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Migrating from Final Cut Pro 7 to Avid Media Composer 5.5
Illustration by John Hersey

Exploring the audio environment


From:

Migrating from Final Cut Pro 7 to Avid Media Composer 5.5

with Steve Holyhead

Video: Exploring the audio environment

When you're editing, the use of various tools for trim, effects, multi-cam editing, or audio is a continuous flow. Editors are using all of the tools in concert to achieve the desired effect. However, for study, we sometimes have to break things out by themselves. In the case of audio, this is particularly necessary because the topic is huge and because there are many specialized audio tools, techniques, and processes. Here in the audio_basics bin, I've got a sequence called audio_pass loaded into the Record viewer.
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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

Exploring the audio environment

When you're editing, the use of various tools for trim, effects, multi-cam editing, or audio is a continuous flow. Editors are using all of the tools in concert to achieve the desired effect. However, for study, we sometimes have to break things out by themselves. In the case of audio, this is particularly necessary because the topic is huge and because there are many specialized audio tools, techniques, and processes. Here in the audio_basics bin, I've got a sequence called audio_pass loaded into the Record viewer.

What I'd like to do is spend a few moments just re-familiarizing ourself with the Media Composer interface, but this time from an audio perspective. So here in the bin I've got some audio-only clips. You can see that they have a small icon that's a black box with an audio waveform inside. If I switch to Frame view, you can see that they're displayed as a blue box with an audio waveform inside there. If I double-click and load it into my Source viewer, there is no image associated with the clip.

However, the name of the clip is up here, the icon is also here, and of course if I play it back, I'll hear it. (whooshing sound) Now, in Final Cut Pro, we're used to seeing the big old waveform here in the viewer, and that's not the case with Media Composer. If we want to see the audio waveform of our source material then we need to come down here to the timeline area, and we need to toggle the Source/Record timeline view.

Now we can see the audio waveform for our source material just like we would in Final Cut Pro up here in the viewer area. One thing that will really help us take full advantage of being able to see the waveform like this is to make the tracks a bit bigger. We have done that several times in the course. What I'm going to do here is actually choose my Audio Editing toolset that we set up in Chapter 3. Here I've automatically switched on various tools, such as the Audio tool, the EQ tool, the Audio Mixer tool, and resized the timeline area, so I can see and use the tools in the timeline a lot easier.

The Composer window is also being collapsed down into a single viewer. The thinking here being is if we're at the audio mix stage, we probably want to concentrate on our sequence. We don't really need to use up the screen real estate with the Source viewer. And now that my tracks are a bit bigger, you can also see that I'm displaying extra information here in the timeline. Not only do I have the name of my clip, but I also have its source track. So let's switch back to monitoring the record side, and let's play back our sequence and notice where Media Composer is giving us feedback.

(music playing) (Female speaker: Swing dancing brings you together.) (Female speaker: It brings you to a simple time where the rules were defined.) So one of those obvious places we're getting feedback is here in the Audio tool. Now, if this wasn't opened, we would be saving some screen real estate, and we would be relying on this audio meter here, built into the timeline. Now one quick thing here to note is that next to 1 and 2 we have an In/Out button.

If I click this to In, notice that the audio levels are sort of just hovering there, and the reason for that is what I've just done is I've switched my Audio tool to be looking at the incoming audio signal. Now, of course when I hit Play in the timeline, it's going to snap straight back to Output mode. (music playing) (Female speaker: One person follows one person.) And then flip back to Input mode when I stop again. Most times when we're editing we're going to want to leave that in Output mode and just be monitoring what's going out of the system.

Now next to the audio meters here, we have the Meter menu. Here we can do things like set how the meter behaves: Peak Hold, Infinite Hold, Reset Peaks. We can also set a reference level, for example, and choose what that reference level might be. We can also play calibration tone directly from here, (beeping) and we can also create tone media as well. If we wanted to create four tracks of tone media and send it to our bin here, just check the correct drive, click OK, and now I'm going to render Audio Tone Meter directly to my bin, like so.

If I really want to keep my setup looking very sparse, I also have the ability to hide the audio meters here in the timeline toolbar as well. Let's put them back on for now. If I now re-choose Audio Editing mode, I'll bring the bigger audio tool back up, and we can see that we have pretty much the same functionality inside of the main audio tool, as well as access to our Input and Output setting. The other area where we're getting feedback inside of Media Composer as we move backwards and forwards through our sequence is that the Audio Mixer tool is reflecting the levels over which it is parked.

So as I move other clips which have different levels, you see those levels update in the Audio Mixer tool itself. So that's a basic layout of the audio environment here in Media Composer. In the next video, we'll start to actually use these tools to affect the audio levels and audio properties.

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