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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.
Subclipping allows us to alter the duration of a clip, or else adjust the tracks which comprise that clip. The new subclip created is not duplicating any media, nor is it causing deletion of any media or tracks. It's a new independent clip, which may be shorter and/or have fewer tracks than its parent. I am in the project catalyst_5994 in the 05_02 subfolder, and I've opened up the bin called master_clips.
Subclipping allows us to break up an entire tape or clip's worth of media into manageable chunks. As an example, I have interview clip four here. Let's move through the interview clip and see if we can identify some subclips. (Interviewer: As you age, is this going to be something you're going to keep doing until the day you die?) (Interviewee: It's funny, when I started swing dancing I was doing it for myself.) Okay, so maybe that's a little clip there that we like, a sound bite that we like.
So what I am going to do is I am going to come over here to my subclips_subsequences bin and now I am going to click up here to the left of INT_04 there, which is the name of my clip. Hold down and drag and drop, and now I have my first INT_04 subclip. Let's see what else we can find, maybe further down here. (Interviewee: Okay. (Interviewer: All right. Play.) (Interviewee: Swing dancing is bigger now around the world than it ever was. It's bigger now than it was (Interviewee: when it first came out in the '40s. It's held out for a longer duration. The actual swing era was) (Interviewee: so short and so quick. The second coming of swing has lasted longer.) Okay, so I've got another little subclip there as well.
Repeat the process: click down and drag to the bin. And of course, I could repeat doing this through all of my material until I'd really firmed up exactly which clips or which portions of which clips I'd like to work with when I start editing. One thing I'd like to make very clear is if I load one of these clips back into the Source viewer, you can see that now it really is just that subclip that we'd selected. (Interviewee: It's funny, when I started swing dancing I was doing it for myself.) However, if I add this clip into a sequence, as we'll do later on, you'll see that I can still access the material before and after.
The handles haven't disappeared. They are just not being displayed to us when we're using the subclip. The subclip has a smaller thinner icon compared to a regular clip. So that was an example to use subclipping to get rid of extraneous material quickly to the material that we want to use. Let's look at a different example. Let's choose the master_clips bin again and this time, let's take one of our Broll clips. Play it back. Okay that one is fine. Let's choose another one. Let's play this one back.
(Male speaker: Yeah, eh Tom?) Okay, in this particular case, we've got a clip that has some extraneous audio on it. So we've got some onset audio that we don't need while we are editing. So what I am going to do is I am going to mark the entire length of the clip, but this time down in the timeline area, I am going to disengage A1 and A2. Now that I've switched off the audio tracks, I am going to switch back over to my subclips_subsequences bin, and this time when I click onto the icon and drag to the bin, I haven't created a subclip that's any shorter-- it's still 16 seconds long-- but I have removed the audio tracks.
So that's two different ways to make subclips from master clips. Why do we call them master clips in Media Composer? Well, this is because they are the parent object. If I go back to the master_clips bin, these are the parent objects to the subclips that we've created. That means there is a relationship between a subclip and a master clip. For example, here I am parked on the subclip. We can tell that because we have the skinny little icon, the fact that it says Sub.02 for the name, and also there is no audio on this particular clip.
What if I now wanted to get back to the original clip? Maybe the director says to me, "There's some notes from set that I need to hear." Okay, no problem. What we are going to do is use the Match Frame button, click on that, and now we've matched-framed back to the original clip. You can see that it's no longer appended by Sub.02 and if I play it back, there is indeed the audio with the clip there. (video playing) So that's using Match Frame to find the original clip from a subclip.
Another tool that we have is called Find Bin. Now that I have the master clip loaded here, if I wanted to quickly locate the bin that the master clip resides in, I would come down here and use the Find Bin button. The bin is opened up and the clip that we are on is highlighted inside. Now I am going to show a different example. What I'd like to do is actually show you how to create subsequences. Back in the master_clips bin, I am going to load up the SwingDance sequence.
Let's say that we have some Broll sections here that we'd like to lift out to use in a short promo about the piece itself. What I could do is I could zoom into my timeline here, make sure that I am getting everything, and then I could make an in point and then an out point. I'll hold down Command, so I can snap to the points here, like so. And now I've accurately selected these two clips here that also have their color corrections and also a Transition effect on them.
If I wanted to now copy this out as a subsequence, how would I do that? Well, it's exactly the same. What I am going to do is swap back over to my subclips_subsequence bin, and this time I'm going to click over the Record viewer, hold down, drag and drop into my bin area. And you can see that now I have a subsequence. It's got a sequence icon, and it's called SwingDance_sequence.Sub.01. The great thing about this is this can be loaded into a Source viewer and used as a source like any other clip.
Let's keep going down the timeline. Let's do another example. I am going to use Command to snap there, make an in point, and let's zoom out just a little bit, and maybe I'd like to copy everything there, including the material that's on video track 3. If I want to do that, then I am going to have to also select video track 3, and now we have this whole block highlighted here. Now again, I'm going to click down, drag, drop, and now I've got another subsequence in my bin, subsequence.02. If I load that, I can look at it in the Record viewer, and I could also load it into the Source viewer too if I want to add it into a different sequence.
Let's have a look at that right now. If I did decide to take this material and add it into a new sequence, what would it look like? Well, let's clear the monitor, so that we have no sequence loaded into the Record viewer. Now I am going to mark this entire subsequence here, and I'm going to edit it into this Timeline area. I am being asked, which bin would you like to create the new sequence in? Well, we are in subclips_ subsequences, so let's choose that one. You can see that the default for Media Composer is that we'll add in the subsequence as the discrete clips as they were in the original timeline.
Now we can do that in Final Cut Pro, but we'd have to hold down Command as we added the subsequence to our new sequence. That would allow the clips to show up as discrete clips. Otherwise, in Final Cut Pro the default behavior would've been to put this whole section of clips here into a container and added it to the new timeline in that fashion. By the way, some of you may be thinking "Well, wasn't this clip on the top when you copied it from your original location?" and you're absolutely right.
I actually have my tracks patched the wrong way around here. If I wanted to redo that, I'd undo. Now I could patch V2 down on to V1, and V3 will create its own new track. There we go. That's the right way around, very good. And I'd have to be monitoring up here in order to be able to see that clip up there on V2. So that's using subsequencing, but there is another way to move material around between different sequences in Media Composer.
We don't have to create a subsequence, in other words. We could just copy a number of clips to the clipboard. What I'd like to do is go back to my main SwingDance sequence here. Now I am going to move further down the timeline, and we're going to select another set of clips. I am going to select from there to, oh, let's just say the end of that clip there-- one, two, three, four, four different clips. So I can use Command+C to copy that material, and now I can switch back to my untitled sequence that we're working on and I could go ahead, paste that material into my timeline.
Notice that the material was overwritten. See, what's happening is I'm pasting it over top of the material that was already there. What is governing that behavior? Well, let's undo it once more. If I right-click and in the Timeline settings, this Default Segment tool option, that's what's governing the behavior. You see that it's on Segment Overwrite. If I would have switched that to Segment Insert, now when I copy and paste between sequences like so, I am actually going to move the material further down the timeline by rippling it.
Subclips and subsequences allow you to create a new customized source that can be labeled and kept in the bin for editing. Match Frame and Find Bin allow us to make use of the relationship between master clips and subclips. However, I should point out there is no relationship like that between sequences and subsequences. In the next video, we'll look at organizing our material using locaters.
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