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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.
Now as well as our Trim tools in Media Composer, we also have Slip & Slide tools, which are very similar to what you are used to in Final Cut Pro. Here is an example. This clip here, 9965, when I play it back, notice how the clip ends. (music playing) (Female speaking: Swing dancing is bigger now around the world ) (Female speaker: than it ever was. It's bigger now than it was when it first, when it first came out in the--) Okay, so I like the position of the clip in the sequence, but I don't like the fact that our dancers are coming out of their pose, relaxing, and starting to walk off at the end of the clip there.
So to get this right, what I'm going to do is I'm going to park on the very final frame of that particular clip. Next, I'm going to activate this track, and now what I can do is I can come up here to my Slip Left and Slip Right arrows. Now if I click any of these, what will start to happen is I'll start to slip the material backwards or forwards down the timeline, but leave the actual clip in situ, so you can see that I could end now quite accurately on her finger wag, maybe stop right there, and now if I were to play back the clip, we should have a much better end point.
(Female speaker: It's bigger now around the world than it ever was. It's bigger now than when it first, (Female speaker: when it first came out in the '40s) There we go. That's nice. So that's how to slip a clip without going into Trim mode. Let's go and look at a different example. Here I've got 9980. Let's play it back and just see how it looks. (Female speaker: You want to be authentic and you want to match the dance that you're doing, but you also) (Female speaker: need to be comfortable enough to--) Okay, so again, we've kind of got some spurious action here at the beginning. The hat's just coming out of the frame.
That's a bit disconcerting. So we might want to slip this shot, leaving it in exactly the same place again in the timeline, but slipping the content within it to tidy up the feel and the flow of the edit. So a different way to slip a shot would be to use Trim mode, and the way I enter is to lasso the clip from right to left. So I'm going to click just outside of the timeline here and draw the box over the clip that I want to slip.
Notice that now I've got dual-pink rollers, but they're on either end of the clip, and they are on the inside edges of the clip, indicating that it's going to be a slip. So now I could use my arrows, for example, to slip the content further down the timeline-- that would be one way of working. Another way of working would be to actually use a dynamic trim technique. And so what I'm going to do is drop into Loop Playback mode and I'm going to use my in-point marker or my out-point marker to adjust where the content should cut in or cut out on the clip.
Okay, so here we go. (Female speaker: For swing dancing, you want to be authentic and you want to match--) There we go. (Female speaker: For swing dancing, you want to be authentic and you want to match the dance that you're doing,) (Female speaker: but you also need to be comfortable enough to perform those dances.) (Female speaker: For swing dancing, you want to be authentic and you want to match the dance that you're doing,) (Female speaker: but you also need to be comfortable enough to perform those--) So there, I was able to adjust my in point at the content on the fly, and then I have the Loop Playback update to show the results of that change in real time.
So that's another way of slipping material in the timeline, but this time I was able to get a bit more context in terms of the feel of the music, what's being said, et cetera, et cetera. Notice also that when I'm slipping in Trim mode, I get a nice display that shows me the incoming and outgoing pops of the clip that I'm working on, but also the neighboring clips. This is the tail of the outgoing, and this is the head of the incoming clip, and that's why, as I move this clip forwards and backwards in the timeline, we only see updates here.
We don't see an update here on the outgoing or here on the incoming side, and that's because, again, we're not adjusting anything else in the sequence other than this individual clip and the content within it. Okay, let's move on to Slide. You can see here if I exit Trim mode and I zoom in a little bit, that we've got a gap between 9980 and 9940. Let's play over the gap and see what it looks like. (Female speaker: Comfortable enough to perform those dances.) So that's not really very smooth.
It's too short of a gap to really make any sense, so let's say we wanted to slide this clip further down the timeline. Well, yes, we could use our red Segment mode, lift Overwrite arrow, pick it up, and move it around. But I want to show you a different technique, so this time what I'm going to do is I'm going to hold down Shift+Option, click back outside of the timeline area, and draw a bounding box over my clip, let go. But notice there is a difference. The pink rollers are now on the outside of my clip, and what this means is that the contents of my clip won't change; rather, the outside edges will change.
In other words, the clip will move up or down the timeline and the transition point here would change depending upon which way I go. So let's try this right now. Let's start slipping up or down the timeline. You can see that the actual track here gives us some update, and we'll also see updates here and here, but obviously this material will remain exactly the same. Let's move it back down though, because it's really moving it up, so it covers that gap, which is really what I'd like to do.
Once it hits that clip, it stops there. I can continue of course, but it'll always stop when it hits another clip to give the opportunity to say, no, that's good. That's where I want it to be. So that's sliding a clip that had black both before it and after it. Let's change around now and slide maybe MVI_9980 instead and see how it beehives. Again, I'm going to hold down Shift+Option, click up outside of the timeline area, lasso my clip. Now this time as I slide the clip watch what happens.
As I slide this way down the clip or this way up the clip, again, the content of the clip that I'm working on remains the same. But notice this is very different to simply picking up a clip using the red Segment Overwrite arrow and moving it, and the reason for that is as follows: If I did pick this up with the Red Segment Overwrite Arrow and move it either left or right down my timeline then I would leave a gap on one side. Whereas when I'm doing this using slide and using my arrows here, or maybe doing a dynamic update trim, I'm actually going to be bringing the material on either side of my edit with me.
So as I slide this clip further down the timeline, notice that I'm also extending the outgoing side of 9980 and retracting the head of 9940. So that's the difference between picking a clip up and sliding it down the timeline, versus sliding it down the timeline using the Slide tools themselves. Okay, so now we've seen some really good examples of the range of tools available for working with clips in the Media Composite timeline. Using interface buttons, keyboard commands, gestures, and dynamic keystrokes during loop playback, we can trim the heads and tails of clips in either Ripple or Overwrite mode, and we can also move transition points backwards and forwards, move entire clips by sliding them, or change the content of a clip by slipping it.
In short, we have all the control at our fingertips now. The only thing that we need to do is practice to make us faster.
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