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.
To this point, we are mainly concerned ourselves with the horizontal aspect to the timeline, putting one clip after another. Now we're going to turn our attention to the vertical editing, stacking clips on top of one another. The more tracks you have in your timeline, the more difficult your sequence becomes to handle, and that's why most rough cuts try to stick to maybe one or two tracks of video and two to six tracks of audio. Once you have the bulk of your story laid out, then there's much greater call for adding clips to different video tracks, such as the addition of graphics, filters, and multilayer effects.
But sometimes even just the storytelling phase requires a little bit more elbow room, so figuring out how to use multiple tracks in your timeline is a very useful skill set. Here I've got a timeline opened called Go Vertical. It has a single video track with a couple of clips on it and a couple of audio tracks. If I want to add more video tracks to my sequence, Command+Y. I am going to go ahead and stack up a bunch of video tracks here, give us a plenty of room to work with. If I wanted to use Commend+U, I could also add audio tracks as well, but since I'm not really interested in using audio tracks in this segment, what I'm going to do is switch off my video tracks, highlight all of my audio tracks, and hit Delete on the keyboard.
I get a confirmation dialog, "Are you sure you want to get rid of these tracks?" and Yes. So now we can concentrate on just video tracks. As you can see, I have got numerous different locators in the sequence here, and these are labeled to help us stack up these graphic clips here in the bin. So there is the first one, here is the second one, 1440x1090. I'm just going to go ahead and park my timeline cursor on the locater like so, and that means when I drag it over from the bin I can snap the head of my clip to that precise moment in the sequence.
These are the graphics which represent the size of different video formats as compared with the 1080 raster. So as I keep stacking these up here, we'll just add the last two in, and then we'll see what we've got. Of course at the moment we're not seeing the results of the stack, because the video tracks are being monitored just from video 1 down, so at the moment we are still just seeing the background video. Now if I climb up by hitting V2, now I'm monitoring from V2 down.
If I switch again, I'm now monitoring from V3 down, V4, V5, V6, V7, V8, and V9. So now you can see we've got all those different graphic layers stacked on top of one another, and we can see through the center by courtesy of the fact that that they all have a hole in the center that is transparent, so we can see all the way back down to the material on video track 1 on the bottom there. Now compare that with Final Cut Pro, where if I do have a multi-track sequence like this, then in order for me to see from a specific track downwards, I would need to switch off the tracks above.
In Media Composer, I don't need to switch the track off, I just change the monitoring position. Okay, so that's adding video tracks and stacking clips on top of one another. What happens if I need to insert a track in the middle of a bunch of tracks like this? Let's say I want to take this clip here called Stripes and insert it between maybe the HD and the SD layers here. Well, first off, Stripes is unrendered, so I'm just going to go up to the Clip menu and choose to Create Unrendered Title Media, make sure I'm pointing to my correct media drive, click OK, and as soon that's rendered, you can see here that there are just a bunch of shapes that I've created basically with some transparency gradients.
If I wanted to add this in over the top of my HD clips here then I would need to insert it basically at video track 7. There is the power clip right there. Instead of using Command+Y, I'm going to use Command+Option+Y. This time I get an Add Track dialog and I can go ahead and I actually specify the track that I wanted to insert. I'm going to choose V7 as my insertion track, say OK, and Insert. So now, the SD material, the PAL and the NTSC clips, have been pushed up, and the HD material has been left where it is.
So now what I could do is I could go ahead and overwrite this material onto V7 there, so let's go ahead and do that. Make sure that I am patched to the correct track before I do that, and let's overwrite it in. So now when I drag back over, if I'm monitoring from the top here, I can see that the SD clips are clear-- they don't have any of the gradient over them--but as I step down in the sequence now, you will eventually see, will pop back through that Stripes clip onto the HD material.
Now we can see it clearly again. So that's how to insert a track in the middle of a stack of tracks that you've already built up on. Turning back to the 06_04 subfolder here, I've got another bin called vertical_example. If I load this up, really all I'm talking about here is sometimes you just need a bit of extra room when you're preparing a sequence, to figure out different versions. You can see I've got this close-up clip of the dances here, and then moving through I've got this next clip that's a little bit wider, but I've also got an alternative shot down here on V1.
So if you think about it right now, I've got a version of my sequence which starts out with the close-up and then goes to this clip, or if I monitor from up here, then I've got my close-up followed by a different clip, and I can keep doing that if I want to. I'm going to go ahead and add an extra video track to my sequence, make sure I'm monitoring from the right place. And then I've got this Broll clip. I could mark out. If I wanted to, I could go ahead and add this onto V3.
Now when I play back I have essentially created a 3rd version. I've got this version which now we'll cut from 9964 onto video track two and then onwards. this version which starts with the close- up clip and then goes to 9962, and then I've got the bottom-track version as well. So really, all I'm putting out here is that vertical editing isn't just used for effects and graphics and things like that, but we can also use it to quickly preview different versions of our cut.
Obviously, I could've taken this clip and just put it straight onto V1, but I would have overwritten my choices, and so that's really how I'm using vertical editing at the storytelling stage.
There are currently no FAQs about Migrating from Final Cut Pro 7 to Avid Media Composer 5.5.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.