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

Using Slip and Slide mode


From:

Migrating from Final Cut Pro 7 to Avid Media Composer 5.5

with Steve Holyhead

Video: Using Slip and Slide mode

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.
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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

Using Slip and Slide mode

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.

There are currently no FAQs about Migrating from Final Cut Pro 7 to Avid Media Composer 5.5.

 
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