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Migrating from Final Cut Pro 7 to Avid Media Composer 5.5

Understanding audio basics


From:

Migrating from Final Cut Pro 7 to Avid Media Composer 5.5

with Steve Holyhead

Video: Understanding audio basics

So obviously as we start to build up our tracks and create an audio mix, we've got various different tracks that we need to be able to listen to, either together or in isolation. So over here we've got our solo buttons, so this would be soloing A1 and A2. (Female speaker: Swing dancing brings you together.) Or I could choose, for example, to mute A1 and A2, which would therefore solo all the rest of the tracks. (music playing) Now obviously we can use all of the same navigation tools that we've been using up until now.
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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

Understanding audio basics

So obviously as we start to build up our tracks and create an audio mix, we've got various different tracks that we need to be able to listen to, either together or in isolation. So over here we've got our solo buttons, so this would be soloing A1 and A2. (Female speaker: Swing dancing brings you together.) Or I could choose, for example, to mute A1 and A2, which would therefore solo all the rest of the tracks. (music playing) Now obviously we can use all of the same navigation tools that we've been using up until now.

We can use the Spacebar or J, K, L to play clips back. We can scrub through the timeline, and we can step through the timeline. But when we're dealing with audio of course, we're most interested in those modes which enable us to listen to the audio as we move or navigate around the clip or the sequence. So, straight away you probably notice the difference with Final Cut Pro. If I move backwards and forwards in my timeline here or step one or 10 frame forwards or backwards, I'm not hearing any audio.

In Final Cut Pro, I would hear a digital scrub as I move forwards or backwards. So in Media Composer you can switch this on by using the Caps Lock key. Now as I moved backwards and forwards, you'll better hear what I'm doing. (music playing) Same is true from stepping backwards and forwards. (audio playing) If I'm playing back more quickly than real time, Media Composer will support up to 16 tracks of playback up to three times the frame rate. Beyond that, playback will be silent.

(audio playing) And we know that if we want analog scrub then we can hold down K and use L or J to scrub backwards or forwards. (audio playing) So there are some of the different modes of actually navigating around the timeline or within clips and listening back to what the content is. An important audio setting to bear in mind when scrubbing is whether the system is looking forwards from the playhead at the incoming frame, or backwards at the outgoing frame.

If we go to the Project window and to the Settings tab, right up at the top here we have a sitting for Audio, and you can see here that that's exactly what's being displayed. Media Composer is set by default to audibly scrub the incoming fine. If you want to change that, this is the setting that you need. Underneath that is another setting called Audio Project, and we'll cover that at the end of this chapter. Now so far, we've been looking at working with mono audio tracks only, but with Media Composer five and later you can also work with stereo tracks, just like in Final Cut Pro.

This mean you can import, capture, and edit with audio that contains two streams of audio. If I right-click in the timeline window, you can see that I've got the choice of generating a new mono audio track or a new stereo audio track. Command+U will create a new mono audio track; Shift+Command+U will create a new stereo audio track. Now as I mentioned earlier, Media Composer supports playback of up to 16 tracks in real time. So if you're working with stereo audio tracks, you obviously going to get a lot a more bang for your buck, in terms of real-time monitoring.

If you're working with Mono tracks, or you reach the full extent of the 16 tracks of real-time playback, then you can move through to do audio mixdowns. To mix down a whole section of the timeline, what we do is we select that area in the timeline, we go to the Special menu, and then we choose Audio Mixdown from here. We get a dialog which asks us where would like to render the media. We get a choice of which bin to go to and whether or not we're creating a mono or stereo audio mixdown, and this would be the wide combine tracks together to save track real estate and allow yourself more flexibility towards the end of your process when you're mixing many, many different tracks together.

Okay, so we've looked at all of the basics now to do with how to deal with audio and how to monitor our audio. Now let's move through and start mixing.

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