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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.
In the 07_03 subfolder I've got a bin called Sync. Inside there, there is a sequence called fine_cut_interview. You can see that it's got three video tracks and four audio tracks. Now there is a sync relationship between the material on V1 and the audio on A1 and A2, and that's because this material was either captured or imported together into the system. This could be called an Explicit Sync Relationship because Media Composer can detect this relationship and will tell us if it gets changed.
However, by virtue of the edits of working on this piece and putting things together in the current pattern that they're in and the material on A3 and A4, there is an implicit sync relationship between all of the tracks of material. This implicit sync relationship is not detectable by Media Composer. For example, if I parked at the head of interview clip 4 and I entered into Trim mode--let's activate Ripple Trim mode--and we wanted to trim let say the video track V1 and A2, now let's say I added material on to the head of just V1 and A2 here, we would expect that clip now to be out of sync with the audio on A1.
Now when I let go, that's exactly what happened. As you can see, the white line has been invoked on the clip there, and we can see that the clip is now 42 frames out of sync. What's less obvious of course is that we've also altered the sync relationship between V1, A2, A3, A4 and V3, V2. So let undo that, and I would like to re-perform the same trim but this time using my sync locks/ I am going to switch these on. What these do, they act to preserve the sync relationship between material on different tracks, regardless of whether the sync relationship is explicit or not.
So, for example, this time when I drag out and add material onto the head of interview clip 4, notice that the system ignores my command. It's basically saying, "I can't complete that command without throwing the sequence out of sync." Alternatively, if I trim the other way, and I push interview clip 01 on V1 and A2 further down the timeline, in order to preserve the sync relationship, Media Composer will now open up a gap on the other tracks so that nothing will slip out of sync relationship.
Now let's undo that because I would like to show you a different variation on the same trim. Because maybe I do want to alter the beginning point of interview clip 4, I don't want to split my music on A3 and A4 or my Broll on V3 and V2. So this time if I repeat the trim and I push my material further down the timeline, now just these tracks will update, leaving my Broll and music alone. Because I still have the sync locks on V1, A1, and A2, if I try this trim now, notice that it's still going to bring A1 along for the ride in order to preserve sync.
Using sync locks is most useful when making adjustments to a very complex sequence and you want to make sure that nothing downstream from where you are working will get thrown out of sync.
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