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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.
When it comes to audio output, we have similar choices to audio input. First, we can output audio as a signal and this would be done via the Digital Cut tool. So with my sequence selected, and I usually go through the process of marking the entire sequence as well, I will go to the Output menu and to the Digital Cut tool. Here I can choose which audio tracks I'm going to be outputting to and whether or not I'm going to be inserting the audio or assembling the audio. Obviously, this is the tool for laying out audio or audio with picture to tape frame accurately.
You could of course just play the audio from the timeline and record that too if you so wished. So I'm going to close the Digital Cut tool and talk about a different way to get our audio media out of the Media Composer, and that would be to take the sequence in the bin here, right- click, and choose the Export dialog. Here we've got the ability to choose a type of export, so let's go into our Options and we can choose Audio from our list of potential different output types.
We can choose Mono or Stereo, obviously conform to the Sample Rate, Bit Depth and Audio Format of the project, then save, choose a location, in this case I'm going to go to the catalyst_CONTAINER to catalyst_Outputs, and now I'm going to save the audio in my sequence out as a WAVE export. So that's how do we get material out of Media Composers as an exported audio file, so just media essentially. There is of course another option and that would be to take our sequence information and export it as a mixture of both media and metadata.
This, for example, would be the method of moving a project for Media Composer through to Pro Tools for audio finishing. To do that, I am going to do the same thing again. I'm going to right-click on my sequence in the bin and then I've got a couple of different choices. I can either say Send to and choose Pro Tools from here, and you can see I've got a couple of different choices. If my Pro Tools system is in the same facility and I can see the same media, then we don't need to actually render it out. We can just link to the audio. If the Pro Tools system is at another site or somewhere else in town, then we would want to consolidate the audio, so that those files go with the metadata to the mix session.
A different way to do it will be to just choose Export again and here you can see that I can access the same presets for export to Pro Tools here as well. In the Options dialog this is where I can set the video and data details and the audio details. So it's here, for example, that I'm going to choose what type of video I'd like to mix my sequence down to, for the Pro Tools engineers to watch as they mix. I can also choose my destinations for video and audio, and whether or not I'd like to use the current media correction settings. We will specify new ones.
On the Audio Details tab, I could choose a handle length and whether or not I'm consolidating, copying, or linking to the media. Once I'm all set up, I can choose to Export again and this time catalyst_CONTAINER, back to Outputs, and Save and now the AAF is generated to that location along with all of the media necessary to continue to mix the sequence elsewhere. If you're following along with materials, try exporting a few different timelines now using some of the different settings that we've covered.
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