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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.
Trimming tools are about making the process of adding and removing frames or altering transition points in a sequence faster, easier, and more intuitive based on feedback provided by the specialized trimming tools themselves. Here in my Bin, I have a sequence called simple_trim_2. That's really a duplicate of simple trim, which we used in the previous video. It's got the sign issues, but we are going to fix them using these tools here in the Smart palette. You can see I have got Overwrite Trim, which is the red film can with some film unfurling from it-- that's what the icon is meant to represent-- and then I have got the Ripple Trim tool, both of them used for directly trimming using the cursor in the timeline area. And just like the red and yellow arrows, they can be activated individually, toggled on and off like so, and you can also use them in combination with each other.
We are going to start out though, by just using them on their own. So we have the Ripple Trim tool activated. If I go to my first transition point, let's just zoom in a little bit. This is the transition point where we had a bit of extra material on the A side going out and the incoming side was just fine. So if I hover my cursor now near to the transition point, notice that if I hover to the left, I get film unfurling to the left on my yellow icon here.
So this indicates that I would be affecting the outgoing side of my trim only. If I move it over to the right and I hover on the right-hand side of my transition area then the film can is indicating that it would be affecting the incoming side of the trim only. Incidentally, if I hover over the center, I get this dual white roller trim. We are not going to be using this right now, but this would indicate that we were affecting both sides; it would be a dual-sided trim. So when it comes to this specific example here where we removed the material from the outgoing clip to get rid of this gap here, if I wanted to repeat that move using the Ripple Trim tool, what I'd do is hover to the left, because that's the side that I want to affect, click down, and I get a yellow roller.
I am going to make sure that my Link Selection Toggle in on, because next time I go in, that will automatically select my audio at the same time, because I want to keep everything in sync. Now all I need to do is click down and hold, and now I can drag backwards and forwards in the timeline. You can see that the outgoing tail is updating there, up in the upper part of the interface, and I am also getting those pink boxes which count the number of frames I'm adding or removing from any side of the edit. So, if I take about -15, that's 15 frames removed from the tail of the interview clip 1.
If I am happy with that then I can let go, the trim is performed, and if we playback -- (Female speaker: The music, the dance floor, and your partner. My great-grandmother--) We fixed our edit pretty quickly. Let's keep moving down the timeline and go to the next transition point. You may remember here that we had some slack on the outgoing side, and then the incoming side of the edit was a little bit clipped. (Female speaker: I was just in elementary school. This weird line that you have to--) So in this case what I am going to do is I am going to hover my cursor over to the top of the center point in the transition here and get to dual-white roller.
This time when I click down, I get dual-pink rollers across all my tracks because I activated the Link Selection toggle. And now, again, if I want to make an edit, I can click down and drag to the left. This is adding, now, material to the outgoing side and removing material from the incoming side. And this time you could see that I am getting a readout on both sides of the edit. I'm removing nine frames here, and I am adding nine frames here. Incidentally, this time I've left the rollers intact.
I haven't clicked on the timecode track yet, and so this has left me active within Trim mode. So I could hit the spacebar, for example. (Female speaker: I was just in elementary school. There's this weird line that you have to try to--) (Female speaker: I was just in elementary school. There's this weird line that you have to--) So spacebar is going to keep me in Trim mode but allow me to loop play over the transition point. Of course, if I wasn't happy now, I could go ahead and make additional adjustments. For example, let's say the producer just came back into the room and told me, "Okay, yeah, I like the fact that you've now fixed the incoming material, but I really liked the pause at the end of interview clip 2.
I would like you to put that back in." How would I do that? Well, all I need to do is bring my timeline cursor back over to near the transition point, like so, and you can see I now get the choice of my yellow cursor again, and click once, and now I've converted my dual rollers into single rollers on the side that I want. If I wanted to reinsert a gap now, just click down, and I could begin to extend out the tail, and obviously I don't want to get her too far, because she will start her next word, but extend out the tail a little bit like so, just give it a bit of a breath.
Now notice also in the center there, we are starting to see different numbers crop up in the pink boxes here. This one is pink because this is the side that I'm currently affecting. When we did that dual-roller trim, both numbers were the same. They were both nine frames different from the original transition point. Now that we've affected this side on its own, we have got a differential between the two. Let's hit spacebar again and see what we've got. (Female speaker: I was just in elementary school. There's this weird line that you have to try to--) Okay, so if that's what my producer wanted, we have gone ahead and make that change.
But let's just make one more note on these numbers here. Notice that when we moved towards the head of the sequence we get a minus number, and when we move towards the tail of the sequence we get a plus number. So if we see the same number in both boxes, we know that a dual-sided trim has taken place. If we see different numbers in the boxes then we know that a single-sided trim has taken place at some point during the operation. I am going to click on the timecode track to get out of Trim mode and just move down the sequence to the final example that we have here.
(Female speaker: And can this dress hold up? Swing dancing is big--) This was the example where we created a split edit, so if I wanted to create the same type of split edit here now, all I would need to do would be to lasso over that transition point like that. Now I get my dual-roller trim--and of course I want to a dual-roller trim, I don't want to know anything out of sync--and I could just now drag my point back, so I don't get the beginning of the smile in the left viewer there. I just go back just before the smile begins, drop that, hit Spacebar to play back.
(Female speaker: Going to be doing it and can this dress hold up? Swing dancing is bigger now--) Okay, so I've got a little bit of lip flap on the incoming side now, so I might just drag back a little bit. Maybe nine frames was too many, maybe -6 might do us. (Female speaker: Going to be doing it and can this dress hold up? Swing dancing is bigger now--) Okay. That was better. So now we have looked at some basic concepts again, but this time using mostly Ripple Trim from the Smart palette. Next, we will switch to looking at Overwrite Trim and some of the specialized trimming operations that can be done with that tool.
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