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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.
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.
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