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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.
So in the previous video, we went through all of the things that set us up to do a multi-cam edit. So now we're actually going to through the process of doing some multi-cam editing. The first thing that we'll need to do though of course is create a sequence. So what I'm going to do is right- click in my bin and create a new sequence called commute_multicam. There we go. So now we have a blank sequence ready to go. The next thing we need to do is figure out well, which camera would we like to start on? I think I'm going to happen to know that's where the engine starts and the bike begins its journey.
So that's going to be the first camera that I lay into the sequence. What I'm going to do now is pop this material into my sequence like so, and it shows up it's just one big long clip. The trick to this is now I'm going to switch into Multi-Camera mode, so that's Shift+Command+M, and notice that the controls under the Source viewer have disappeared. And as I move backwards and forwards now in my sequence, notice that the Source viewer is synchronous with the sequence.
So wherever I move in the sequence, I'm also ganged to that same spot in the Source viewer. Now, why are some of the squares going black at various times? Well, that's just simply because some of the clips are shorter than others. So while some clips continue all the way through to the end of the sequence, some of the clips do not. Okay, so let's go back to the beginning. The next thing I'd like to do is I'd like to add a couple of audio tracks into my sequence here. I'm going to disengage these tracks here because what I'd like to do is bring Sadies-Thing, the music, into my sequence like so, so that will be in the background as I'm cutting.
Now we'll lasso back over the tracks that we want, get rid of the tracks that we don't want to cut into, and now all I need to do is initiate playback, and then I can live-switch using the keys 1-9 that I mapped to my keyboard. And the 0 key will allow me to swap Camera Banks. So let's go ahead and do that right now. (cars revving) (music playing) Okay, great! So we've started creating our multi-cam edit, and you could see that because I have Audio Follow Video on then I'm actually getting my audio cutting in alongside the video.
So let's go back and review and see what we've got. (cars revving) (music playing) Okay, so there are couple of moments there that don't seem to match. First of all, it looks like we've got a clip coming in from the end of the journey here that's coming in way too early in the piece.
So here's the great thing. What I can do is I can zoom into the timeline here and show you this. If I right-click on my clip, now I can just switch to whichever camera angle best suits that moment. And the same is true if I've cut to a camera angle that in this particular case looks like it may have ran out of material. So here, for example, what I could do is add an edit point and now just swap the section of that clip that didn't work to something that will work, like so. (cars revving) (music playing) There's another one with some black, so I'll right-click there and switch to a camera angle that's going to work for me.
And of course, if I have clips that didn't quite hit the beat--I know that maybe at the very beginning of the sequence here when I didn't quite have my full groove with the music, I may have hit some beat to little bit late-- you can see that as the audio beat on my Audio 3 and Audio 4 track there. So obviously, I'll just use my Trim tools now to bring that back to the right point and see how that looks. (cars revving) (music playing) There we go! The great thing about this now is if I click on the timecode track and stop multi-cam editing, actually switch myself out of Multi-cam Edit mode, Shift+Command+M, and go ahead and do a whole bunch of extra work on my sequence, but now I'd like to go back into Multicam mode, re-sync my motorcycle_group with this current commute timeline, then all I need to do is choose Shift+Command+M again from my keyboard, and now I'm dropped back into Multi-cam mode, and everything is back in sync.
So I could even pick up and continue multi-cam editing from this point forward if I wanted to. So that's a brief example of how to use multi-cam Editing in Avid Media Composer.
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