that into the bucket on A2 as well.

I've got an additional 4 buckets, so I can layer a quite complex effects chain in real time across the entire track. Now obviously there is a point where if you've got something very complex to do, you may reach the maximum number of real time effects on that track. If you do reach a point where you've maxed out the number of clip and track-based effects that you can do, then the solution is going to be to do an audio mixdown. So let's do that on the music tracks right here.

What I'd like to do is select from the beginning of my timeline all the way through to the end, and I'm going to activate just the music tracks here. Now, from the Special menu I'm going to choose Audio Mixdown. Here I'm going to select Stereo and the Target Track will be A9. That's the next available track in the sequence. Make sure I render it to my media drive and OK. The audio mixdown is created and now I've got a new track in my timeline which is my audio mixdown for the music.

So what I should do now is mute the original music tracks in my timeline and we'll be able to hear the combination mixdown now on A9. (Music playing) (Female speaker: Swing dancing...) So if I wanted to continue now adding effects, I could. I could come here into my mixdown audio, choose the RTAS tool again. Maybe this time I'd like to go in and alter the dynamics.

You can see here that I could compress, de-ess, expand or use the Bombfactory plug-in to give the whole track some more punch and base. So you can see that you can use these tools together to achieve a quite complicated mix and mix it all down and then continue to add effects onto the mixdown. Of course I do need to point out that when you mix down audio like this, this mixdown is no longer recapturable or reimportable, and as such you'll need to take steps to protect that media if you're going to be going on with your project perhaps to an audio facility or somewhere else for audio finishing.

There are currently no FAQs about Migrating from Final Cut Pro 7 to Avid Media Composer 5.5.

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