IntroductionWelcome| 00:04 | Hi, I'm Steve Holyhead,
| | 00:06 | and this is Media Composer 5 Getting Started.
| | 00:09 | Media Composer has been used for a
long time in TV and film production,
| | 00:13 | but these days being out to produce
great-looking videos is essential for
| | 00:17 | all types of business.
| | 00:18 | And these skills give you the
edge as an employee or contractor.
| | 00:22 | In this course, we'll explore the
world of Media Composer, from input to
| | 00:26 | editing to output.
| | 00:28 | And I'll explain the basics of the tools,
the technology and HD Media Formats
| | 00:32 | in plain English.
| | 00:34 | Now if you're new to editing, or Media
Composer, or both, then this course will
| | 00:39 | provide you with some great lift off.
| | 00:41 | I'll walk you through the Media Composer
workflow and interface so that you have
| | 00:45 | the skills to get creative.
| | 00:48 | In less than half a day, you'll be
ready to edit your first project.
| | 00:52 | Now if you already work with Media
Composer, then you'll want to take a look
| | 00:55 | at the new interface, tools and
editing functionality that Media Composer 5
| | 01:00 | brings to the table, making your life
as an editor easier and more productive.
| | 01:04 | Whatever your interest
in Media composer 5, after this course
| | 01:08 | you'll have a refreshed and
simplified understanding of HD Formats, trim
| | 01:13 | concepts and frame rates.
| | 01:15 | We'll also introduce color correction,
stabilizing shaky footage, and real time
| | 01:20 | audio effects, tools which will
take your production to the next level.
| | 01:24 | I'm really excited to be the
part of bringing you this course.
| | 01:28 | So let's dive into Media
Composer 5 Getting Started.
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library, or if you
| | 00:06 | are watching this tutorial on a DVD ROM,
you have access to the exercise files
| | 00:11 | used throughout this title.
| | 00:13 | In this case, we've
downloaded our files to the desktop.
| | 00:16 | If I double-click on this, you can see
what's inside the Exercise Files folder.
| | 00:21 | There are three folders, whose
contents we need to put into three
| | 00:25 | different locations.
| | 00:27 | First of all, copy to Avid projects:
Inside here are the Avid projects
| | 00:32 | we're going to be using.
| | 00:33 | I'm going to select them,
| | 00:36 | I'm going to right-click and copy
them, and then I'm going to come to
| | 00:40 | My Documents.
| | 00:41 | And in My Documents, there's an Avid
Projects folder. Inside there is where I'm
| | 00:47 | going to paste these.
| | 00:49 | If I'm using a Mac, I'd want to place
these in the Avid Projects folder, inside of
| | 00:55 | your Documents folder.
| | 00:58 | Next, here in the Exercise
Files, we've got Copy to Desktop.
| | 01:01 | So if I go in here, I want to
select this, copy this, and then go to my
| | 01:07 | desktop and paste.
| | 01:10 | And of course, that would be the
same if you're on a Mac or a PC.
| | 01:18 | Finally, back in Exercise Files, we
have a third folder called Copy to
| | 01:24 | Media Drive. If I go inside there, I have a folder
called Avid Media Files. I am going to take
| | 01:30 | this, I'm going to copy it, and I'm
going to place it, in this particular case, on
| | 01:36 | the root of my Media drive.
| | 01:41 | Now if you guys don't have a media
drive, then it's perfectly permissible for
| | 01:46 | this course to put them on the root of
your C Drive, if you're on a PC, or if
| | 01:51 | you're on a Mac, on the root
of your Macintosh hard disk.
| | 02:00 | Okay, now that I've moved the
contents of this folder to my Avid Projects
| | 02:05 | folder, and I've moved the contents
of this folder to the desktop, and the
| | 02:10 | contents of this folder to the root of
my Media Drive, or the primary drive on
| | 02:14 | my system, I can go ahead and take the exercise
files, cut them, place them somewhere as
| | 02:22 | a backup.
| | 02:24 | After I've done that, the only thing
remaining on my desktop should be this
| | 02:28 | folder here, MC getting started resources.
| | 02:33 | If you don't have access to the exercise
files, you can follow along from scratch,
| | 02:37 | or with your own assets.
| | 02:40 | Let's get started.
| | Collapse this transcript |
|
|
1. Understanding the Tools and WorkflowStarting Media Composer and creating a new project| 00:00 | Creating and managing projects is the
first layer of control that you have over
| | 00:05 | your media, which are the actual audio
and video files you'll be working with,
| | 00:09 | and your project data, which is going to
be the information about your clips and
| | 00:13 | the sequences you create.
| | 00:15 | Let's start your Media Composer system,
create a new project and have a look at
| | 00:20 | how to set where the media files will
go when you start importing them into
| | 00:24 | your system. Now first off, Media
Composer has various configurations.
| | 00:30 | It can be used as software on a laptop
or a workstation, and the software can
| | 00:34 | also be used in conjunction with
various hardware that expand the options for
| | 00:39 | monitoring input and output.
| | 00:42 | Examples include the Matrox Mini, the
Mojo SDI, the Mojo DX and the Nitris DX.
| | 00:48 | First, power up all external devices
before switching on your Mac or PC, and
| | 00:55 | that includes any external storage devices.
| | 00:58 | Next, wait for your computer and your
operating system to completely power up.
| | 01:04 | And as your computer starts, make sure
you wait for all extensions, drivers and
| | 01:09 | external devices to load and be
recognized by the operating system.
| | 01:14 | Now, go ahead and launch Media Composer.
| | 01:17 | And after a short while, you'll
arrive at the Select Project dialog.
| | 01:29 | Now this is a very important moment,
because the first level of organization
| | 01:33 | possible when using Media
Composer are Avid Projects; these are the
| | 01:38 | containers for your work.
| | 01:40 | Let's take a moment to have a
look at the Select Project dialog.
| | 01:44 | You can see here, right at the top,
my User name has come up as Producer.
| | 01:48 | And that's inherited from my OS logon.
| | 01:51 | Now if I wanted to, I could
create a User Profile here,
| | 01:54 | and you'll see the reasons to do
that as we go thorough the course.
| | 01:57 | For now, we can just leave it on the defaults.
| | 02:00 | Next, the Folder location.
At the moment, I've defaulted to my
| | 02:05 | personal documents.
| | 02:07 | And that's because this radio
button here is lit up: Private.
| | 02:11 | In other words, these are the projects
that I'm working on, and no one else who
| | 02:14 | uses this computer can see these projects.
| | 02:17 | If I go to Shared, then these are
accessible to all people who use this computer.
| | 02:23 | On a Mac, this may well be
called the Public folder.
| | 02:26 | And then finally, External is used for
browsing out to other locations where you
| | 02:31 | may keep project data: on a thumb drive,
on a storage area network, or a network
| | 02:36 | share, something like that.
| | 02:39 | What I'm going to do is I'm going to
come back to Private here and show you
| | 02:42 | that now, when I select New Project,
that's the location where the new project
| | 02:47 | will be created. I can give it a name.
| | 02:50 | I'm going to call this one first project.
| | 02:55 | Next, over here, we would select the Format.
| | 02:59 | At this moment, I don't need to
worry about what you see in here.
| | 03:01 | Just come and select 720p/23.976.
| | 03:02 | And I will explain all of
that a little bit later.
| | 03:09 | Now, click OK.
| | 03:10 | You can see the fourth project has
been put in this location, which is specified here.
| | 03:15 | And I can go ahead and open that project up.
| | 03:19 | Great! There we go.
| | 03:21 | So this is the Media Composer interface.
| | 03:23 | We've created a project, and we've
specified where that project will be saved.
| | 03:28 | The next thing I want you to do, when
you first create a project, is come to
| | 03:33 | the Tools menu.
| | 03:34 | And I want you to go to the Media
Creation settings, because it's here where we
| | 03:38 | get to designate where the media will
be put when we imported into our system.
| | 03:43 | In this case, I'm using the D Drive.
| | 03:46 | And I can use the same drive for all
categories by simply applying to all, like so.
| | 03:52 | With that done, we're
pretty much ready to get to work.
| | 03:56 | With the Project Selection dialog, we
specified where our project would be
| | 04:00 | stored. With the Media Creation
settings, we specified where the media will be stored.
| | 04:05 | Organization is
essential to the editing process.
| | 04:10 | And these skills will be useful on a
daily basis for every project that you do.
| | Collapse this transcript |
| Understanding Media Composer| 00:00 | The Media Composer functions, tools,
and interface are all designed around the
| | 00:05 | task of getting media into your project,
editing that media and then outputting
| | 00:10 | the finished project.
| | 00:12 | We're going to select and open up
an existing Avid project from our
| | 00:15 | exercise files.
| | 00:17 | So here, I've got the Select Project dialog.
| | 00:20 | And here's the project that I'm
going to be using, MC5 getting started.
| | 00:25 | Let's click OK.
| | 00:27 | And now that project will open up.
| | 00:30 | Now, we're going to start having a
look at the Media Composer interface.
| | 00:32 | One thing I'd like to make really
clear here is that in order to present this
| | 00:36 | to you as clearly as possible, what
we've done is we're using a very, very
| | 00:41 | small screen resolution.
| | 00:42 | Yours will probably look a
little different to this.
| | 00:45 | So I'm just going to go ahead
and expand things a little here,
| | 00:48 | so that our timeline fills
up all of this space here.
| | 00:51 | Great!
| | 00:53 | Now we're ready to get going.
| | 00:56 | The Media Composer interface.
As you can see, across the top, we have some
| | 01:00 | standard menu commands, just
like with most applications.
| | 01:05 | However, it's here in the Project
window where most of the organization goes on
| | 01:11 | inside of Media Composer.
| | 01:12 | You can see that this is the Project
window because we have a Bins tab, a
| | 01:16 | Settings tab, an Effects tab,
a Format tab and others.
| | 01:21 | If you need to see more, you can
just resize the Project window a little
| | 01:25 | bit, like that.
| | 01:27 | Next, over here, we have
what's called the Composer window.
| | 01:30 | On the left-hand side of the Composer
window, you've got where you're going to
| | 01:33 | play back your source clips, to review
them and see how much material you'd like
| | 01:37 | to add to your sequence.
| | 01:39 | On the right-hand side, this is actually
where you'd see the sequence, all of the
| | 01:43 | assembled clips playing back.
| | 01:46 | And down here is the Timeline area.
| | 01:49 | And that's where you'd see a
graphical representation of all of the clips
| | 01:52 | in your sequence.
| | 01:54 | Here, in the Composer window, there is
a Fast menu, which gives you access to
| | 01:59 | some of the more commonly used tools.
| | 02:01 | You can actually rip that panel off
if you like and put it somewhere else.
| | 02:05 | I'm just going to close it back up.
| | 02:07 | Down here in the Timeline,
there's also a Fast menu,
| | 02:10 | and that gives us access to a lot of
common commands in the Timeline area.
| | 02:14 | And up here in the Project
window there is another Fast menu.
| | 02:18 | Incidentally, another commonality
between all of the windows in Media
| | 02:22 | Composer is if I right-click, I'm
going to get a contextual menu, and the same
| | 02:26 | down here in the Timeline.
| | 02:29 | Before, we move back to the Project
window, I just want to call out some very
| | 02:32 | primary controls in the Timeline area.
| | 02:36 | Here, you've got your
audio meters and your Audio Monitor button.
| | 02:41 | If I click on the Audio Monitor button,
I can access the tools to allow me to
| | 02:45 | mute or change the audio level.
| | 02:48 | And down at the bottom of the
Timeline, we have the Video Quality menu.
| | 02:52 | The Video Quality menu has three settings:
| | 02:54 | full green - which is full quality,
yellow - which is the lowest quality, and
| | 03:00 | yellow-green - which is about half-way between.
| | 03:03 | The reason I bring this up is that
if your system is a little older, and a
| | 03:06 | little slower, then you might need to
use either the yellow setting or the
| | 03:11 | yellow-green setting.
| | 03:12 | If your system is fast and up-to-date,
then yellow-green, or even green, might be
| | 03:18 | possible for playback.
| | 03:20 | With that covered, let's go back to
the Project window, because here, I'd like
| | 03:25 | to bring up one other part of the
Media Composer interface that's not visible
| | 03:29 | on the screen here.
| | 03:30 | If I go to the Settings and scroll
down, we can open up the Keyboard.
| | 03:37 | And so as we're going through the
course, I want you to bear in mind
| | 03:40 | the Keyboard.
| | 03:41 | Media Composer comes with a lot of
standard features mapped to your keyboard.
| | 03:46 | And using the keys in conjunction
with the interface will make you a
| | 03:49 | faster editor.
| | 03:50 | Where possible, I'll call out the
appropriate keystrokes for the Mac or the PC, as
| | 03:55 | we move through the tools in the interface.
| | 03:57 | Okay, I am going to close that
back up and go back to the Bins tab.
| | 04:01 | Here, we're actually looking at folders.
| | 04:04 | If I fold down one of the
folders, I have subfolders.
| | 04:07 | Inside there, I have these, which are bins.
| | 04:10 | I can tell that they're bins as I
have these little strips hanging down.
| | 04:14 | They meant to be filmstrip icons.
| | 04:16 | If I double-click on one of
these, I get my clips Bin open.
| | 04:20 | These are the actual audio and video
files that we're going to be working with.
| | 04:24 | If I take one of them, drag it into
the Source Viewer, now you can see how I
| | 04:29 | can start to scrub through the
material using the Scrub Bar underneath the Picture
| | 04:33 | viewer right there.
| | 04:36 | If I open up my other bin,
you can see I've got a sequence.
| | 04:39 | These are different icons.
| | 04:40 | See these are clip icons here,
and that's an audio icon.
| | 04:43 | Well, this is a sequence icon.
| | 04:45 | If I double-click on that
it's going to load a sequence.
| | 04:49 | And you can see the graphic
representation of the sequence down here, and the
| | 04:53 | picture representation of the
sequence up here in the Record viewer.
| | 04:58 | How does all of this translate into a workflow?
| | 05:00 | Well, first of all, we use Media
Composer to input material into the bins.
| | 05:07 | Then we use the bins to organize our material.
| | 05:10 | We use the Source viewer to
select portions of our material.
| | 05:14 | And then we use the editing tools to
bring that material into our Timeline
| | 05:18 | down here.
| | 05:19 | When we've finished assembling our
Timeline, we'll go back to the Timeline in
| | 05:22 | the bin and choose to export the
Timeline, or else perhaps lay it out to type.
| | 05:29 | Projects contain bins and folders;
| | 05:31 | bins contain clips and sequences.
| | 05:34 | Understanding the Media Composer
interface, nomenclature, and workflow is akin
| | 05:39 | to learning to drive a car.
| | 05:41 | Once you've mastered these basic ideas,
you'll be absolutely free to embark
| | 05:46 | upon your own journey.
| | Collapse this transcript |
| Working with clips, bins, folders, and the Project window| 00:01 | If you have control of your media and
project data, then you have the freedom
| | 00:05 | to be creative.
| | 00:07 | The Media Composer Project window
gives you the opportunity to organize your
| | 00:11 | material on a folder, bin, and clip level.
| | 00:15 | If I open up this bin here, al_clips in
my 01_03 folder, you can see that I've
| | 00:19 | got a range of different
material here, in the bin,
| | 00:22 | the titles, sound effects, regular
video clips, et cetera, even sequences.
| | 00:30 | So, if I can put all of my clips
here in a single bin, why create any
| | 00:35 | other bins?
| | 00:37 | The fact of the matter is that once
you start to get a lot of material into
| | 00:40 | your project, you really are going to
get overwhelmed if all of the clips in
| | 00:43 | a single bin.
| | 00:45 | Let me show you how we can
begin to organize clips and bins.
| | 00:48 | Let me move my al_clips Bin here for a
moment, and I'm going to use this button
| | 00:52 | here to create some new bins.
| | 00:55 | Let's just create three bins, and I'm
going to give them some useful names.
| | 01:00 | I want to call one of them audio.
| | 01:01 | Let's take the audio bin and put it over here.
| | 01:03 | I'm going to call one of them video,
put that one over here, and then the final
| | 01:10 | one, I'm going to call graphics.
| | 01:12 | So just typing in that text field
they will change the name of the bin.
| | 01:17 | Now the reason I've lined them up like
this is because I'm going to start to
| | 01:21 | organize my clips into these bins.
| | 01:24 | What I'm going to do is I'm going
to select these graphic files at the
| | 01:29 | beginning of my piece here, and I'm
going to click down and drag those to the
| | 01:33 | graphics Bin.
| | 01:34 | Next, I've got some video clips, and
I'm going to drag those to the video Bin.
| | 01:39 | And then finally some audio clips.
Drag and move those to the audio Bin.
| | 01:45 | Notice I'm moving these files.
| | 01:47 | I'm not copying them, so once I've
taken them out of the al_clips bin, they now
| | 01:51 | reside in these bins instead.
| | 01:54 | Sometimes, however, we need a
reference to a clip, not just in one bin, but in
| | 01:59 | another bin, as well.
| | 02:01 | See, for example, here I've got
this flower clip in my video bin.
| | 02:04 | What if I need to have another bin
for organizational purposes, which is
| | 02:09 | plants_animals, for example, and I want
to be out to access the flower clip both
| | 02:17 | in the video bin and in the plants_animals bin.
| | 02:20 | That's pretty easy.
| | 02:21 | What I'm going to do is I'm going to
select the flower clip, and now I'm going
| | 02:25 | to use Ctrl+D or
Command+D to duplicate the clip.
| | 02:29 | Notice we've got flower.Copy.01 now.
| | 02:32 | Now I can drag the copy to the plants_
animals bin, and I've got a reference to
| | 02:37 | the same clip in both of those bins.
| | 02:39 | I've shown you how to create new
bins; how do we create a new folder?
| | 02:44 | Here, in the Fast menu, if I click down,
I can create a new folder, like so, and
| | 02:50 | I could call that wildlife.
| | 02:54 | Then if I wanted to put the plants and
animals bin in there, I just click and
| | 02:58 | drag and drop that into
the wildlife folder, like so.
| | 03:02 | Okay, let's go ahead and
close up these bins now.
| | 03:06 | And as you can see, Media Composer
saves the bins when I close them.
| | 03:11 | The final thing I'd like to show you
is how to delete a bin and a folder, if
| | 03:15 | you need to do so.
| | 03:16 | Highlight the bin, hit Delete on your
keyboard, and it moves to the Trash.
| | 03:21 | Highlight the folder, hit Delete on
your keyboard, and it also moves to
| | 03:24 | the Trash.
| | 03:25 | If I right-click on the
Trash then I can empty it.
| | 03:29 | The editing process is beginning even
as you organized your bins and clips.
| | 03:34 | Well before you make the first cut,
you're evaluating multitudes of potential
| | 03:38 | connections between sounds and images,
words and character, story and message.
| | 03:44 |
| | Collapse this transcript |
| Saving and backing up your work| 00:00 | In a professional environment, you
are expected to ensure that your work is
| | 00:04 | saved and backed up regularly.
| | 00:06 | Even when you are working on a solo
project, it pays to spend the extra time
| | 00:10 | to label and back up your project data,
because in the long run, it'll prevent
| | 00:14 | wasted time searching through
files, or having to redo lost work.
| | 00:18 | Now, Media Composer is saving
in the background at all times.
| | 00:22 | If I exit the application,
an auto-save occurs, as well.
| | 00:27 | How do we specify the
frequency of these auto-saves?
| | 00:31 | Here, in the Project window, on the
Settings tab we have the Bin command.
| | 00:37 | This is telling the system, hey, when
I have an open bin, auto-save it every 15 minutes.
| | 00:43 | Now when it auto-saves, Media Composer
places the snapshots of your bin in a
| | 00:49 | place called the Avid Attic, and
the way the Attic works is this.
| | 00:53 | It says, okay, what's the maximum
number of versions of a Bin that I'll store
| | 00:58 | in the attic? In this case, it's 50.
| | 01:00 | So that basically means when we start
working, we can save up to 50 copies of
| | 01:05 | that bin in the attic before it starts
to overwrite the oldest of those copies.
| | 01:10 | I'm going to change my Auto-Save
Interval to one minute, for the purposes of our
| | 01:14 | exercise here. Click OK.
| | 01:17 | That means that all of my open bins now will
auto-save a new snapshot every single minute.
| | 01:23 | Now, of course, Auto-Save, super-
useful, and the fact that Media Composer will
| | 01:27 | save all of your work on exit
from the application is useful, too.
| | 01:32 | However, if you've just been working on
your masterpiece, and you've put a lot
| | 01:36 | of effort and time and energy into that,
it's always worth coming back to the
| | 01:40 | Project window and Ctrl+Save or Command+Save.
| | 01:45 | What that does is it saves all of the open bins.
| | 01:48 | Let me show you what I mean.
| | 01:49 | If I go to a Frame View here and I
start to reorganize things in this Bin,
| | 01:53 | notice straightaway, I'll get an asterisk here.
| | 01:56 | That would be a diamond on a Mac.
| | 01:58 | Same thing in this bin.
| | 01:59 | If I start to change things around, the
bin knows that things have been changed
| | 02:04 | and has not yet been saved.
| | 02:06 | If I use the shortcut, Ctrl+9 on
Windows, Command+9 on the Mac, that'll
| | 02:11 | highlight the Project window.
| | 02:13 | Now, if I hit Ctrl+S or
Command+S, that saves all open bins.
| | 02:19 | Notice now, the asterisk has
disappeared from both of these bins here.
| | 02:24 | Okay, so we know about auto-saves,
and we know how to do an explicit save.
| | 02:29 | How do we back up the entire project?
| | 02:31 | Let me show you.
| | 02:32 | What I'm going to do is close these
bins here, and I'm going to exit Media
| | 02:36 | Composer to the desktop.
| | 02:39 | If I close the Project window, I will
return to the Select Project dialog.
| | 02:43 | Since I know I want to completely
exit the application, I'm going to close
| | 02:47 | from up here.
| | 02:50 | Now, I'm back at the desktop.
| | 02:51 | What I'm going to do is navigate
to the location of my Avid Projects.
| | 02:58 | In this particular case, I placed
my Avid Projects in My Documents.
| | 03:03 | So, I'm going to click on Documents,
and then inside of Documents, is the My
| | 03:09 | Documents folder, and
there are my Avid Projects.
| | 03:13 | This is the project we've been working in.
| | 03:15 | We just saved it, so what I'm
going to do is I'm going to copy that.
| | 03:20 | Now on my desktop, I'm going to create a
new folder called avid_project_backups,
| | 03:31 | and inside there, I'll
paste the copy of my project.
| | 03:35 | Obviously, I'm using my
desktop here as an example.
| | 03:39 | The whole point of backing up is to
make your data safe, and if we're going to
| | 03:43 | put the safe copy of our data on the
same system disk where the original copy of
| | 03:47 | the data is hey, what have we really done?
| | 03:50 | Of course, what I'd really recommend
is that this copy be on a thumb drive, a
| | 03:55 | DVD, or on a network location
somewhere safe, away from the original copy of
| | 04:00 | the project.
| | 04:02 | Setting auto-save intervals is a good start.
| | 04:04 | However, pride and professionalism
should encourage us to set our own
| | 04:08 | policies to manually back up the
project data to a thumb drive or other
| | 04:13 | location at the end of every day.
| | Collapse this transcript |
| Retrieving a project from the Attic| 00:00 | As we know, in the background, Media
Composer is saving copies of our bins to the
| | 00:04 | Avid Attic to protect us in case of a
power failure, or something like that.
| | 00:09 | It can also help us out if we make a mistake.
| | 00:11 | Let me show you what I mean.
| | 00:13 | Here I have a bin called delete_me.
| | 00:15 | I'm going to take the actual clip
here called Delete Me and change the name
| | 00:21 | to changed, like so.
| | 00:22 | Then I'm going to close the bin.
| | 00:24 | And I'm going to exit Media Composer.
| | 00:26 | I'm going to close from
the Application window here.
| | 00:30 | So when we exit Media
Composer, a save is performed.
| | 00:34 | And so that change that we've
just made was saved with our project.
| | 00:38 | So, what if I want to go ahead and
retrieve that earlier version of my bin
| | 00:43 | before I made the change?
| | 00:44 | Well, what I'm going to do is
I'm going to go ahead and search.
| | 00:48 | Whether you're on Finder or Explorer,
the easiest way to find the Avid Attic
| | 00:55 | is to do a search for attic.
| | 00:58 | Once we find the Avid Attic on our
system, let's open it up and have a look in there.
| | 01:02 | You can see that each project is represented.
| | 01:04 | This is the one that we're working with.
| | 01:06 | Let's go inside there and then inside Bins.
| | 01:09 | And now I have a list of all of my bins.
| | 01:12 | But these are still folders.
| | 01:14 | Let me show you what I mean.
Here's the delete_me bin folder.
| | 01:18 | If I go inside there, now I've got
different auto-saved copies of that
| | 01:22 | delete_me bin.
| | 01:23 | Here's the earliest one that I can
find, called delete_me.1. I'm going to
| | 01:29 | right-click and Copy.
| | 01:31 | Close that out.
| | 01:33 | And now right-click and Paste onto my desktop.
| | 01:37 | I'm now going to change the
extension of the file from .1 to .avb.
| | 01:44 | This is very important, because
if I don't do that, Media Composer
| | 01:48 | won't recognize the file.
| | 01:50 | I'm going to go back into Media Composer.
| | 01:52 | So back in Media Composer,
I'm back in my project.
| | 01:57 | I still have the old version of the
delete_me bin, which has the changed clip in it.
| | 02:03 | That's not what I want,
| | 02:04 | so I'm going to go ahead, select the bin,
| | 02:06 | and use the Delete key on my
keyboard to delete it, right-click and Empty
| | 02:10 | the Trash.
| | 02:12 | Now I'm going to use the Fast menu to Open Bin.
| | 02:15 | I'm going to browse to my desktop.
| | 02:19 | And there's the old version of
the delete_me bin, before the change.
| | 02:23 | Let's go ahead and open that up.
| | 02:25 | And voila! Delete_me is unchanged in its original state.
| | 02:31 | Best practice dictates that when
you're opening a bin from another project, or
| | 02:35 | opening a bin that's elsewhere, then
what we should do is create our own local
| | 02:39 | copy of that bin: DELETE_ME_NEW.
| | 02:46 | And I'm going to take DELETE_ME.
| | 02:47 | I'm going to use Command+D or
Ctrl+D to duplicate the clip,
| | 02:51 | take the duplicate,
put it in my own local copy,
| | 02:54 | and now I can close the delete_me
bin that we've opened from the desktop.
| | 02:59 | The one that we've opened from
the desktop is now under Other Bins.
| | 03:03 | If I highlight it and delete it, it's gone.
| | 03:06 | And the only copy I have now is my
own local copy of the DELETE_ME clip.
| | 03:13 | So we have an extra level of protection
with Media Composer in the Avid Attic.
| | 03:18 | Auto-save files are stored in the Avid Attic.
| | 03:21 | And if we make a mistake, say we delete
a clip, or we change a clip in some way,
| | 03:26 | and we need to roll back in time, all
we need to do is exit the application,
| | 03:31 | retrieve the bin from the Attic,
| | 03:33 | open it back up in Media Composer,
| | 03:35 | and there we are.
| | Collapse this transcript |
|
|
2. Accessing, Importing, and Organizing MaterialUnderstanding media formats and the Format tab| 00:01 | Having a basic understanding of frame
sizes, frame rates, and image quality will
| | 00:06 | help you manage material from different cameras.
| | 00:09 | It will also help you deliver the
right type of file for the project
| | 00:13 | you're working on.
| | 00:15 | First off, let's consider Media Formats.
| | 00:17 | Now there're a lot of Media
Formats out there, and it can seem a
| | 00:19 | little confusing. Here is the way
to simplify it for yourself.
| | 00:23 | There are only three frame
sizes that you need to worry about.
| | 00:26 | There's HD-1080, which is 1080
pixels high x 1920 pixels wide.
| | 00:33 | There's actually a different flavor of
HD-1080 as well, which is just a little
| | 00:37 | skinnier, at 1440 pixels wide.
| | 00:40 | Then there's HD-720.
| | 00:42 | You can see that the frame size is
considerably smaller: 720 high x 1280 wide, or
| | 00:49 | the skinny version: 960 wide.
| | 00:51 | And then finally, the only other
category of frame sizes we have are SD,
| | 00:56 | SD Pal - largely used in Europe -
| | 01:01 | and SD NTSC, mostly used in North America.
| | 01:05 | And that's really it.
| | 01:06 | It doesn't get any more complicated than that.
| | 01:10 | And the beautiful thing is that
inside of the Media Composer interface, we
| | 01:14 | have the Format tab.
| | 01:16 | The Format tab reflects
exactly those three frame sizes.
| | 01:20 | Here's your SD, here's
your 720, and here's your 1080.
| | 01:26 | If I need to input, output, or create
any of these three different frame sizes,
| | 01:31 | all I need to do is come to the Format tab,
| | 01:33 | select the frame size that I want to input,
| | 01:36 | create Media at or Output at, and there we go.
| | 01:39 | The system is prepped for that.
| | 01:42 | One thing you're probably going to
notice here is that when I've selected 1080,
| | 01:45 | I've got a Raster Dimension here.
| | 01:48 | This is the description of
the pixels from height to width.
| | 01:51 | So there's the fat version of 1080.
| | 01:54 | And there's the skinny version of 1080.
| | 01:56 | If I switch back to 720, same thing again.
| | 02:00 | There's the big version, and
there's the skinny version.
| | 02:03 | Before I switch to SD, notice that
the Aspect Ratio for 720 and for 1080
| | 02:10 | is locked to 16:9.
| | 02:12 | That basically means that there are
16 units for the width and 9 units for
| | 02:18 | the height.
| | 02:19 | However, if I go to SD now, you can
see that the Aspect Ratio is not locked.
| | 02:25 | SD can, in actual fact, be the 16:9 or 4:3.
| | 02:31 | Notice how the display changes over here
in the Composer window to reflect that.
| | 02:36 | Of course, I can go and switch it back.
| | 02:38 | So if you're ever working with SD
material and you find that people's faces are
| | 02:44 | either too thin or too fat,
come here to the Format tab,
| | 02:47 | and change the Aspect
Ratio to correct the display.
| | 02:52 | Another implication of switching your
format here in the Format tab is the
| | 02:57 | effect that it will have on
your Media Creation settings.
| | 03:01 | If I come to tools and to Media Creation,
you can see here now that because I'm
| | 03:07 | selected on 1080, when I come to the
various different Media Creation settings,
| | 03:13 | the Video Resolution, in other words
the quality of the video material that I'm
| | 03:17 | importing, exporting, or
creating, is reflected by this list.
| | 03:23 | At the bottom of this list here, we have 1:1.
| | 03:27 | That means that there's no compression
taking place when we use these setting.
| | 03:31 | If I went ahead and created media
using this setting here, for example, for
| | 03:36 | every minute that I captured or
imported, I would be using close to 12
| | 03:41 | gigabytes of storage space.
| | 03:43 | On the other hand, if I come down here
to DNxHD 36, for every minute I capture
| | 03:50 | or import, I'm only using
215 megabytes of storage space.
| | 03:55 | So understanding resolution is very important.
| | 03:58 | Here, for example, AVC-Intra.
| | 04:01 | This is a Panasonic Codec,
recoding at 100 megabits per second.
| | 04:06 | Here is a Sony Codec, recoding at 35
megabits per second, or 50 megabytes per second.
| | 04:13 | And here are Avid resolutions, 36, 115, 175.
| | 04:19 | The reason that this is very
important is if you are recording on a camera
| | 04:23 | that only shoots at 35 megabits per
second, there really won't be any reason
| | 04:27 | for you to ingest the material at
uncompressed resolutions, or even the higher
| | 04:32 | Avid resolutions.
| | 04:34 | So choose a resolution which will
preserve the image quality, but take up as
| | 04:38 | little storage space as possible.
| | 04:42 | If I close this window and switch to
720 and then use Command+5 or Ctrl+5 on my
| | 04:49 | keyboard to bring the Media Creation
settings back up, you can see I get a
| | 04:53 | different sets of resolutions.
| | 04:55 | I've still got my uncompressed resolutions here.
| | 04:57 | I've still got my Sony and
my Panasonic resolutions.
| | 05:01 | But now the Avid resolutions are a
little smaller in size, to reflect the fact
| | 05:05 | that this is a smaller frame size.
| | 05:08 | Finally, let's go to NTSC, to our SD
settings, and again, Ctrl+5 or Command+5.
| | 05:15 | You can see that this time the
Video Resolutions look different again.
| | 05:20 | I have uncompressed 1:1,
no compression taking place.
| | 05:25 | I also have a 25 megabit and a 50
megabit version of an SD frame size here.
| | 05:30 | However, I've also got
these, 2:1, 3:1, 14:1, 28:1.
| | 05:37 | What does that mean?
| | 05:38 | Well, 1:1 means there's no compression,
| | 05:41 | 2:1 a little bit of
compression, 28:1 a lot of compression.
| | 05:47 | So the way it works is that the higher
the number, the lower the quality, and
| | 05:51 | the lower the number, the higher the quality.
| | 05:56 | Finally, let's just switch back to 720.
| | 05:59 | I'd like to talk about frame rates.
| | 06:02 | When a camera shoots a scene, it is
recording every second of time as a series
| | 06:06 | of consecutive images called frames.
| | 06:09 | Media can be shot by a camera
at various different frame rates.
| | 06:13 | And the frame rates are expressed
as the number of individual frames
| | 06:17 | playing back each second.
| | 06:19 | Traditionally, productions tend to use
the same frame rate for all material.
| | 06:24 | Film productions tend to
be at 24 frames per second.
| | 06:27 | Some of the newer HD cameras will
call this 23.98 frames per second.
| | 06:33 | Television production in Europe is
based upon a 50 hertz electrical system, in
| | 06:38 | other words 50 cycles per second.
| | 06:40 | That dictated that we have
frame rates of 25 frames per second,
| | 06:44 | or sometimes referred to as 50 hertz.
| | 06:47 | In North America, the electrical
system works on a 60 hertz cycle, 60 cycles
| | 06:52 | per second.
| | 06:53 | And that's given us frame rates of 30
frames per second or HD frequency rates of 59.94.
| | 07:03 | If I close my bin, exit back to the
Project Selection dialog and hit New
| | 07:08 | Project, now this should
make a lot more sense to us.
| | 07:12 | Here are our 1080 frame sizes.
| | 07:14 | Here are our 720, and then
below that are our SD frame sizes.
| | 07:20 | If I needed to create a 720p
project, I would know to come to this
| | 07:24 | category here,
| | 07:26 | and then it would simply be a case of
me figuring out what frame rate I need to
| | 07:30 | select for the material I'm working with.
| | 07:33 | So how do you use all of this information?
| | 07:36 | Well, it's pretty simple.
| | 07:38 | When someone brings you material from a
shoot, you need to know if the material
| | 07:42 | they shot was 1080, 720 or SD.
| | 07:47 | Once they've told you that, then you
need to find out what was the frame rate?
| | 07:52 | Was it 23, or 24 or 25, 50, 30 or 59.94?
| | 07:58 | Once you've figured that out, the
final thing to do would be to come to your
| | 08:02 | Media Creation settings and set the
appropriate image quality for the material
| | 08:07 | that's been captured or
imported into your system.
| | 08:12 | Media will be provided to you in all
shapes and sizes, and you need to be
| | 08:16 | prepared to work with it at all.
| | 08:19 | The final output should drive your
choice of frame size, frame rate and
| | 08:23 | bit rate.
| | Collapse this transcript |
| Importing media | 00:00 | The first step in the Media Composer
workflow is to bring your media into a bin.
| | 00:05 | There are various ways to do this;
| | 00:07 | one way would be to capture clips from a camera.
| | 00:09 | Here we're going to look at
importing multimedia files.
| | 00:13 | First though, let's remind ourselves
about the relationship between our clips in
| | 00:17 | the bin here and the actual
media files to which they're linked.
| | 00:20 | These are references, they're shortcuts to
these media files, and we specify where
| | 00:25 | the media files will go with
the Media Creation settings here.
| | 00:29 | For example, I'm pointing all of my
media to the D drive on my system.
| | 00:36 | Let's go have a look at that.
| | 00:37 | I'm going to minimize the Media
Composer application and show you here that on
| | 00:41 | my D drive I have a
folder called Avid MediaFiles.
| | 00:46 | If I open that up, go through, down
to the level where the files actually
| | 00:49 | reside, you can see here these are the
raw audio and video files to which the
| | 00:55 | clips in my bin refer.
| | 00:58 | It's very important to never delete or
move these clips manually; always use the
| | 01:03 | tools inside of Media Composer for that.
| | 01:05 | However, what I wanted to point out is
that this folder is known as the managed
| | 01:10 | Media folder, and that means that Avid
Media Composer manages all of the media
| | 01:15 | in that folder and keeps track of
it with its own internal database.
| | 01:20 | And it's here that files will be
placed when they're imported or captured
| | 01:24 | into the system.
| | 01:25 | Let's close that up, and
let's go back to Media Composer.
| | 01:29 | I'm going to highlight the import
bin, and this is what I'm going to be
| | 01:33 | importing my first file.
| | 01:36 | Before I do that though, I'm going to go
to the Format tab in my Project window,
| | 01:41 | and I'm going to select 1080p.
| | 01:44 | The reason for that is that my
particular preference is to always import my
| | 01:49 | graphics and still images at the
highest quality possible for my project.
| | 01:54 | So with the bin highlighted, I'm going to
right-click on the bin and say Import,
| | 01:59 | and here's the Import dialog.
| | 02:00 | Here, I'm going to browse to my desktop
and to my MC getting started resources.
| | 02:06 | Inside there, I've got various different files.
| | 02:10 | You can see I've got one
here called Blue Flower.
| | 02:12 | It's a TIFF Image.
It could be a JPEG Image.
| | 02:15 | It doesn't matter.
| | 02:16 | Media Composer supports all
sorts of different file types.
| | 02:19 | Once I've selected the file I want to
import, then I can come down here, make
| | 02:24 | sure that I'm actually pointing to the
drive that has the managed Media folder
| | 02:27 | on it and then also I check my Video Resolution.
| | 02:30 | I'd bumped my format up to 1080.
| | 02:33 | I'm now going to bump put my
quality to the maximum available.
| | 02:37 | Before I go ahead and open this,
let's go to the Options dialog.
| | 02:41 | It's beyond the scope of the course
to really go into all of these details;
| | 02:45 | however, I'm going to cover this stuff
on the Image tab here so we can get our
| | 02:49 | material in looking good.
| | 02:52 | The first thing I'd say though is if
you're importing a lot of files, just
| | 02:57 | select one of them to start out with and
play around with the settings until you
| | 03:01 | get it to look the way it should.
| | 03:03 | For example here, Image sized for
current format, if you got a file which is in
| | 03:08 | the standard HD 1080, or HD 720, or SD
frame size, then you might want to use
| | 03:15 | this option right here.
| | 03:17 | Alternatively, Resize image to
fit format raster can also help.
| | 03:22 | So sometimes you'll have to do a
little bit of experimentation in order to
| | 03:26 | get things just so.
| | 03:27 | I know that for my particular
file I'm going to use Image sized for
| | 03:31 | current format.
| | 03:33 | Next, File Pixel to Video
Mapping, what does this mean?
| | 03:37 | Well, I would suggest you leave this
at 601, 709 which is for video color
| | 03:42 | space, unless you happen to know that
the file was created using RGB color
| | 03:48 | space for computers.
| | 03:50 | Underneath here, Frame Import Duration.
If I'm importing a still image or a
| | 03:54 | graphic, I could specify how
long that clip will last in my bin.
| | 03:59 | Finally, Alpha Channel.
| | 04:02 | If you're not expecting an
alpha channel, just click Ignore.
| | 04:05 | Once we've set all of these options
up, click OK and then Open the file.
| | 04:11 | Now the file is in my bin, and the
media has been written to the managed
| | 04:15 | Media file location.
| | 04:18 | What's really great about this is that
if for some reason the original file that
| | 04:21 | we just imported now got deleted or
moved by accident, we would still have
| | 04:26 | access to it, because it's now
in the managed Media file folder.
| | 04:32 | Okay, we've just imported a still graphic.
| | 04:35 | What about if we need to import a video file?
| | 04:37 | Well, it's the same procedure;
| | 04:39 | however, the first thing I'm going to
do is to switch my format back to 720.
| | 04:44 | Next, in the bin, right-click and Import.
| | 04:48 | Here in the same location on the
desktop I've got urban nutcracker, a
| | 04:52 | Windows Media file.
| | 04:54 | I'm going to select it.
| | 04:56 | I'm checking that it's going to
the managed Media files location.
| | 04:59 | I can choose my Resolution.
| | 05:00 | I'm going to choose DNxHD 90 and open up.
| | 05:03 | And there you go.
| | 05:06 | Now I have urban nutcracker in
my bin, and I can play it back.
| | 05:10 | (Video playing.)
| | 05:17 | So we've got that clip into our bin
pretty simply, and again, if the original
| | 05:21 | was deleted or moved, we'd be okay
because our copy is now in the managed
| | 05:26 | Media files location.
| | 05:27 | Finally, let's look at importing an audio clip.
| | 05:31 | Again, right-click in the bin, Import,
and here I've got an MP3 sound effect.
| | 05:38 | Going to the same location, the
video resolution doesn't really matter at
| | 05:41 | this stage. Click Open.
That also is now being imported into the system;
| | 05:46 | you can see we got the audio file icon,
and if I load it into my Source viewer,
| | 05:50 | I can play it back.
| | 05:52 | (Audio playing.)
| | 05:58 | Importing a multimedia clip creates
a new Media file in the managed Media
| | 06:03 | files folder.
| | 06:04 | The files will be created
according to the Format tab and the media
| | 06:08 | creation settings specified.
| | Collapse this transcript |
| Linking to media using AMA| 00:00 | Avid AMA, which stands for Avid Media
Access, provides a way for certain popular
| | 00:06 | camera formats, and other popular
file types, to be accessed in the bin
| | 00:10 | instantaneously, without the
need to spend time importing.
| | 00:15 | Unlike a regular imported or captured
clip, an AMA clip does not refer to a
| | 00:20 | media file in the managed Media files
folder; instead, an AMA clip is linked to
| | 00:25 | Media files on a camera, device, or
drive containing the AMA-compatible media.
| | 00:31 | Once linked, those clips become
immediately available for viewing and editing,
| | 00:36 | but because the files are linked,
rather than imported, they will be displayed
| | 00:40 | at their native image size and
resolution, the size and quality at which the
| | 00:44 | file was recorded or created - not
the resolution specified in your Media
| | 00:49 | Creation settings.
| | 00:51 | Let's use AMA to link to a QuickTime movie.
| | 00:55 | Here I've got a bin;
I've made it active by clicking on it.
| | 00:58 | If I right-click on the bin, you can
see that I've got Link to AMA Files as a
| | 01:03 | command option here.
| | 01:04 | Let's click on it;
| | 01:05 | we'll get our Browse dialog.
| | 01:06 | Here in the resources folder, I've got
an MP4 video called march of the formats.
| | 01:13 | Let's go ahead and link to that.
| | 01:16 | That was pretty fast, and the yellow
means that it's already loaded the image
| | 01:20 | and audio data.
| | 01:21 | If I pull this over into my source viewer...
(Music playing.)
| | 01:33 | I can play it back immediately.
| | 01:36 | In our next example, we're
going to link to an AMA volume.
| | 01:40 | Linking to an AMA volume means that
you can load multiple clips into your bin
| | 01:45 | in one easy move.
| | 01:47 | Many of the new HD Cameras record
their media as clips onto solid state
| | 01:51 | memory cards.
| | 01:52 | The AMA procedure can be used to read
these cards directly from the camera, or a
| | 01:57 | card reading device, and the AMA
procedure can also be used to link to those
| | 02:02 | folders which contain those
copies on your hard drive.
| | 02:06 | In this example, we'll use AMA to
link to a copy of a P2 card recorded by a
| | 02:11 | Panasonic P2 Camera, but the procedure
is identical, even if I was using XDCAM EX
| | 02:17 | material recorded by a Sony EX3 Camera.
| | 02:21 | All I need to do is go to the
File menu and Link to AMA Volume.
| | 02:27 | Then I can browse to the location, and
what I've got inside of my resources
| | 02:32 | folder here is a folder called AMA hummingbirds.
| | 02:36 | This is a copy of the card
that was recorded on the camera.
| | 02:40 | I select the top level of the card,
click OK, a bin is automatically created, and
| | 02:46 | here in the bin now are my clips.
| | 02:50 | I can double-click on those
and play them back straight away.
| | 02:55 | (Clip playing.)
| | 03:00 | Working with AMA linked files is
perfect for the modern deadline-driven world.
| | 03:05 | Instant access to your
media is a real time saver;
| | 03:08 | however, the down side is that because
the media is not in the managed location,
| | 03:14 | you will need to keep the files
and folders orderly on the operating
| | 03:18 | system level manually.
| | 03:20 | One simple way to do this is to
create a single folder on your Media drive
| | 03:24 | containing all of your AMA media.
| | 03:27 | For longer film projects or more
enterprise-level environments, creating a
| | 03:32 | back up of your camera bedia is usually
required, as is moving old media into a
| | 03:38 | managed Media files location.
| | 03:40 | To do this, we use the Consolidate function.
| | 03:43 | I've come over here, and I've
selected my two files in the bin.
| | 03:47 | All I have to do now is right-
click on them, and I can choose the
| | 03:51 | Consolidate command right here.
| | 03:54 | Leave this checked on Consolidate,
Video and audio will go into the same drive
| | 03:58 | and then select your media drive
which has the manage Media folder on it.
| | 04:03 | Next, click Consolidate.
| | 04:06 | This dialog is simply confirming, do we
want the clips in our bin to be linked
| | 04:10 | to the original location of the AMA
Media or to the new location of the copy
| | 04:15 | of the AMA Media?
| | 04:17 | Click OK. The consolidation process takes place;
| | 04:21 | it's simply copying the files from
the AMA location to the managed Media
| | 04:25 | files location.
| | 04:27 | Now I've got those file in my bin.
| | 04:29 | You can see that the AMA version of
the clips have .old next to them, and the
| | 04:34 | new versions of my clips are available
for playback and editing, just like the
| | 04:39 | AMA versions were.
| | 04:41 | Now this is quite important: Once
you've done a consolidate like this, that
| | 04:45 | means you've now got the system
referring to all of these clips in two
| | 04:50 | different locations.
What do we do?
| | 04:52 | We come to the File menu, and we
use the Unmount command, and what we're
| | 04:58 | saying here is hey, we were accessing
this AMA Volume, but now I don't need
| | 05:03 | to any longer.
| | 05:05 | Why? Because I already have my copies
on the managed Media files folder.
| | 05:10 | Now that I've unlinked these files, you
can see that they say Media Offline and
| | 05:15 | since I don't need them anymore, I'm
just going to delete them from my bin and
| | 05:19 | work with my managed copies.
| | 05:23 | Accessing clips or volumes via Avid
AMA creates clips in your bin which are
| | 05:28 | linked to the native Media shot by the
camera, or created by another application.
| | 05:34 | Consolidating creates media copies of
the clips in the managed Media folder
| | 05:39 | whilst retaining the original file format.
| | Collapse this transcript |
| Accessing media from other projects| 00:00 | Avid projects are containers for our work.
| | 00:03 | Ideally, all media for a project would
be directly imported, linked, or captured
| | 00:08 | into the project we're going to be working in.
| | 00:10 | Sometimes, however, you'll need to
access clips and bins from other projects.
| | 00:14 | For example, reusable or generic
elements such as slides, graphics, books, bars
| | 00:21 | and tone can be imported just once into
a resources project and then available
| | 00:25 | for use in any project via the Open bin dialog.
| | 00:29 | Here, in the Project window,
I've got the Fast menu.
| | 00:32 | If I click down in here,
I've got the option to Open bin.
| | 00:35 | I've been automatically put into the
Project folder for the current project
| | 00:39 | that I have open.
| | 00:40 | So if I browse up a level, I'll
now be in the Avid Project's folder.
| | 00:46 | Here, I've got a Resources Project;
| | 00:48 | inside there I've got Bars and Tone bin.
| | 00:51 | Let's Open that up.
There we go.
| | 00:54 | So now these Clips are available
for immediate playback and editing in
| | 00:57 | my project.
| | 00:59 | However, best practice dictates that
we create our own copy of the Bars and
| | 01:05 | Tone bin.
| | 01:08 | Now, I'm going to select these clips by
lassoing them like so, and Command+D or
| | 01:13 | Ctrl+D will duplicate them.
| | 01:15 | I'm going to take the copies, drag
and drop them into my own copy of the
| | 01:19 | Bars and Tone bin.
| | 01:21 | Now I can close that one, and that
resource will remain untouched and available
| | 01:25 | for everyone else who may need to use
it, and I have my own copy right here.
| | 01:30 | Another reason that you might need to
use the Open bin command is if you have
| | 01:34 | material that's at a different
frame rate from your current project.
| | 01:38 | If I go to the Format tab here,
| | 01:40 | you can see that my current frame
rate is 23.976 frames per second.
| | 01:45 | But what if we've got material
that's at a different frame rate?
| | 01:48 | Well, back to the Project window
and back to the Fast menu, Open bin.
| | 01:53 | By default, again, I've opened up
in the project that I'm currently in.
| | 01:57 | So again, let's browse up a level,
and let's go this time to the Resources
| | 02:01 | 5994 project.
| | 02:03 | Here, I've got a bin which has a 5994
clip in it. Open it up, and there it is.
| | 02:10 | I can take that now and play it
back and edit it like any other clip.
| | 02:15 | Interestingly, if I come down here to
the Timeline area and I toggle my Timeline
| | 02:20 | between shoeing the Record side and the
Source side, I can actually see the clip
| | 02:25 | as a graphical representation down here.
| | 02:28 | I can see the original frame rate,
which is not the frame rate of our
| | 02:31 | project, and I can also see this
little green dot, which represents a real-
| | 02:35 | time motion effect that's been
applied to this clip, in order to make it
| | 02:39 | match the frame rate of my project.
| | 02:42 | Avid Projects are containers for your work.
| | 02:44 | The creative process, however, may in
fact be the culmination of work done
| | 02:49 | in two, three or more projects,
which is then all brought together in your
| | 02:54 | main sequence.
| | Collapse this transcript |
| Working with clips in the bin| 00:00 | Just as an architect uses different
views of a building, and sculptor will pace
| | 00:05 | around the stone block, an editor
requires different views of the available
| | 00:10 | media in order to select the best
material for the piece they're working on.
| | 00:15 | Clips are not just dumb media references.
| | 00:18 | They contain all sorts of other data and
attributes that are of enormous benefit
| | 00:23 | during the production process.
| | 00:25 | Bins can give us different views on our
clips, so that we can work with our data
| | 00:29 | in the most useful way for
our current project needs.
| | 00:33 | Here in the bin, for example, we've got
the Brief tab, the Text tab, the Frame
| | 00:39 | tab and the Script tab.
| | 00:41 | Let's have a look at what these do.
| | 00:43 | The Brief really does give us some very
basic information. The Text tab, again,
| | 00:48 | is textually based, but if I expand the
bin out, you can now see that there's a
| | 00:53 | whole range of information available
for all of these clips that can aid us in
| | 00:57 | the production process.
| | 01:00 | These columns along the top are
controlled through the Fast menu.
| | 01:04 | If I click here and go to Choose
Columns, here is where I got to choose which
| | 01:09 | columns are currently displayed.
| | 01:12 | If I make a change and add a column,
let's add Format, now I can go ahead and
| | 01:22 | Save this new bin view using
this button here as my own bin view.
| | 01:30 | In the Frame view, you can see
that I get a Head Frame of my clips.
| | 01:34 | If the Head Frame isn't representative
enough for my needs, what I can do is
| | 01:39 | highlight the clip and use the Spacebar
on my keyboard to play through the clip
| | 01:44 | (Clip playing.)
| | 01:49 | until I find just the right frame,
which displays that clip for me so I know
| | 01:53 | exactly what's in there.
| | 01:55 | And then in the Script view, you can
see it's a hybrid between the Frame
| | 01:58 | view and the Text view.
| | 02:00 | We get data in columns, and we also
get a picture that we can look at here
| | 02:05 | in the bin.
| | 02:09 | If I switch back to Text view, I can
show you something else that's very handy,
| | 02:14 | and that's the fact that any of these
columns can be sorted alphanumerically.
| | 02:18 | If I click on the Duration column and
then right-click and say Sort, Ascending,
| | 02:23 | I get the Durations from
the smallest to the largest.
| | 02:27 | The same is true for the Creation Date.
| | 02:29 | If I right-click once I've selected
the column and say Sort, Ascending, I get
| | 02:34 | the earliest clips that were created to
the latest clips, and the same of course
| | 02:39 | is true for the Name, A through Z.
| | 02:41 | So that's a very quick way to be
able to sort your clips in your bin.
| | 02:46 | If you need to rename a clip,
then let's take the cobweb here.
| | 02:50 | Maybe we need to change the name to spider.
| | 02:53 | Just highlight the clip, type over
and then click outside of the text field
| | 02:58 | to have that entered.
| | 02:59 | Let's close this bin and open up the delete bin.
| | 03:02 | Here, I'm going to be
discussing the deletion process.
| | 03:06 | If we have a clip that we need to get
rid of, maybe it's a clip that was brought
| | 03:10 | in accidentally, or it's a clip that we
no longer need, then to delete it what
| | 03:14 | we do is highlight the clip and then
hit the Delete key on the keyboard.
| | 03:19 | Now this is important because we are
offered two choices: Delete 1 master clip,
| | 03:24 | Delete 1 associated media file.
| | 03:27 | The media file is in the managed
media file location, and the master clip is
| | 03:32 | stored with your project information.
| | 03:34 | So if I choose to delete the media file,
I'll get a confirmation dialog.
| | 03:39 | Once I've done that, notice I no longer
have any picture information associated
| | 03:42 | with this clip.
| | 03:43 | If I load it, it says Media Offline.
| | 03:47 | However, all of the data about that
clip is still available in the bin.
| | 03:51 | So this is exactly the methodology
you would use once you had finished
| | 03:56 | your project.
| | 03:57 | If you had captured material from a
camera, you could delete the media
| | 04:01 | files, but keep the clip data in
your bin, in case you ever need it to
| | 04:05 | recapture those clips.
| | 04:08 | If we really do want to remove this
clip completely, that is remove the clip
| | 04:12 | data as well as the media, then if I
highlight it once more and hit Delete once
| | 04:17 | more, now I'm just given the
choice to Delete the master clip.
| | 04:21 | If I select that, now the media
and the clip data is gone for good.
| | 04:27 | As with any art form, the process of
creation requires a mixture of perspiration
| | 04:32 | as well as inspiration.
| | 04:34 | Using the power of clip and bin
management tools will cook down on you
| | 04:38 | perspiration and leave you more
time for the valuable inspiration.
| | Collapse this transcript |
|
|
3. Introduction to EditingGetting started with editing| 00:00 | Now we can finally enter the creative
realm and start using Media Composer for
| | 00:05 | what it's made for: editing.
| | 00:07 | The bins are like a paint palette, and
the Timeline is similar to your canvas.
| | 00:12 | Before we'll be able to paint properly
though, we'll need to take a look at some
| | 00:16 | different techniques for getting the
right amount of paint on the brush.
| | 00:19 | Now first let's review loading clips.
| | 00:22 | You've seen me take a clip, drag it,
drop it into the Source viewer, and
| | 00:26 | you've also seen me take a clip and
double-click on it to load it into the
| | 00:30 | Source viewer.
| | 00:31 | I can also take numerous clips and
either drag and drop or double-click to load
| | 00:37 | numerous clips at the same time.
| | 00:39 | Once I have a clip in the Source viewer,
you can see that now I get data, the
| | 00:44 | name of the clip, and I can also
swap between my clips here, like so.
| | 00:48 | And you can also see a timecode
display up here, which updates as I move
| | 00:54 | forwards and backwards through my clip.
| | 00:56 | Let's load a different clip here.
| | 01:01 | Now as I move backwards and forwards
here with the Scrub bar, below the Source
| | 01:05 | viewer, there are
numerous commands for playback.
| | 01:08 | If I click the Play key...
| | 01:10 | (Video playing.)
| | 01:15 | the clip will play
until I hit the Play key again.
| | 01:19 | Likewise, I can also use my Spacebar on
my keyboard. Hit the Spacebar to play.
| | 01:25 | (Clip playing.)
| | 01:27 | Hit the Spacebar to stop.
| | 01:28 | What else is underneath here?
| | 01:30 | We've got rewind and fast forward,
and when there's nothing else marked on
| | 01:34 | my clip, this will take me between
the beginning frame and the end frame of
| | 01:38 | my clip.
| | 01:39 | I also have these;
| | 01:40 | these are step forward or
backwards by one frame or ten frames.
| | 01:46 | On the other side, I have Mark Clip.
| | 01:50 | This marks the entire duration from
the very beginning to the very end, and I
| | 01:53 | also have Clear Marks.
| | 01:57 | Then either side of my Play button,
I've got Mark In and Mark Out as
| | 02:02 | separate commands.
| | 02:04 | The Mark In button indicates to the
system where I'd like to start using
| | 02:08 | this material from.
| | 02:09 | If I play through, once I've got
enough of that clip, I can stop and make a
| | 02:16 | Mark Out.
| | 02:18 | These buttons here go between the In
points and the out points, and then finally,
| | 02:23 | this button plays from In to Out.
| | 02:28 |
| | 02:32 | Another way to play back through
your media is to use J, K and L keys on
| | 02:36 | your keyboard.
| | 02:37 | The L key will play forwards.
| | 02:42 | If I hit it again, it'll play faster.
Hit it again, it'll play faster again.
| | 02:48 | If I hit the K key, it'll stop.
| | 02:51 | The J key will play us backwards.
| | 02:54 | Hitting it again will speed up
the backwards playback and again.
| | 02:59 | I can also use a combination of J, K,
or K and L. If I hold down the K key and
| | 03:06 | press the L key, now I'm going to
slowly scrub forward through my clip at six
| | 03:12 | frames per second, in this case.
| | 03:14 | Likewise, if I hold down the K key
and press the J key, I'm going to scrub
| | 03:20 | backwards at six frames per second.
| | 03:23 | This is really helpful for rocking
backwards and forwards at a transition point
| | 03:27 | when you're trying to find an
exact place to make a mark in.
| | 03:33 | The scrubbing technique
can also be used with audio.
| | 03:35 | If I load an audio clip, you can hear as,
I scrub forwards, holding down K and L.
| | 03:41 | (Video playing.)
| | 03:52 | So you can hear there that I'm able
to find audio cue points accurately by
| | 03:56 | using J, K, L.
| | 03:59 | Another method for marking
clips is to mark them on the fly.
| | 04:03 | Let's say, for example, we have this
clip loaded, and we want to make an In
| | 04:06 | point and an out point, but we
want to do so whilst we watch back the
| | 04:10 | material in real-time.
| | 04:13 | I'm going to hit the Spacebar on my
keyboard to start playing back, and then
| | 04:17 | I'm going to use the I and O keys to
make in points and out points on the fly.
| | 04:22 | (Video playing.)
| | 04:31 | So now you can see I've been able to
make a selection from this clip whilst I
| | 04:35 | was playing back in real-time.
| | 04:38 | Okay, there's one other method that I
want to show you for marking up your
| | 04:41 | clips ready for the editing
process, and that's called subclipping.
| | 04:46 | Earlier on, you saw me use
this clip, the beachside clip.
| | 04:50 | Now often, this is how material
will come in from a camera: a bunch of
| | 04:54 | consecutive shots that need to be
broken up into individual clips for editing.
| | 05:00 | So, the way we do this is as follows:
| | 05:02 | We can either do it on the fly or by scrubbing.
| | 05:05 | I'm going to do it on the fly.
| | 05:06 | So I'm going to start playback and
then make an in point and an out point to
| | 05:10 | mark just this area of this clip.
| | 05:15 | in point there, and that's enough for that.
| | 05:18 | I'll make an out point there.
| | 05:19 | So, I have just marked
this area here of the ocean.
| | 05:24 | If I want to now save this as a
subclip, what I do is I click here, next to
| | 05:29 | the name of the clip.
| | 05:30 | There's a little icon that
looks like a Clip icon in the bin.
| | 05:33 | If I press down and then drag this
to my bin, you could see that I've now
| | 05:39 | created a subclip, which I can call ocean.
| | 05:45 | Now, let's go to Out and continue playing.
| | 05:50 | In and out. Again, I can now
drag that Subclip into my bin.
| | 06:02 | And so the process for subclipping this
material would just be me continuing to
| | 06:06 | go through the clip, marking different
sections and then adding them to my bin.
| | 06:11 | Here's a close-up shot.
| | 06:13 | I could scrub through, make a mark
out and then subclip this to my bin.
| | 06:18 | There's the close-up.
| | 06:20 | Finally, I'm going to show you how to
create a subclip, which is either just
| | 06:24 | video or just audio.
| | 06:25 | Here, I've got a clip of water.
| | 06:28 | (Video playing.)
| | 06:33 | Now, maybe that image isn't
particularly useful to me, but maybe the audio is.
| | 06:37 | I'm going to mark the clip, and then
down here in the Timeline area, I'm going
| | 06:41 | to show you that I'm going to switch
off the activeness of my video track.
| | 06:47 | Now when I come up to the water clip I
can create my subclip, press down hold
| | 06:52 | and drag into this bin, you can see
that I've made an audio only clip.
| | 06:57 | It's represented by this waveform icon, like so.
| | 07:00 | So next time I load that subclip, I
will only have audio tracks present in the
| | 07:05 | Timeline and here in the Source viewer.
| | 07:07 | (Audio playing.)
| | 07:10 | Knowing what sound each key on a
piano produces is essential to being a
| | 07:14 | good pianist.
| | 07:16 | Likewise, being able to organize,
play, and mark your clips quickly and
| | 07:21 | efficiently is an important
skill in the art of editing.
| | Collapse this transcript |
| Creating a new sequence| 00:00 | There are various ways to create
a new sequence in Media Composer.
| | 00:04 | Once we have a new sequence ready for
editing, the first thing we'll want to do
| | 00:08 | is add material to it.
| | 00:09 | So, what I'm going to do here
is I'm going to come to my bin.
| | 00:12 | I've got a bin ready for some sequences here.
| | 00:15 | A different way to create a new
sequence is to use Command+Shift+N or
| | 00:19 | Ctrl+Shift+N to create a new
sequence in your bin, like so.
| | 00:24 | It's a blank sequence.
| | 00:25 | There's no video or audio clips in
it yet, and let's give it a name.
| | 00:28 | It's highlighted there, so,
let's call this beach.
| | 00:34 | Now you can see the name beach has
cropped up over here, over the Record viewer,
| | 00:37 | and we've also got tracks,
video track and two audio tracks.
| | 00:43 | And then next to that,
we've got the Timeline palette.
| | 00:46 | This contains numerous tools for editing.
| | 00:48 | So over here, I've got my two Segment
mode arrows. At the moment, Segment mode
| | 00:54 | (Lift/Overwrite) is highlighted.
| | 00:57 | Underneath that is Segment
mode (Extract/Splice-in).
| | 01:00 | I'll show you the difference
between those two in just a moment.
| | 01:04 | But if I want to add some material to my
sequence, all I need to do now is go to
| | 01:08 | my Bin area, grab the clip and
drop it into the Timeline area.
| | 01:13 | Now, we've got one clip in our sequence.
| | 01:15 | If we want to add another one, all we
have to do is go back up to the bin, find
| | 01:20 | a clip that we want, drag it
and drop it into the Timeline.
| | 01:25 | As I drag and drop this clip into my
Timeline, you can see I'm getting feedback
| | 01:29 | up in the Composer area there.
| | 01:31 | If I drag it all the way to the right,
like so, and drop it, what I've done is
| | 01:36 | added the clip after the kite clip.
| | 01:38 | So we have the kite, then the sand sculpture.
| | 01:41 | I'm going to undo that, Command+Z or
Ctrl+Z, and show you that if I now drag
| | 01:47 | the clip and drop it at the beginning
of my Timeline, I'm going to get a very
| | 01:51 | different result.
| | 01:53 | Now the sand sculpture has
overwritten the kite clip, almost to the end.
| | 01:58 | There's just a little bit of the kite clip left.
| | 02:00 | Why is that?
| | 02:01 | Well, that's because we're
using the Lift/Overwrite arrow.
| | 02:05 | If we drag clips from the bin and drop
them into the Timeline using the Segment
| | 02:10 | Overwrite arrow, they will
cover up whatever was there already.
| | 02:14 | So let's undo that, and do the same
thing again, but this time
| | 02:19 | with the Extract/Splice-in arrow.
| | 02:21 | Now I'm going to toggle it on and
toggle off the Segment Overwrite arrow.
| | 02:26 | So now we're going to
inserting segments instead.
| | 02:30 | Let's take the same clip.
| | 02:32 | If I drag it and drop it at the
beginning of my sequence, notice that this
| | 02:37 | time, instead of overwriting the kite
clip, it pushes the kite clip further
| | 02:42 | down the Timeline.
| | 02:45 | Let's undo that again.
| | 02:47 | What happens if I take the clip using
the Splice-in mode, and this time drag it
| | 02:52 | and drop it at the end of my Timeline?
| | 02:55 | Well, there was nothing after this clip
to push down, so it just ends up being
| | 02:59 | the next clip in the sequence, like so.
| | 03:02 | Let's do that a third time.
| | 03:03 | This time let's drag and drop the
clip, but instead of dropping it at the
| | 03:07 | beginning of the sequence where it
would just push the kite clip down, or the
| | 03:11 | end of the sequence where it would
become just the next Clip, I drag it and
| | 03:16 | drop it in the center of the kite clip.
| | 03:19 | Now look what happens.
| | 03:21 | The kite clip has been split into two
parts, and the second part was pushed
| | 03:26 | further down the Timeline.
| | 03:29 | Let's recap what these tools are doing.
| | 03:32 | If I use the Lift/Overwrite mode to
add a clip into my sequence, notice what
| | 03:38 | happens to the duration of my sequence.
| | 03:40 | Let's take a different clip here.
| | 03:42 | So if I take the sailboat clip and I
drag it and drop it down into my sequence
| | 03:47 | here, maybe if I drop it right at the
beginning, notice that not only do I
| | 03:51 | overwrite the clips in the sequence, but
the sequence duration remains the same.
| | 03:57 | Let's undo that, and now let's toggle
to the Extract/Splice-in mode instead.
| | 04:02 | Now if I take the clip and drop it into
my sequence, let's drop it right between
| | 04:06 | the kite and the sand sculpture right there,
| | 04:08 | notice that the sand sculpture and the
other part of the kite clip have been
| | 04:12 | shuffled down, and that has
increased the length of the Timeline.
| | 04:16 | So in short, the Lift/Overwrite
mode won't affect the length of your
| | 04:20 | sequence; the Extract/Splice-in mode will.
| | 04:25 | I've been editing from the bin, but if
we loaded one of these clips into the
| | 04:28 | Source viewer, I could make
additional modifications to the in point and
| | 04:33 | out point of my clip and now, I could
drag directly from the Source viewer into
| | 04:38 | my Timeline too, and notice that the
system is going to use the mode that we
| | 04:43 | selected over here to add that clip
from the Source viewer into the Timeline.
| | 04:48 | If I switch modes, this time, I would
be overwriting into my Timeline instead.
| | 04:55 | One final thing that I'd like to
bring your attention to here is the idea
| | 04:59 | of track activeness.
| | 05:01 | Everything that we'd being doing so far,
has been working with clips where the
| | 05:05 | track is currently active.
| | 05:07 | Let's load the sailboat again.
| | 05:10 | If I turn off the activeness of that
track and now try and add material to my
| | 05:16 | Timeline, nothing happens.
| | 05:18 | In order to make an edit from the
Source side to the Record side, both the
| | 05:23 | Source side and the
Record side need to be active.
| | 05:27 | The two segment modes and track
activeness are fundamental to our firm
| | 05:32 | understanding of how the Timeline
will behave when you add, move or remove
| | 05:37 | material in your sequence.
| | Collapse this transcript |
| Removing material from your sequence| 00:00 | Editing can be as much about what
you exclude as what you include.
| | 00:05 | Like a sculptor, once a sequence is
being created, often our job is to keep
| | 00:10 | chipping away at the material until what
is left is the most compelling essence of
| | 00:14 | the story, or message.
| | 00:15 | So before we dive into techniques for
removing material from my sequence, let me
| | 00:20 | quickly show you another
technique for creating a sequence.
| | 00:24 | It's called storyboarding.
| | 00:25 | I am going to just expand my bin a
little bit here and switch this into
| | 00:30 | Frame mode.
| | 00:31 | What this allows us to do is to start to
sketch out a storyboard of our sequence
| | 00:36 | before we start editing.
| | 00:38 | Might be we want to start with the
cafe view and then perhaps go to the
| | 00:42 | downtown view,
| | 00:45 | then to some skaters, and to a freeway and so on.
| | 00:50 | By arranging the clips from top-left
to bottom-right, I'm indicating to the
| | 00:55 | system the order in which I'd like to
have in dropped into the sequence when I
| | 00:59 | lasso, click down and lasso all of the
clips and then click down once again drag
| | 01:04 | and drop into my Timeline.
| | 01:06 | There is the cafe clip at the very
beginning, and the last clip will be the
| | 01:11 | cityview. So as we drag through, there it is.
| | 01:16 | You can see as well that the new
sequence has been added automatically to my bin.
| | 01:21 | Let's give it a name.
| | 01:21 | Okay, let's just put the bin back to
there and have a look at the Timeline area
| | 01:29 | and some techniques for removing material.
| | 01:32 | You can see in our graphical
representation that some clips are longer
| | 01:35 | than others.
| | 01:37 | This one here looks like
it's got some camera shake.
| | 01:42 | So let's say we decided to
remove that clip from our sequence.
| | 01:45 | How do we do that?
| | 01:46 | Well, the first thing I am going to do
is look at track activeness, because if I
| | 01:50 | want to work on the video track, I
am going to deactivate A1 and A2.
| | 01:55 | Next, I am going to use the Mark Clip
button to mark that clip in my Timeline.
| | 02:01 | You can also do that with
the T key on your keyboard.
| | 02:04 | I have got these two tools: Lift
and Extract. Just like the two segment
| | 02:10 | modes, Lift/Overwrite and Extract/
Splice-in they are colored red and yellow,
| | 02:16 | and indeed their functionality
corresponds to the functionality of Segment
| | 02:20 | Overwrite and Segment Insert.
| | 02:22 | For example, if I want to remove the
clip and have the gap closed up, I would
| | 02:28 | use Extract, like so. The clip has
been removed, all other clips were shuffled
| | 02:34 | up, the Timeline was shortened,
and now that clip is gone.
| | 02:39 | Let's undo that; Ctrl+Z on Windows,
Command+Z on the Mac, and this time, instead
| | 02:45 | of using Extract, let's use Lift.
| | 02:49 | When I do so, the clip is still removed,
but behind is left a gap. When you have
| | 02:55 | a gap in a Timeline notice that
Media Composer displays black.
| | 02:59 | So you can see that Lift is
analogous to Lift/Overwrite mode.
| | 03:05 | Using Lift/Overwrite mode will
overwrite clips in the sequence and not affect
| | 03:10 | the length, and Lift will remove clips
from the sequence without affecting the
| | 03:15 | length of the sequence.
| | 03:17 | Similarly, Extract/Splice-in mode will
insert clips into the sequence, thus
| | 03:22 | making the sequence longer, whereas
Extract will remove clips and close the gap
| | 03:29 | thus shortening the sequence.
| | 03:32 | Okay! So that's working with entire clip.
| | 03:35 | What happens if we want to
remove a portion of a clip?
| | 03:39 | Let's say, for example, we only
need a little bit of the traffic here.
| | 03:42 | Well, I can make an in point,
scrub through my Timeline, and make an
| | 03:49 | out point right here at the junction
between the end of the traffic and the
| | 03:54 | boardwalk clip.
| | 03:55 | If I hold down Ctrl on my keyboard
I can snap directly to that point.
| | 03:59 | Just going back one frame, now I can
see I have got the very end of this
| | 04:04 | clip marked here.
| | 04:05 | If I hit O, now that's marked.
| | 04:10 | If I use the Lift command, I am just
going to leave a gap, and that's not
| | 04:14 | really what I want, so I am going to
undo that, and I am going to use the
| | 04:19 | Extract command instead.
| | 04:21 | Now, I have removed that extra
material, and we go straight into the
| | 04:24 | boardwalk clip, like so.
| | 04:29 | Another way to do exactly the same
thing will be to mark a section using an
| | 04:33 | in point and an out point, and then I
could use Command+X or Ctrl+X to remove
| | 04:41 | that portion of my Timeline.
| | 04:43 | Look what happens if I do so.
| | 04:44 | It got lifted out.
| | 04:48 | Why was that?
| | 04:50 | It's because I'm in Lift/Overwrite mode.
| | 04:53 | If I undo that and switch toggle to
Extract/Splice-in mode instead, and now use
| | 05:01 | Command+X or Ctrl+X, I
extract the material instead.
| | 05:06 | So we can mark clips and either use
Extract or Lift, or else depending upon the
| | 05:13 | mode we're in here, we can use
Command+X or Ctrl+X to do the same thing.
| | 05:19 | There is another way to delete
clips from your Timeline, as well.
| | 05:23 | If using Extract/Splice-in mode I
highlight a clip and then hit Delete on my
| | 05:29 | keyboard, now you see I performed an extract.
| | 05:33 | Likewise, if I use Lift/Overwrite
mode instead and highlight a clip and hit
| | 05:39 | Delete on my keyboard, it's now
lifted that clip out of my Timeline.
| | 05:44 | So you can see that there is a
trend in the Media Composer interface.
| | 05:48 | The color red will lift or overwrite
material not affecting the length of your
| | 05:54 | sequence. The color yellow will insert
or extract material from your sequence,
| | 05:59 | thus making it longer or shorter.
| | 06:02 | Editing begins with a rough assembly
and proceeds towards the final cut and
| | 06:07 | ultimately the finished piece
through a series of refining techniques.
| | 06:13 | Removing material efficiently and
accurately is a primary part of the
| | 06:17 | refinement process.
| | Collapse this transcript |
| Editing segments in the Timeline| 00:00 | As we add, remove and refine our
sequence, there will inevitably be times when we
| | 00:05 | need to reorder and reposition material.
| | 00:09 | The simplest way to do this is
using the Segment Insert and Segment
| | 00:13 | Overwrite tools.
| | 00:14 | If I come over here to the
Timeline palette and engage the Segment
| | 00:18 | Overwrite tool, like so,
| | 00:20 | now if I wanted to move this valley
clip further up in my sequence, if I
| | 00:25 | highlight the clip and drag it to the
left, notice what happens. Only the video
| | 00:32 | has come along for the ride.
The audio has stayed positioned where it was.
| | 00:37 | So let's undo that: Command+Z on
the Mac, Ctrl+Z on a Windows machine.
| | 00:43 | This time let's engage
the Link Selection toggle.
| | 00:47 | Now when I click down and drag my clip,
you can see that I'm actually taking the
| | 00:53 | audio with the video.
| | 00:55 | You can also see that as I drag using
Overwrite mode, I am overwriting any clips
| | 01:01 | that I happened to park over.
| | 01:03 | In fact, if I did it again, I would
have eliminated the rushing water clip.
| | 01:09 | If instead I were to toggle off the
Lift/Overwrite mode and toggle on the
| | 01:14 | Extract/Splice-in mode, we
would get a different behavior.
| | 01:18 | Let's drag the valley clip here, this
clip, through to the beginning of the
| | 01:22 | water clip, so click down, hold, drag,
and I am going to drag it all the way to
| | 01:28 | the beginning of the Timeline and let go.
| | 01:30 | Look what happened.
| | 01:32 | Instead of overwriting the water clip,
the Valley clip inserted itself at the
| | 01:36 | beginning of the sequence and pushed
everything in the Timeline further down
| | 01:40 | to make room.
| | 01:41 | That's what happens when you are
moving clips around in the Timeline using
| | 01:46 | either the Extract/Splice-in or
the Lift/Overwrite segment modes.
| | 01:51 | Let's do a different example
with the Segment Overwrite arrow.
| | 01:54 | So far, we have been positioning
clips free fall, just dropping them where
| | 01:59 | they may.
| | 02:00 | If I wanted to snap a clip to a
particular location, I could do it like this.
| | 02:05 | I am going to hold down the cobweb clip,
and I am going to hold down the Ctrl
| | 02:09 | key on my Windows keyboard, or
the Command key on my Mac keyboard.
| | 02:13 | Now, I can snap directly to the end
of a clip, to the Timeline Position
| | 02:19 | indicator, to the beginning of a click,
or the beginning of the next click.
| | 02:23 | So you can see I can actually position
clips on the basis of significant moments
| | 02:29 | in the Timeline, like so.
| | 02:31 | The same would be true if I
use the Extract/Splice-in mode.
| | 02:35 | If I want to accurately position
the cobweb clip at the beginning of my
| | 02:39 | sequence, click, hold down, and hold down
Command on the Mac or Ctrl on a Windows
| | 02:44 | machine, drag, and now I know that
I've inserted that clip directly at the
| | 02:49 | beginning of the Timeline.
| | 02:51 | This is important. If I undo that look
what happens if I do it again, but I
| | 02:56 | don't hold down Ctrl, and I
accidentally drop it just a couple of frames from
| | 03:00 | the beginning.
| | 03:02 | Now, I am going to get a little bit
of the original clip, followed by the
| | 03:06 | next clip.
| | 03:08 | So to avoid flash frames like that, use
the Snapping function in your Timeline to
| | 03:12 | align your clips up accurately.
| | 03:14 | So far, I've been working by
toggling backwards and forwards between the
| | 03:19 | Lift/Overwrite and the Extract/Splice-in mode.
| | 03:23 | Another way to work will be to
engage both arrows at the same time.
| | 03:28 | Now when I move over into my sequence,
you can see that if I hover over the lower
| | 03:32 | portion of my clip, I get Extract/Splice-in mode.
| | 03:36 | If I hover over the upper portion
of my clip, I get Lift/Overwrite mode.
| | 03:42 | If I now wanted to overwrite the end of
this clip with the valley, then I would
| | 03:47 | click down on the upper portion of my
clip, and I am in Lift/Overwrite mode.
| | 03:52 | If I wanted to reposition the water
clip at the beginning of my sequence, click
| | 03:57 | down on the lower portion of my clip,
and now I can drag that to the beginning
| | 04:01 | of my sequence and let go.
| | 04:04 | The ability to move and reposition
clips without losing sync between audio and
| | 04:09 | video is controlled by the Link
Selection toggle, by using either the
| | 04:14 | Extract/Splice-in or the Lift/
Overwrite modes, either separately or in
| | 04:19 | conjunction with each other, makes a very
easy and intuitive approach to editing.
| | Collapse this transcript |
|
|
4. More Editing TechniquesUsing Splice, Overwrite, and three-point editing| 00:01 | Once you start getting up to speed,
you'll find editing is a very fluid task.
| | 00:05 | Your mind is engaged in a multitude
of connections and cross-references.
| | 00:10 | There will be a positive feedback
loop between what you experience in the
| | 00:13 | Timeline and what you then
look for next in the bin,
| | 00:17 | back to bin, back to Timeline in an upward
spiral of progress, as the ideas you're
| | 00:22 | playing with take shape.
| | 00:25 | Depending on your progress in a
project, or the material you're working with,
| | 00:28 | different editing techniques will be
more or less relevant to the task at hand.
| | 00:33 | One very powerful and rapid way
to add material to your sequence is
| | 00:38 | Three-Point Editing.
| | 00:39 | Three-Point Editing simply refers to
using three marks to define the bounds
| | 00:44 | of your edit.
| | 00:45 | Let me show you want I mean.
| | 00:47 | Here, I have got this clip in my Source Viewer.
| | 00:49 | If I make an in point, play, stop, make
an out point, I have made two marks here.
| | 00:57 | Now before I go any further, what I am
going to show you is a quick shortcut.
| | 01:00 | If I right-click in the Composer window
and go to Composer Settings, here I have
| | 01:06 | control over what information is
displayed above my Source and Record monitors.
| | 01:11 | I am going to click on Center Duration.
| | 01:14 | Click OK.
| | 01:15 | Things shuffle around a bit now, but
you can see that I've added the center
| | 01:19 | box, which allows us to the display
the lengths of the currently marked
| | 01:25 | segment in the Timeline.
| | 01:26 | So now we've got a duration of 2
seconds and 3 frames marked in my Source
| | 01:31 | viewer. That's two marks.
| | 01:33 | All I need is a third mark in my Timeline.
| | 01:38 | Let's step forward a frame at a time.
| | 01:40 | I can do this with the arrows on my
keyboard, or else with the Frame Advance and
| | 01:46 | Frame Backwards buttons here.
| | 01:48 | What I want to do is mark specifically
here on the joint between the previous
| | 01:53 | clip and the next clip.
| | 01:55 | This little L shape here tells me I
am on the first frame of this clip.
| | 01:59 | So now if I make an in point in my
Timeline, I have got one, two, three, points.
| | 02:06 | So now what I can do is I can use
either the Splice-in or Overwrite arrows here
| | 02:12 | to add this material to my sequence.
| | 02:14 | First, let's use Splice-in.
| | 02:18 | If I use the Splice-in command now,
you can see what happens is the rushing
| | 02:22 | water clip from here has been inserted
into my sequence, and all the other clips
| | 02:27 | have been shuffled down to make room.
| | 02:29 | If I use Command+Z on the Mac, or Ctrl+Z on a
Windows machine to undo that, I can show you
| | 02:35 | what happens if I used overwrite.
| | 02:38 | This time as I click it, I am actually
overwriting the clip that was there in
| | 02:42 | the sequence already and
preserving the length of my sequence.
| | 02:46 | I haven't shuffled any clips down;
| | 02:48 | I've just overwritten what was already there.
| | 02:51 | As long as we are editing with two
points in the Source viewer, then it is the
| | 02:55 | length of the source clip, in this case
2 seconds and 15 frames, that determine
| | 03:00 | what happens to the sequence.
| | 03:03 | The sequence has to be receptive to
the commands issued from the source side.
| | 03:09 | We use this technique when we have a
clip of a definite length to add to our
| | 03:13 | sequence, like a sound bite or
a line of dialog, for example.
| | 03:18 | If we swap things around and instead
have a single point in the Source viewer -
| | 03:22 | let's remove our marks here.
| | 03:25 | Let's just make a single point just as
the flower is coming into focus there.
| | 03:30 | Instead, we had two points in the
Timeline - then it is the Timeline which is now
| | 03:35 | dominant, and the source clip is simply
being used from that point forward for
| | 03:40 | however long it is required.
| | 03:42 | We will use this technique when we
have a gap in a sequence that needs to be
| | 03:45 | filled with a cutaway or B roll.
| | 03:48 | Let's do that.
| | 03:49 | Let's take this section here, and I
am going to use my Mark Clip button.
| | 03:54 | Mark Click will work just as
effectively on a gap in the Timeline as it will a
| | 03:58 | clip in the Timeline.
| | 03:59 | So now we've defined a duration
of 20 frames here in the Timeline.
| | 04:05 | We have two marks and a
single mark in the Source viewer.
| | 04:08 | So this time when I use the Overwrite
arrow, all I do is fill out the gap from
| | 04:16 | here forwards for as long
as the Timeline required.
| | 04:21 | It's really important to
understand that this will only work with an
| | 04:24 | overwrite command.
| | 04:26 | In other words, when we have a single
point in the Source viewer and two points
| | 04:30 | in the Timeline area, then we can only
use the overwrite command to achieve
| | 04:34 | this result.
| | 04:35 | Let me undo and show you what I mean.
| | 04:36 | So I have undone that edit, and here I
have my clip marked again in the Timeline
| | 04:42 | with a single in point on the flower clip.
| | 04:46 | Now if I use the Splice-in
command, look what happens.
| | 04:50 | It seems odd, but it's actually quite logical.
| | 04:53 | The Splice-in command always
affects the length of your sequence.
| | 04:57 | So it took the length that was marked,
added the flower clip for that length,
| | 05:01 | but then preserved the gap afterwards.
| | 05:05 | Film was a nonlinear method to put
sequences together way before tape was
| | 05:10 | even invented.
| | 05:12 | Tape systems came up with some really
innovative ways to manipulate clips.
| | 05:16 | Media Composer takes the best of both
worlds and provides a variety of tools and
| | 05:21 | techniques to help bring
your imagination to life.
| | Collapse this transcript |
| Understanding trim concepts| 00:00 | Once we put clips together and view
them in a sequence, just a few frames here
| | 00:05 | and there can make a dramatic
difference to rhythm, pace, and meaning.
| | 00:09 | Trimming allows us to make finer
modifications to the precise beginning and
| | 00:14 | endpoints of clips directly in the timeline.
| | 00:19 | Here, I've got a sequence
loaded up in my Timeline window.
| | 00:22 | See I have got a valley clip here,
followed by a section of black, and then a
| | 00:27 | bunch of other clips making
up my river valley sequence.
| | 00:33 | Let's say we wanted to
extend the end of the valley clip.
| | 00:37 | First off, I need to come over here to
my Timeline palette and select one of my
| | 00:41 | Trim tools: either
Ripple Trim or Overwrite Trim.
| | 00:44 | I am going to select the
red one, called Overwrite Trim.
| | 00:48 | Now, as I approach the transition point,
you see some different icons that we
| | 00:53 | haven't seen before.
| | 00:55 | Ignore the red ones, and just
concentrate on the white one for a moment.
| | 00:59 | It has a double roller, meaning that
when I click down once in the timeline and
| | 01:04 | activate Trim mode, you can see now
there is a roller on the outgoing side of
| | 01:08 | the transition and a roller on
the incoming side of the transition.
| | 01:13 | That means when I trim this edit point,
I will be adding and removing frames
| | 01:18 | from both sides of the trim in equal amounts.
| | 01:22 | If I click down now, hold, and drag to
the right, I am adding material to the out
| | 01:28 | going side of the valley clip, and I
am removing material from the black here
| | 01:33 | in the timeline.
| | 01:34 | You can see I added 20 frames to the
outgoing side, and I removed 20 frames
| | 01:40 | of the black.
| | 01:41 | This is the Trim interface up here by the way.
| | 01:44 | Now we are in Trim mode.
| | 01:45 | This viewer displays the outgoing side
of my edit, and this viewer displays the
| | 01:51 | incoming side of my edit.
| | 01:52 | I also have these little tools here,
which allow me to fine-tune my trim point
| | 01:56 | backwards and forwards by a
single frame, or 10 frames at a time.
| | 02:00 | If I click down and drag left, now I
am removing material from the valley and
| | 02:06 | adding more black into my sequence.
| | 02:09 | Now if I click down again and drag to
the right, but just keep going, eventually
| | 02:15 | I am going to run out of material.
| | 02:17 | There is just no more of the
valley clip to trim into my sequence.
| | 02:22 | That's what that red bracket means,
in the bottom right-hand corner of
| | 02:26 | the left-hand viewer.
| | 02:29 | Let's look at a different
example of a dual roller trim.
| | 02:31 | Let's come over here to the transition
point between the sky and the rushing
| | 02:36 | water. This time, single-click here instead.
| | 02:39 | Instead of having black on one side of
my trim, I've got a clip on both sides.
| | 02:45 | I've got the sky
outgoing and the river incoming.
| | 02:50 | This time if I click down and hold and
drag to the left, I'm removing material
| | 02:56 | from the end of the sky clip and
adding material to the water clip.
| | 03:01 | Likewise, if I click down and hold
and drag to the right, now I'm removing
| | 03:06 | material from the rushing
water and adding to the sky clip.
| | 03:11 | If I drag and keep dragging to the
left, I've hit that red bracket again.
| | 03:15 | What does that mean?
| | 03:17 | It simply means that there is no more
material at the beginning of the rushing
| | 03:21 | water clip to trim into.
| | 03:22 | Let's have a look at one final example.
| | 03:26 | If I click here in the transition
between the water and the sky, and I hold
| | 03:30 | down and drag to the left until
there is no more of the water clip left,
| | 03:36 | look what happens.
| | 03:37 | I get that red bracket again.
| | 03:39 | It doesn't mean, in this particular case,
there is no more of the sky clip; what
| | 03:44 | it means is I've removed an
entire event from my timeline.
| | 03:47 | So Media Composer stops me
so I can recognize that fact.
| | 03:52 | If I want to continue to add material
to the beginning of the sky clip, all I
| | 03:56 | need to do is click down to
re-engage and continue to drag to the left.
| | 04:01 | This time, I really have run out of material.
| | 04:04 | Again, I see the red bracket, this
time in the bottom-left corner of
| | 04:08 | the right-hand viewer.
| | 04:09 | If I want to exit Trim mode, I can
either hit the Source Record Mode button
| | 04:15 | here or tap my cursor in the Timeline
ribbon at the bottom, and now I've exit
| | 04:20 | back to Source Record mode.
| | 04:24 | Trimming is simply part of the editing workflow.
| | 04:27 | We start the process by adding, removing,
and reordering clips in our sequence.
| | 04:32 | Then we move onto the fine-tuning
stage where Overwrite Trim and Trim Ripple
| | 04:37 | are essential tools.
| | Collapse this transcript |
| Working with trim techniques| 00:00 | Once you're familiar with trimming
concepts and using trim techniques, you'll
| | 00:04 | experience a leap in your
editing flow and productivity.
| | 00:08 | Here in my Timeline, I have a sequence
that begins with the valley clip and then
| | 00:12 | goes into the close-up of the water.
| | 00:13 | If I wanted to trim this transition
point, I've got two tools over here in my
| | 00:20 | Timeline palette:
Overwrite Trim and Ripple Trim.
| | 00:23 | Now as I use these tools, I want you
to keep an eye on what happens to the
| | 00:27 | duration of my sequence,
currently at about 8 seconds.
| | 00:31 | First off, let's engage Ripple Trim.
| | 00:34 | Now as I come to the left-hand side of
my transition point here, you can see I
| | 00:39 | get a yellow icon with a film rolled
out to the left, indicating it's the
| | 00:43 | left-hand clip that will be affected,
the outgoing side of the transition.
| | 00:48 | If I hover to the right, it's the
opposite icon, indicating in this case it
| | 00:52 | would be the water clip that
would be affected by the trim.
| | 00:56 | If I click down once on this side of
the edit point, I get a single roller trim
| | 01:00 | activated on the water clip.
| | 01:03 | The rollers are yellow to
indicate that I'm in Ripple Trim mode.
| | 01:07 | If I hold down again and trim to the
right, what's happening is I'm removing
| | 01:13 | material from the water clip.
| | 01:15 | When I let go, the rest of the
clips in the Timeline ripple up to
| | 01:19 | accommodate that change.
| | 01:20 | Notice the duration of the
Timeline is now less than it was.
| | 01:26 | On the other hand if I click down and
drag to the left, I am now adding material
| | 01:31 | onto the head of the water clip.
| | 01:34 | When I let go, you can see the clips
in the sequence have rippled down the
| | 01:37 | Timeline to accommodate that change,
and now we've returned our Timeline to
| | 01:43 | its original length.
| | 01:45 | If I click down on the left-hand side
of the transition point and hold down
| | 01:50 | again and pull to the left, I am now
removing frames from the valley clip,
| | 01:55 | Again, when I let go, the rest of
the clips in the Timeline ripple to
| | 01:59 | accommodate that change.
| | 02:00 | You can see again I've
reduced the length of the sequence.
| | 02:05 | Again, if I hold down and trim to the
right this time, I'm now adding material
| | 02:09 | onto the outgoing side of the valley clip.
| | 02:12 | When I let go, the Timeline updates,
and look, the sequence is longer.
| | 02:20 | Now one thing I'd like to make
really clear here is that I've got Link
| | 02:24 | Selection toggle engaged.
| | 02:26 | If I didn't have the Link Selection
toggle engaged, and I came to my Timeline,
| | 02:31 | and I activated a trim, I would only
be activating on the particular track
| | 02:35 | that I have clicked on.
| | 02:36 | If I click on the video track here and
pull to the left, I am removing frames
| | 02:42 | from the valley clip, but
only on the video track.
| | 02:45 | As a result now I've thrown the
rest of my audio clips out of sync
| | 02:50 | with their video clips.
| | 02:53 | When you're trimming, especially when
you're trimming in Trim Ripple mode, make
| | 02:56 | sure you understand whether you've
got Link Selection toggle on or off.
| | 03:01 | With it on, when you activate a trim,
it will activate all of the tracks.
| | 03:05 | With it off, when you activate a trim,
it will only activate the track that
| | 03:09 | you select.
| | 03:10 | Let's put it back on, and now
let's turn off Ripple Trim and turn on
| | 03:16 | Overwrite Trim.
| | 03:18 | Let's go to a different transition
point here between the sky and the
| | 03:22 | rushing water.
| | 03:23 | This time, if I hover to the left, I get
a red icon, indicating, of course, that I
| | 03:28 | am in Overwrite Trim mode.
| | 03:30 | If I click down, I activate a
single roller on the left-hand side of
| | 03:34 | my transition point.
| | 03:36 | This time, if I click down and drag to
the left, I'm removing frames from the tail
| | 03:41 | of the sky clip, but I've
added black into my sequence.
| | 03:46 | As a result, the duration of
the sequence remains unchanged.
| | 03:50 | Let's do that again.
| | 03:51 | If I click down on the transition point
on the right-hand side, click down again
| | 03:55 | and hold and drag to the right, I'm
removing material from the beginning of the
| | 04:00 | rushing water clip and
adding black into my sequence.
| | 04:04 | That makes sense.
| | 04:06 | However, let's use an Overwrite Trim
again, but this time let's adjust the trim
| | 04:11 | point between the rushing
water and the forest floor.
| | 04:14 | I am on the right-hand side of the trim,
so I am affecting the forest floor, but
| | 04:18 | this time instead of dragging to the
right, I am going to drag to the left.
| | 04:22 | What actually happens when I let go is
that I have added material to the head of
| | 04:26 | the forest floor clip, but I've also
removed material, at exactly the same rate,
| | 04:32 | from the outgoing side
of the rushing water clip.
| | 04:35 | That's essentially the same
as doing a Dual-roller Trim.
| | 04:38 | Let me show you that again here.
| | 04:40 | If I click on the left-hand side of my
transition point, but this time instead
| | 04:44 | of dragging left to introduce
black, let's say I drag right.
| | 04:49 | Well, I am merely adding to the
outgoing valley clip and removing from the
| | 04:54 | incoming water clip, again, the
equivalent of a dual-roller trim.
| | 04:59 | Up until this point, what I have been
doing is toggling backwards and forwards
| | 05:03 | between Overwrite Trim and Ripple Trim.
| | 05:06 | What I would like to show you now is
I can actually engage both of these
| | 05:09 | buttons at the same time.
| | 05:12 | Now when I come back to my
sequence, you see I get the option.
| | 05:15 | If I hover at the top of my clip,
I can engage Overwrite Trim.
| | 05:20 | If I hover at the bottom portion of
my clip, I can engage Ripple Trim.
| | 05:24 | And the same on the other side of my
clip: clicking at the top, Overwrite Trim,
| | 05:30 | clicking at the bottom, Ripple Trim.
| | 05:32 | And of course, if I click in the center,
then I will get my Dual-roller Trim,
| | 05:36 | which just adds and removes the same
amount of material from the head and tail,
| | 05:40 | preserving the duration of my sequence.
| | 05:44 | To exit Trim mode, I can either click
down here in the Timeline or else click
| | 05:48 | Source Record Edit mode and return
myself to the regular editing interface
| | 05:53 | that we're used to.
| | 05:55 | Using Overwrite Trim or Ripple Trim,
either together or individually, gives us
| | 06:01 | a really intuitive way to adjust the
in and out points of the clips in our sequence
| | Collapse this transcript |
| Using the Timeline| 00:00 | The Timeline is the place where all
of your media, ideas, and preparation
| | 00:04 | come together.
| | 00:05 | The better command you have of the
Timeline tools, the more you'll be able to
| | 00:09 | concentrate on the important
stuff: the pictures and sounds.
| | 00:13 | Here, in the Timeline window, I have a Scale Bar.
| | 00:17 | If I click down, hold, and drag to
the right, I zoom in my view of the
| | 00:21 | Timeline area.
| | 00:22 | Over here, I have the Scroll bar.
| | 00:25 | So, if I drag to the right or to the
left, I can move up and down my Timeline.
| | 00:30 | If I zoom all the way back out, I'd
like to show you that in the bottom
| | 00:34 | left-hand corner here, we have the Focus button.
| | 00:38 | If I click the Focus button, I get
zoomed in, so I can examine specific parts
| | 00:42 | of my Timeline.
| | 00:44 | Once I'm done, I can click the Focus
button again, and I'm scaled all the way
| | 00:47 | back out, so we can see the
full sequence from start to finish.
| | 00:52 | We can see in the Timeline here
that we have the names of the clips.
| | 00:55 | We can also add more data.
| | 00:57 | In the Fast menu, I can go
to the Clip Text submenu.
| | 01:03 | Here, you can see the
Clip Names is already active.
| | 01:06 | We can now go ahead and
also activate Clip Durations.
| | 01:09 | So, now you can see that data
on each clip in the Timeline.
| | 01:13 | I'd like to add some more data. Back
to the Fast menu, back to Clip Text, and
| | 01:19 | this time I'm going to choose Clip Resolutions.
| | 01:22 | If I zoom in a little, you can see
that I've got DNx 36 here, XDCAM HD 50
| | 01:28 | megabits here, and DVCPro HD here.
| | 01:32 | Now, at the moment, the video
track is smaller than the audio tracks.
| | 01:36 | For some editing, this may be appropriate.
| | 01:39 | In this case, what I'd like to do is
make the audio tracks a little smaller, and
| | 01:43 | the video track a little bigger.
| | 01:45 | First off, I'm going to
deactivate the video track.
| | 01:48 | Notice that it's gone gray now.
| | 01:50 | The audio tracks remain active. They're blue.
| | 01:53 | So now, using Command+K on a Mac, or
Ctrl+K on a Windows machine, I can make the
| | 02:00 | audio track smaller.
| | 02:02 | Now, if I click down, hold, and
lasso over the tracks, now I've inverted
| | 02:07 | my selection.
| | 02:08 | So, this time, if I use Command+L or
Ctrl+L, and I disengage these two tracks,
| | 02:16 | I'll be making just the
video track bigger, like so.
| | 02:20 | Now, if I'm happy with that view, I
can come down here to the View menu, and
| | 02:25 | Save that customized view.
| | 02:27 | Let's go back over here and look
at track activeness in more detail.
| | 02:34 | At the moment, video track 1 is active,
and none of the audio tracks are active.
| | 02:39 | So, if I come to my clip, here in the
Timeline, and I make a mark, notice that
| | 02:44 | just the video track is highlighted.
| | 02:47 | This means that when I perform an
operation - let's lift this portion of the clip
| | 02:51 | out of the Timeline -
| | 02:53 | you can see that that operation
has only affected the video track.
| | 02:57 | The audio tracks remain unaffected.
| | 02:59 | Let's make another mark over here.
| | 03:02 | Notice again, the video track is
highlighted, but if I click down, lasso, and
| | 03:07 | invert my selection again, now it's
the audio tracks that are highlighted.
| | 03:11 | If I perform an editing operation, you
can see that only the audio portion of
| | 03:15 | this clip is affected;
| | 03:17 | the video portion remains
unaffected at that point in the Timeline.
| | 03:22 | Track activeness also
affects source record editing.
| | 03:26 | If I take his clip here, the sunset
clip, and load it into my Source viewer,
| | 03:30 | you can now see that I've got an extra
set of tracks which correspond to the
| | 03:34 | source side.
| | 03:36 | If all of the tracks on the source side
are active, but the video track only on
| | 03:40 | the record side is inactive,
| | 03:42 | let's have a look to see what
happens when we perform an edit.
| | 03:45 | I'm going to clear my marks in my
Timeline and go and park at the very
| | 03:49 | beginning of the sequence.
| | 03:51 | Now, I'm going to mark up the section
of this clip here, and use the Splice
| | 03:56 | command to insert that clip into my sequence.
| | 04:00 | Notice what happened is only the audio
portion of that clip was inserted, and
| | 04:05 | what that did is it knocked all of the
audio tracks further down the Timeline
| | 04:09 | out of sync with their video counterparts.
| | 04:12 | Let's undo that, and let's do
the same thing with Overwrites.
| | 04:16 | Again, only audio has been written
into the sequence, but because we use the
| | 04:21 | Overwrite command, everything
further down remains in sync.
| | 04:25 | Okay, let's undo that,
| | 04:27 | because what I'd like to show you is
that the behavior is different when I
| | 04:30 | use drag and drop.
| | 04:32 | Let's come further down my
Timeline here to this space.
| | 04:36 | If I grab my clip and drag and drop
from the Source viewer to the Timeline
| | 04:42 | area, look what happens.
| | 04:44 | The system has ignored the
activeness of the Timeline and respected the
| | 04:49 | activeness of the Source side.
| | 04:51 | Let's undo that once more.
| | 04:54 | What happens if I now deactivate the
audio tracks on the source side and
| | 05:00 | drag and drop?
| | 05:02 | Now, I get a video only edit.
| | 05:05 | That's because when I drag and drop,
we are respecting the activeness on the
| | 05:09 | source side, but ignoring the
activeness on the record side.
| | 05:13 | So, that's a very important difference
when you're dragging and dropping from
| | 05:17 | either the bin or the Source viewer
as compared to using the Splice-in or
| | 05:22 | Overwrite commands here in the Composer window.
| | 05:26 | On the outermost edges of the
record side and the source side, we have
| | 05:32 | our Monitoring buttons;
| | 05:34 | by default, the monitoring for
audio tracks and video tracks is on.
| | 05:38 | For example, here, on the record side,
if I were to disable the monitoring for
| | 05:44 | the video track, notice
that we lose the picture.
| | 05:47 | It goes gray.
| | 05:49 | Likewise, on the audio tracks, I
have these Solo and Mute buttons here.
| | 05:54 | If I mute all of my tracks, I
don't hear anything playing back.
| | 06:03 | If I solo one of the tracks, then I
mute all of the others by definition, and I
| | 06:08 | will only hear Audio track 1 playing back.
| | 06:11 | (Clip playing.)
| | 06:14 | Like so.
| | 06:17 | This area is known as the Track Control panel.
| | 06:21 | I can toggle the display of the
Track Control panel just here.
| | 06:25 | When it's toggled off, like so, I get
more real estate in my Timeline window to
| | 06:29 | display my sequence;
| | 06:31 | when it's on, I get access to these controls.
| | 06:35 | This button here activates the
Waveform Display for the current track that
| | 06:39 | I'm on.
| | 06:40 | I could go ahead and
activate all of them if I like.
| | 06:43 | You can see straight away, I
get feedback in the Timeline.
| | 06:46 | It doesn't look like I have very much
audio data at all on audio track 3 or 4,
| | 06:52 | but I do on audio tracks 1 and 2.
| | 06:55 | This button here switches
monitoring for a particular track, on or
| | 06:59 | off completely.
| | 07:00 | So, if I turn this track off, and
this track off, and now play back in my
| | 07:05 | Timeline, I'm not hearing anything.
| | 07:10 | But if turn them back on --
| | 07:12 | (Audio playing.)
| | 07:15 | Now we have our audio back.
| | 07:17 | Don't confuse the on/off state of the
Monitor button with track activeness.
| | 07:22 | Even if this Monitor button was
switched off, and I performed an edit operation
| | 07:26 | with the A1 track active,
it would still be affected.
| | 07:31 | When using Splice and Overwrites, or
performing other commands on a track, you
| | 07:36 | will need to pay attention to track activeness.
| | 07:39 | On the other hand, drag and drop
commands will ignore track activeness on
| | 07:44 | the record side.
| | 07:45 | They will respect track
activeness on the source side, however.
| | Collapse this transcript |
| Building multitrack sequences| 00:00 | As our project progresses, we may need
to start layering clips in the sequence
| | 00:05 | across multiple tracks of audio and video.
| | 00:08 | When we start dealing with multiple
tracks, we need to have a method for
| | 00:12 | directing a source clip to a
specific track in the Timeline.
| | 00:16 | This is known as patching tracks.
| | 00:18 | So far, we have limited ourselves to
sequences with two to four audio tracks and
| | 00:23 | a single video track.
| | 00:25 | Here I've got one such sequence, where
the video clips have sync sound on A1 and A2.
| | 00:30 | I want to add some music from the
beginning of this sequence, but I also want to
| | 00:35 | keep the sync audio on A1 and A2.
| | 00:38 | To do this, we need to add more audio tracks.
| | 00:42 | There are a couple of ways to do this.
| | 00:44 | If I right-click in the Timeline
area, I get the option to add a New Audio Track.
| | 00:49 | We're going to be doing Mono tracks here.
| | 00:52 | A3 has now been added to the Timeline.
| | 00:54 | I'm going to add another track now, but
this time, I'm going to use a keyboard
| | 00:58 | command; Command+U or Ctrl+U on a
Windows machine will add another audio track.
| | 01:05 | Now, I've got A3 and A4.
| | 01:07 | I've got some music in my bin up here.
| | 01:10 | I'm going to select it, hold down,
drag and drop it to my Timeline area.
| | 01:16 | I've got the ability to
patch my tracks visually.
| | 01:19 | If I hold down Command on a Mac or
Ctrl on Windows machine, and pull to the
| | 01:23 | left, I can snap my audio to the
very beginning of the Timeline.
| | 01:27 | If I let go, I've added
music on audio tracks 3 and 4.
| | 01:30 | (Music playing.)
| | 01:36 | There we go.
| | 01:38 | What if I want to add yet
more audio layers to my sequence?
| | 01:42 | Well, I'm going to go ahead and add
two more audio tracks to the sequence, like so.
| | 01:46 | Here, I've got a sound effect in my bin.
| | 01:50 | This time though, I'm not going to drag
and drop into the Timeline; I'm going to
| | 01:54 | load the sound effect into my Source viewer.
| | 01:58 | Let's see what we've got.
| | 02:00 | (Audio playing.)
| | 02:04 | Okay, that's pretty good.
| | 02:06 | I might just start the in point a
little earlier, and maybe come out a
| | 02:10 | little earlier, too.
| | 02:11 | So, I've adjusted my in points and
out points, and now I want to add this
| | 02:14 | material into the Timeline.
| | 02:16 | Well, of course, I could drag and drop
it, but what if I want to use Splice-in
| | 02:20 | or Overwrite instead?
| | 02:21 | Well, in that case, I would need
to be aware of the track patching.
| | 02:26 | A1 is currently adjacent to A1, and A2
on the source side is currently adjacent
| | 02:32 | to A2 on the record side.
| | 02:35 | If I park to the beginning of my
Timeline, and I were to go ahead and edit
| | 02:39 | this clip in now - let's deactivate
the other tracks that we don't need - and
| | 02:43 | use the Overwrite command,
| | 02:45 | you can see what happens is that the
sound effect actually gets patched, and
| | 02:50 | recorded on to A1 and A2 instead.
| | 02:53 | This has overwritten the sync
sound for the sky and flower clip.
| | 02:58 | Let's undo that.
| | 03:00 | Instead, I'm going to hold down on
the A1 track, and pull an arrow down to
| | 03:05 | A5, like so.
| | 03:06 | Let's do that with A2.
| | 03:08 | Let's hold down and drag an arrow to A6.
| | 03:12 | Now, I've patched A1 to A5, and A2 on
the Source side to A6 on the Record side.
| | 03:19 | Now, when we overwrite into our sequence,
we've added the sound effect alongside
| | 03:24 | the sync audio and the music.
| | 03:26 | (Music playing.)
| | 03:33 | Before I did that edit, you probably
noticed that I deactivated the tracks that
| | 03:37 | I didn't want to edit onto.
| | 03:40 | Let me undo that one more time, and this
time show you what would've happened if
| | 03:45 | I had left all of my tracks engaged.
| | 03:48 | Whilst I've added the sound effect, I've
overwritten the other material that was
| | 03:53 | on video track 1 and A1-A4.
| | 03:57 | The logic of this is as follows:
| | 03:59 | If I'm using Splice-in, or Overwrite,
then if I've got material adjacent to a
| | 04:05 | track, it'll be added, but if I've got
nothing, then nothing will be added, i.e.
| | 04:10 | black or zero audio for the
length of the edit that we just did.
| | 04:14 | So, it's very important to make sure
when you're adding material across multiple
| | 04:20 | tracks that you not only know where
you've patched the track, but also whether
| | 04:25 | the tracks need to be active for the
particular result you're looking for.
| | 04:30 | That's multi-track audio.
What about multi-track video?
| | 04:34 | Well here, I've got a
multi-track video sequence.
| | 04:36 | I'm going to be monitoring on video track 1.
| | 04:39 | As I drag through the sequence, you can
see at the moment, all we can see is the
| | 04:44 | material on video track 1, the sunset clip.
| | 04:48 | If I go up to video track 2, even
though there's black here, we see through the
| | 04:53 | black to what's on video track 1.
| | 04:55 | If there's nothing in the way on
video track 2, then we'll see what's on
| | 04:58 | video track 1.
| | 04:59 | However, now with monitoring enabled
on video track 2, as I scrub across the
| | 05:05 | next clip, forest floor, you see that
it obscures the sunset clip, until I get
| | 05:11 | all the way to the end here, and now
we just have the sunset clip again.
| | 05:15 | If I engage monitoring on video track 3,
and scrub back this time, you see that
| | 05:22 | we finally get to see the
sky clip on video track 3.
| | 05:27 | Let's go ahead and add one
more clip to this Timeline.
| | 05:30 | I've got my rushing water clip here.
| | 05:32 | Now if I wanted to drag this into my
Timeline, no problem; just drag the clip
| | 05:38 | in, drop it, and now I've patched it to V4.
| | 05:42 | Alternatively - let's undo that -
| | 05:44 | if I wanted to use my Splice-in or
Overwrite arrows instead, I would need to
| | 05:49 | make sure that I patched V1 to V4,
just like we did with the audio clips.
| | 05:54 | Let's deactivate the audio tracks too,
and now when I add this clip to my
| | 06:00 | Timeline, I've patched from V1 to V4,
source side V1 to record side V4.
| | 06:08 | As I scrub backwards and forwards in
my Timeline now, I can indeed see that
| | 06:11 | clip over top of the sky.
| | 06:15 | The way I like to describe this is you
can almost think of the Timeline like a
| | 06:19 | fish tank or aquarium, and the
monitoring logic is as if we're looking in
| | 06:24 | through the top of the fish tank.
| | 06:26 | If there's a fish swimming above the
other fish, then we'll see this one.
| | 06:31 | If not, then we'll see the one below, and so on.
| | 06:34 | In some cases, drag and drop using
the Segment tool is the best approach;
| | 06:39 | in other cases, using track
activeness and track patching will be
| | 06:43 | more efficient.
| | Collapse this transcript |
|
|
5. Refining AudioAdjusting audio levels and pan| 00:00 | Picture is only half the story;
| | 00:02 | audio's impact on the
overall experience is immense.
| | 00:06 | Media Composer provides many tools
for manipulating audio clips and tracks.
| | 00:12 | Here, in this Timeline, you can
see I've got four audio tracks.
| | 00:15 | You can actually add up to 24 audio
tracks to a single sequence inside
| | 00:20 | Media Composer.
| | 00:21 | 16 of those tracks will be available
for real-time monitoring and output.
| | 00:26 | When we start to add together multiple
tracks of audio, we need to be able to
| | 00:30 | adjust the level of those audio tracks.
| | 00:33 | Aesthetically, we need to adjust the
relative loudness of tracks, so that
| | 00:36 | it makes sense.
| | 00:37 | For example, someone in the distance
is going to be quieter than someone
| | 00:41 | closer to the camera.
| | 00:43 | Then technically, we need to make sure
that our audio levels are loud enough for
| | 00:47 | the audience to hear, but not so loud
that when they're all added together, they
| | 00:51 | create audio distortion.
| | 00:54 | The procedure of balancing at out clip and
track levels to fine-tune a sequence
| | 00:59 | is called audio mixing.
| | 01:02 | To help us with audio mixing, we have
our audio meters here in the Timeline.
| | 01:06 | We also have, under the
Tools menu, the Audio tool.
| | 01:10 | This gives us a larger
version of the audio monitors.
| | 01:13 | Let's play back some of the sequence.
| | 01:15 | Our audio meters are there
to help us when we're mixing.
| | 01:21 | They give us visible feedback on the
levels of individual tracks, or the entire
| | 01:26 | output of the Timeline.
| | 01:28 | Healthy levels will go up through
green, and if are they meant to be loud or
| | 01:32 | noticeable, they will peak up into the yellow.
| | 01:35 | If too much peaking occurs, you can
tell, because the audio meter will stay
| | 01:39 | yellow most of the time, and
may even turn red on occasions.
| | 01:43 | We need to avoid this, since distortion
will result and detract from what we are
| | 01:47 | trying to accomplish.
| | 01:49 | An important concept to grasp before
you start mixing is the difference between
| | 01:54 | clip or track level, and the
loudness of your monitoring system.
| | 01:58 | It doesn't matter how high you
set the levels in your sequence,
| | 02:01 | if your monitoring is turned down,
either on your mixer or on your speakers, you
| | 02:05 | won't hear anything.
| | 02:07 | You should set your audio monitoring up,
so that it can be left alone for the
| | 02:11 | rest of your mixing session.
| | 02:13 | Changing the monitor levels whilst
mixing is not advised, since it will make it
| | 02:18 | very hard for you to judge if your mix
is sounding even throughout the sequence.
| | 02:23 | I want to come up here and turn off
my Audio tool for a moment, because I'm
| | 02:27 | going to go into Settings
and bring up the keyboard.
| | 02:29 | The reason I do this is I'd like to
show you that this pink button here is
| | 02:33 | mapped to your keyboard.
| | 02:35 | This allows us to add
keyframes to our audio tracks.
| | 02:40 | Just so we can see more clearly
what's going on though, and to show you
| | 02:43 | another tool you can use, I'm going to
go to the Tools menu, and bring up the
| | 02:47 | Command palette.
| | 02:49 | This has all of the commands and
buttons used in the Media Composer interface.
| | 02:54 | Under FX, we have Add Keyframe.
| | 02:57 | If Button to Button Reassignment is
switched on, I can hold down, drag and drop
| | 03:02 | this new button into my interface.
| | 03:05 | Let's close the Command palette.
| | 03:07 | The forest floor clip was sounding a
bit louder than its neighbors, and was a
| | 03:12 | bit distracting over the top of the music there.
| | 03:14 | So, what I'd like to do is drop the
level of the forest floor clip on A1 and A2.
| | 03:19 | To do this, what I'm going
to do is activate Auto Gain.
| | 03:25 | The way I did that was I clicked into
this button here that looks like keyframes
| | 03:29 | connected by lines, and then
I simply selected Auto Gain.
| | 03:33 | Now, I've switched on Auto Gain for A1 and A2.
| | 03:35 | If I come to my forest floor clip and
add a keyframe, you can see it's being
| | 03:40 | added to both tracks.
| | 03:42 | If I want to adjust this, I'm going
to have to come over here and activate
| | 03:46 | the Keyframe button.
| | 03:48 | Now that that's active, I can grab,
hold and move my audio levels down or up.
| | 03:53 | Let's drop that down to
about there, and play it back.
| | 03:57 | (Clip playing.)
| | 04:02 | Much better!
| | 04:03 | Here down on my music track,
I'd like to do something similar.
| | 04:06 | So, I'm going to activate
Auto Gain on A3 and A4, like so.
| | 04:12 | This time though, rather than adjusting
the whole level of my music track, all I
| | 04:16 | want to do is create a fade on the end,
(Music playing.)
| | 04:22 | the moment the music just cuts out.
| | 04:24 | So, to create a fade, what I'm going to
do is we're going to park a little ways
| | 04:27 | back and pre-stage my audio keyframes.
| | 04:30 | I'm going to add an audio keyframe there,
and then I'm going to move to the end
| | 04:35 | of the Timeline and add
another audio keyframe there.
| | 04:39 | Now, when I drag down the ones at the
end of the Timeline, you can see I've
| | 04:42 | managed to create a ramp or a fade.
| | 04:44 | (Clip playing.)
| | 04:50 | Another attribute of my clips,
which I can affect using audio keyframes,
| | 04:54 | is panning.
| | 04:55 | If I switch to Auto Pan here on both
of these tracks, now, instead of adding
| | 05:01 | keyframes which will affect level,
I'll be adding keyframes which affect pan.
| | 05:07 | In other words, will the music would
be coming out of the left channel or
| | 05:10 | the right channel?
| | 05:11 | Let me show you what I mean.
| | 05:12 | If I come here, and I go ahead and
add a keyframe now, if I take the
| | 05:17 | keyframes and drag them up, then that
means I'm going to be panning them both
| | 05:23 | to the left channel.
| | 05:25 | Let me bring my Audio tool back up for a moment.
| | 05:29 | Now when I playback, let's see what happens.
| | 05:31 | (Clip playing.)
| | 05:36 | You can see the music is all now
coming out of the left channel.
| | 05:40 | We still have Mono here on A1 and A2,
so we get a little bit of activity on A2,
| | 05:45 | but most of the audio is coming out
of the left speaker, or channel 1.
| | 05:49 | (Clip playing.)
| | 05:52 | If I were to come back to these
keyframes here, and pan them down to the right,
| | 05:57 | the opposite would be true.
| | 05:57 | (Clip playing.)
| | 06:01 | Now, the majority of the audio is
coming out of A2, or the right-hand speaker.
| | 06:05 | If I turn Auto Pan off now on both
of these tracks, you can see that the
| | 06:10 | keyframes disappear, and I'm just left
with these little pink triangles, which
| | 06:14 | indicates that there is in fact a
change on that track, but that I would have
| | 06:18 | to go into the mode in
order to see what the change is.
| | 06:22 | Audio monitoring is how loud
you have your speakers turned up.
| | 06:29 | Audio levels refer to the amount of
signal flowing from a clip or track in
| | 06:33 | the Timeline.
| | 06:34 | Audio Pan determines which speaker,
or channel, your audio output will come
| | 06:40 | out of.
| | Collapse this transcript |
| Diving deeper into audio| 00:00 | Media Composer provides a powerful
blend of tools and techniques for bringing
| | 00:04 | the audio in your project to life.
| | 00:07 | Here in my Timeline, I've got material
on A1 and A2 that I'd like to work with.
| | 00:12 | I've also got material further down on
A5 and A6, but I've muted those tracks so
| | 00:18 | we can concentrate on what
we're listening to up here.
| | 00:21 | Okay, let's play back and see what we've got.
| | 00:23 | (Clip playing.)
| | 00:28 | What I'd like to do, because the
ambiance on the flower clip and the cobweb clip
| | 00:32 | are quite different, I'd like to
create a crossfade between the two of them.
| | 00:36 | There is more than one way to
create a crossfade. Here's one example.
| | 00:40 | First off, what I'm going to
do is select my cobweb audio.
| | 00:45 | Now, I'm going to drag it down to A3
and A4, but to make sure I don't slip left
| | 00:49 | or right by a frame or two, I'm going to
hold down Command on the Mac or Ctrl on
| | 00:54 | a Windows machine, and this
snaps me into the correct location.
| | 00:59 | Now, I've got my material on A3 and A4.
What I'm going to do is I'm going to
| | 01:03 | extend the outgoing tail of the flower clip.
| | 01:06 | I'm going to click down, and
I'm going to drag to the right,
| | 01:10 | but as I do so, I'm also
affecting the video track.
| | 01:14 | That's not what I want.
| | 01:15 | So, let's undo that, disengage the
Link Selection Toggle, and now with V1
| | 01:22 | deactivated, I can just drag the audio.
| | 01:24 | So now, I've added some
material to the end of the flower clip.
| | 01:28 | So, come down here to the cobweb clip,
click on A4, activate A3 as well,
| | 01:34 | remember, that's because the Link
Selection Toggle isn't active right now,
| | 01:38 | because we don't want to affect our video.
| | 01:39 | I'm going to click down
again and drag to the left.
| | 01:43 | Now, I'm adding Head onto the cobweb clip.
| | 01:47 | So, we've created an area in our
Timeline where the flower clip and the cobweb
| | 01:51 | clip are playing at the
same time with each other.
| | 01:54 | Now, I want to create the crossfade.
| | 01:58 | First off, on A1 and A2, I'm
going to activate Auto Gain.
| | 02:04 | Next, I'm going to come to where I'd
like to start the fade-out in the clip,
| | 02:08 | and add a keyframe.
| | 02:11 | Next, I'm going to come to the end
of the clip, and add another keyframe.
| | 02:15 | Now, I can create an animation of
the audio level from here to here.
| | 02:20 | Great!
| | 02:22 | Now, I want to do a similar thing,
but in reverse on the cobweb clip.
| | 02:27 | I want to deactivate A1 and A2, turn
off audio keyframing on A1 and A2, and you
| | 02:33 | can see that it hides the keyframe and
just puts this little mark here to tell
| | 02:36 | me that there are keyframes on that
track, but I'm not in the correct mode to
| | 02:39 | view them right now.
| | 02:41 | Let's turn on Auto Gain on A3 and A4.
Make sure that A3 and A4 are also active.
| | 02:48 | Now, I'm going to add a keyframe here,
and then one at the very beginning of
| | 02:54 | the cobweb clip.
| | 02:56 | Now, I can grab those and pull those down.
| | 02:58 | I'm going to turn them off, so there
is no danger that we would accidentally
| | 03:03 | affect them as we're doing
other things in the Timeline.
| | 03:06 | Now, when I play back though,
you'll hear the crossfade.
| | 03:09 | (Clip playing.)
| | 03:15 | Okay, so that's one technique for
creating a crossfade in your sequence.
| | 03:20 | Let's have a look at another technique.
| | 03:22 | Over here, between the forest floor
and the sunset, let's listen back.
| | 03:26 | (Clip playing.)
| | 03:27 | Okay, again, quite a distinct
difference between those two clips.
| | 03:34 | So, if we want to smooth that out,
what I'm going to do is park the
| | 03:37 | Transition Point.
| | 03:38 | I'm going to activate A1 and A2.
| | 03:40 | We're going to come up here to this
ribbon of tools at the top of the Timeline.
| | 03:45 | See this one here?
It's called Quick Transition.
| | 03:48 | Click on that.
| | 03:49 | Now we have the Quick Transition dialog box up.
| | 03:52 | All I want to do is add a dissolve,
centered on the cut, but I'm going to change
| | 03:57 | the duration here to 12 frames.
| | 03:59 | This is A1 and A2 only, and you can see,
there is the outgoing side of the clip,
| | 04:04 | and the incoming side of the clip, Add.
| | 04:08 | Now when I play back -
| | 04:09 | (Clip playing.)
| | 04:14 | - we've added another crossfade.
| | 04:16 | So, there you go: two powerful
techniques for creating crossfades in your
| | 04:20 | audio tracks.
| | 04:22 | Let's have a look at something else.
| | 04:24 | I'm going to go ahead now and un-mute my
music tracks, and in fact, I might solo
| | 04:29 | both of them instead, because I'd
rather not listen to these tracks while I'm
| | 04:33 | working specifically on my music.
| | 04:37 | At the moment, the music sounds like this.
| | 04:38 | (Music playing.)
| | 04:43 | Media Composer has numerous RTAS effects
built-in, Real-Time AudioSuite effects.
| | 04:50 | I access these effects by coming to
the particular track I want to work on.
| | 04:54 | I'm going to make A5 and A6 active,
deactivate A1 and A2, and then I have
| | 05:00 | one, two, three, four, five parts
where I can add real-time audio effects on
| | 05:06 | each track.
| | 05:07 | Now, by the way, this is a track-based effect.
| | 05:10 | This is going to affect everything
on that track, not just the clip I'm
| | 05:13 | currently parked on.
| | 05:15 | Click in here, and that brings up the RTAS tool.
| | 05:19 | A5 is what we're looking at.
| | 05:22 | If I click on no insert, now I get a
choice of the various different real-time
| | 05:26 | effects which come with Media Composer.
| | 05:28 | In this particular case,
let's choose Long Delay.
| | 05:32 | Okay, so this is the interface for
the particular Real-Time AudioSuite
| | 05:37 | effect that I've chosen.
| | 05:39 | I can go ahead and manipulate the
values here, and then when I'm ready, I
| | 05:43 | can play it back.
| | 05:45 | But because I'm soloed on both tracks
right now, and it's only A5 that I'm
| | 05:49 | working on, what actually I would like
to do is only solo on A5, so I can hear
| | 05:54 | the effect on its own.
| | 05:55 | Let's play back and hear what we've got.
| | 05:57 | (Music playing.)
| | 06:07 | Great! So, we've added a real-time audio effect.
| | 06:10 | I'm going to close the panel, and you
can see that I've added that little effect
| | 06:14 | on A5 in the first of the five parts.
| | 06:18 | Incidentally, if I like what I did to
A5, I can go ahead and copy the effect.
| | 06:23 | All I need to do is grab hold of the
Effect icon, hold down and drag it to my bin.
| | 06:29 | Then I can close the RTAS tool and then
take that effect and drop it on to A6.
| | 06:36 | Select number 1 as the Insert, and now
I've got the same effect on A5 and A6
| | 06:43 | on the first insert.
| | 06:44 | Let's remove the solos and listen
back to the whole thing together.
| | 06:48 | (Clip playing.)
| | 07:06 | Great! So, we've started to delve into audio effects.
| | 07:10 | We've looked at how to create a
crossfade, and we've also looked at how to use
| | 07:14 | Real-Time AudioSuite
effects across an entire track.
| | 07:17 | Audio mixing usually takes place
towards the end of your project, when you've
| | 07:22 | got most of your elements together.
| | 07:25 | In your Timeline, you are fine-tuning
the relationship of the various different
| | 07:29 | tracks of sound, things like dialog,
background audio, music, and practical
| | 07:34 | effects to produce the final
result that you're looking for.
| | Collapse this transcript |
|
|
6. Introduction to EffectsSetting quick transitions| 00:00 | Transition effects can help define the
style of your piece, give it pace, or
| | 00:05 | they can also be used as storytelling devices.
| | 00:08 | Here in my Timeline, I'd like to add
a transition between the flower clip
| | 00:12 | and the valley clip.
| | 00:13 | If I park on or near that transition
point, and now go to this button here in
| | 00:19 | my Timeline window, Quick Transition,
if I click, I'll open up the Quick
| | 00:24 | Transition dialog.
| | 00:25 | You can see that I have control to
deselect my audio tracks if it's just the
| | 00:30 | video track that I'd like
to add the transition to.
| | 00:33 | Next, I can choose the type of effect.
| | 00:35 | In this case, I'm going to choose Dissolve.
| | 00:38 | Underneath that, I can choose the
position. Would I like the effect to be
| | 00:42 | centered on the cut?
| | 00:44 | In this case, 12 frames before, 12
frames after, or would I like it to start
| | 00:49 | at the cut point and
| | 00:50 | therefore take place from the cut
onwards, or end at the cut point,
| | 00:55 | begin, and then complete, by the
time we get to the cut point between the
| | 00:59 | two clips?
| | 01:01 | I can also choose Custom.
| | 01:03 | I can add numeric entries
or slide the effect, like so.
| | 01:09 | Let's choose Centered.
| | 01:10 | I've got a choice to Add or Add and Render.
| | 01:13 | If I want to add and render, then I
can also select the target drive that I
| | 01:16 | would be creating new media on.
| | 01:19 | In this case though, because this
should be a real-time effect, given that it
| | 01:22 | has this green dot here, then I will
just choose to add the effect, like so.
| | 01:28 | We should be able to play it back straightaway.
| | 01:29 | (Clip playing.)
| | 01:33 | There we go!
| | 01:34 | Let's also have a look at
the icon in the sequence here.
| | 01:37 | You can see that we've added the Dissolve icon.
| | 01:39 | It's got the green dot, which represents
real-time, and then we've got this line
| | 01:43 | which shows us the bounds of the
transition, beginning here, ending there.
| | 01:50 | Let's zoom out.
| | 01:51 | Let's go towards the end of the Timeline.
| | 01:53 | If I'd like to add a different type of
effect here between the forest floor and
| | 01:59 | the water, I'll park close by.
| | 02:02 | Now, I'm going to come back to the
Quick Transition dialog, open it back up again.
| | 02:06 | This time though, after I've
deactivated the audio tracks, I'm going to
| | 02:11 | choose Dip to Color.
| | 02:13 | I'll make it 12 frames long, centered
on the cut, and again, I'm going to add.
| | 02:20 | Another icon has been added to the
transition point, again with a green dot, and
| | 02:24 | again with a line representing
the bounds of the transition point.
| | 02:27 | Let's have a look at that.
| | 02:28 | (Music playing.)
| | 02:29 | So, by default, this effect is a Dip to Black.
| | 02:36 | If I would like to change that into a
Dip to White, for example, then I'm going
| | 02:41 | to need to edit the effect.
| | 02:43 | If I want to edit the effect,
then I need to go into Effects mode.
| | 02:47 | You could see at the moment, we're
still currently in Source/Record mode.
| | 02:51 | If I come here to the Effect mode
button, I can access Effects mode that way.
| | 02:55 | There's also an Effects Mode button
down here in the Timeline palette.
| | 03:00 | Let's activate Effects mode.
| | 03:02 | Now we get the Effect Editor. Here's
the icon and the name of the effect
| | 03:05 | that we're editing.
| | 03:06 | Here's the duration of the effect down
here, and here is the Background Color,
| | 03:11 | and that's what I'd like to affect.
| | 03:12 | So, I'm going to click and choose white.
| | 03:16 | Click OK, and now when I go back
and play back in my sequence -
| | 03:19 | (Music playing.)
| | 03:22 | - I've got a white flash instead.
| | 03:24 | If I particularly like that effect, and
I would like to keep it for future use,
| | 03:29 | then, in Effects mode, all I need to
do is grab hold of the Effect icon here,
| | 03:35 | hold down and drag it to my bin.
| | 03:39 | Now, I have that available, and I can
take it and drop it on other transitions
| | 03:43 | in the Timeline area.
| | 03:44 | (Music playing.)
| | 03:48 | If I want to remove effects, then I
park near or on the effect, and use the
| | 03:54 | Remove Effect button.
| | 04:01 | Another technique I can use is to
add a transition effect to multiple cut
| | 04:05 | points at the same time.
| | 04:07 | If I make an in point here in my
Timeline and then an out point here on my
| | 04:13 | Timeline, and I choose the transition,
I go to the Quick Transition dialog,
| | 04:19 | I can now choose to add this Dissolve
across all of the cut points between the
| | 04:24 | in and out marks in my sequence.
| | 04:26 | Let's click Add.
| | 04:27 | Now you can see, I've got
three dissolves in a row.
| | 04:29 | (Music playing.)
| | 04:39 | There's something very important to bear in
mind here: A dissolve or a transition can
| | 04:43 | only take place if you have handles at
the beginning and end of the clips, which
| | 04:49 | extend beyond where they
currently are in the Timeline.
| | 04:54 | If I click down here with my double
roller and try and drag to the left or
| | 04:58 | to the right, you can see that there
are no handles at this transition point at all.
| | 05:03 | As a result, if I would park here, and
go to the Quick Transition dialog and
| | 05:08 | attempt to add a dissolve, you can see
I'm told, look on the A side, there are 0
| | 05:13 | handles, on the B side, there are 0 handles.
| | 05:16 | Therefore, no matter how hard I try,
I can't add a duration to this effect.
| | 05:22 | It just can't be added.
| | 05:24 | Being able to create, customize, and
save effects with ease encourages us to get
| | 05:30 | experimental and try things out.
| | Collapse this transcript |
| Working in the Effects palette| 00:00 | The Effects palette opens up a
whole world of both transition and
| | 00:04 | segment-based effects, as well as
plug-in effects from Avid and third
| | 00:08 | party manufacturers.
| | 00:10 | Once we've mastered the controls,
you'll be having a lot of fun exploring this
| | 00:14 | aspect of Media Composer.
| | 00:16 | Over here in the Project window,
after bins, we have Settings. After Settings
| | 00:22 | we have the Effect palette.
| | 00:24 | These are categories, on the left-hand side.
| | 00:26 | As I click between the categories
you can see there are various effects
| | 00:30 | within each category.
| | 00:32 | Some of these are transition effects.
| | 00:35 | For example, let's come
down to Shape Wipes here.
| | 00:38 | If I pick up the Clock wipe and drag
it and drop it between these two clips
| | 00:42 | here, I've created a clock wipe between them.
| | 00:45 | (Clip playing.)
| | 00:48 | If I come down to Spin and take Z
Spin and drag and drop that between these
| | 00:54 | two clips here, again, I've created an
effect between the outgoing clip and the
| | 00:59 | new incoming clip.
| | 01:00 | (Clip playing.)
| | 01:00 | However, as I said, some of these
effects are segment-based effects.
| | 01:09 | For example, under Image, I have Flip and Flop.
| | 01:15 | If I wanted to make flower face the
other direction, if I took the Flop effect
| | 01:20 | and rather than dragging it and
dropping it to the transition point, drop it
| | 01:24 | on the clip itself,
| | 01:25 | I will have affected the entire
length of this clip, like so.
| | 01:28 | (Clip playing.)
| | 01:34 | So that's the difference between a
transition effect and a segment-based effect.
| | 01:39 | A segment-based effect alters the whole clip;
| | 01:41 | a transition effect, just the
transition between two clips.
| | 01:45 | Let's look at another example.
| | 01:47 | Under the Blend category,
I have Picture-in-Picture.
| | 01:51 | If I drag and drop that on to the
cobweb clip, you can see that it automatically
| | 01:56 | resizes the cobweb clip to
50% of its original size.
| | 02:01 | If I want to edit that, all I
need to do is go into Effects mode.
| | 02:04 | You can see I'm currently in
Source Record Editing mode.
| | 02:08 | Below that though is the Effects mode
button. It looks like a couple of sliders.
| | 02:12 | Click on that, and we open up the Effect Editor.
| | 02:15 | You can see there's the icon for the
name for the effect that we're editing.
| | 02:20 | First off, let's look at Scaling.
| | 02:21 | If I fold open the Scaling Parameter,
you can see I've got X and Y. They're
| | 02:26 | currently locked together, so if I
expand or contract the size of the image, the
| | 02:31 | X and Y values go up and down together.
| | 02:34 | If I uncheck that, then I could
effect the scaling of X and Y independent
| | 02:39 | from each other.
| | 02:40 | Now if you find dragging the sliders
with your mouse a little cumbersome, if you
| | 02:44 | leave the parameter highlighted like so,
you can use the arrows keys on your
| | 02:48 | keyboard to increment one
value at a time up or down.
| | 02:52 | There is also a border control here.
| | 02:56 | If I wanted to go ahead and add a
border and then might be I'd like to add some
| | 03:01 | color to the border,
| | 03:02 | so here I've got my HSL controls,
| | 03:04 | I can start to customize the color.
| | 03:07 | That gives us an idea of how we
might navigate around the Effects Editor.
| | 03:12 | Once we're happy with the effect that
we've created, all we need to do is
| | 03:15 | close the Effects Editor.
| | 03:17 | We'll return to Source Record
Editing mode, and now we can play back the
| | 03:20 | results of the effect.
| | 03:21 | (Clip playing.)
| | 03:30 | The Effects palette gives us a large
inventory of Effect categories and types,
| | 03:34 | which can all be customized.
| | 03:36 | Effects provide a way for us to
manipulate story, meaning, rhythm and feel.
| | Collapse this transcript |
| Keyframing effects| 00:01 | Using keyframes allows us to alter
the attributes of our effects over time.
| | 00:05 | The keyframes themselves hold
values at certain points in time.
| | 00:12 | We can input those values numerically
using Value sliders or else by directly
| | 00:17 | manipulating handles on the effect or image.
| | 00:21 | Now there are two models of
Keyframing inside of Media Composer: Simple
| | 00:25 | and Advanced.
| | 00:26 | We're going to look at an example of each.
| | 00:29 | First off, the Blur Effect is
an example of simple keyframing.
| | 00:33 | If I come up here to the Effects,
palette under the Image category, I've got the
| | 00:39 | Blur Effect right here.
| | 00:40 | If I drag and drop this effect onto the
valley clip and let go, we don't see any
| | 00:46 | immediate change in the image.
| | 00:49 | What this indicates is that we'll
need to go into Effects mode in order to
| | 00:53 | edit this effect.
| | 00:55 | I can choose to go into Effects mode here;
| | 00:57 | there is also an Effect mode button here.
| | 00:59 | This opens up the Effect Editor.
| | 01:02 | You can see the icon and the name of
the effect here, and then the attributes of
| | 01:06 | the effect that we can animate over time.
| | 01:10 | Now one thing that may not initially
be obvious about the Blur Effect is that
| | 01:15 | we're going to have to create a shape
to put the blur into, in order to see
| | 01:19 | the Blur tool.
| | 01:20 | If I choose a square, and now I've
come onto my Image area, I can click down
| | 01:25 | and draw.
| | 01:27 | Now we can see the blur.
| | 01:29 | If I make this the full size of the
frame, it will blur the entire clip.
| | 01:35 | That's not what I want to do, so I'm
just going to undo that using Command+Z or
| | 01:38 | Ctrl+Z, and instead, I'm going to come
down here to the Oval tool, and I'm going
| | 01:43 | to draw an oval instead.
| | 01:46 | This time the blur is contained within the oval.
| | 01:50 | You can see here that I can affect the
amount of blur, and I can also affect
| | 01:59 | the feathering of the blur, which
smoothes out the line between the shape and
| | 02:05 | the surroundings.
| | 02:07 | That's all very well, if I want a
static effect, but what if I want to animate
| | 02:12 | the attributes of this effect over time?
| | 02:15 | That's when we start to use keyframes.
| | 02:18 | Now at the moment you can see this
effect has a keyframe at the end and a
| | 02:22 | keyframe at the beginning.
| | 02:23 | Now since they are both lit up, that
means that whatever I do in the Effect
| | 02:29 | Editor is going to
affect both sets of keyframes.
| | 02:32 | In other words, there will be no
change from the beginning to the end of
| | 02:35 | the clip.
| | 02:37 | If I want to affect a change, what I'm
going to need to do is to select one of
| | 02:42 | the keyframes, which now deselects the other.
| | 02:45 | This means that the values here will now
no longer be affected once I go back to
| | 02:50 | the interface and start to make changes.
| | 02:54 | Perhaps what I'd like to do at the
beginning of the effect is have no blur at all.
| | 03:00 | Then, as we scrub through the
effect, the blur increases over time.
| | 03:05 | Now I'm going to select the end keyframe.
| | 03:08 | Notice I've decide deselected the
beginning keyframe, and perhaps at this stage,
| | 03:12 | I'd like to grow the size of the circle.
| | 03:18 | Notice that I'm able to work with a
combination of numerical entries, as well as
| | 03:25 | sliders, as well as direct manipulation handles.
| | 03:29 | If I wanted to affect the feathering
slightly, if I highlight that value and
| | 03:34 | type in 30 on my keypad,
I've now set that numerically.
| | 03:40 | I can even affect the
shape of the blur over time.
| | 03:43 | If I come to this handle here, I can
click down and start to change the way the
| | 03:51 | actual shape looks and behaves.
| | 03:54 | So now I've created an animation over time.
| | 03:57 | If I close the Effect
Editor, I can play that back.
| | 04:02 | (Clip playing.)
| | 04:07 | There we go. If I scrub through it,
you can see all of the detail.
| | 04:12 | Great!
| | 04:13 | So that's an example of using simple keyframing.
| | 04:17 | Let's have a look at another example,
this time using advanced keyframing.
| | 04:23 | Here, I have the Resize Effect.
| | 04:25 | It's also in the Image category.
| | 04:27 | If I click on that, drag it, and drop it
on my Sunset clip here, again, there is
| | 04:32 | no immediate change to the image, which
indicates that we'll need to edit it in
| | 04:36 | order to create an effect.
| | 04:38 | Let's go to Effects mode,
back into the Effect Editor.
| | 04:42 | So this time what I'm going to do
is I'm going to affect scaling.
| | 04:46 | I'm going to click on Fixed Aspect,
scale the image down slightly, like so.
| | 04:52 | Now I'm going to come to Position, and
I'm going to reposition the effect off on
| | 04:57 | the left-hand side of the screen.
| | 04:59 | Now we're going to using the
Advanced Keyframe model here.
| | 05:02 | How can I tell?
| | 05:03 | Well, number one: notice that there
are no keyframes currently present
| | 05:08 | underneath the picture area.
| | 05:10 | Number two, I've this icon down here
which says: ShowHide Keyframe Graphs.
| | 05:16 | If I click on that, I expand my
Effects Editor window, and I can now start to
| | 05:20 | see, by folding down these triangles,
graphs that describe the effect changes over time.
| | 05:27 | At the moment, what I've got is I've
got my clip offscreen, so what I'm going
| | 05:32 | to do is I'm going to add a keyframe
now which pins that in place at the
| | 05:37 | beginning of the clip.
| | 05:39 | Now I'm going to move through, and I
can move through here as well as here, and
| | 05:45 | now I'm going to add another keyframe.
| | 05:46 | I could also do that from
inside the Effect Editor itself.
| | 05:51 | If I right-click on Position and Add
Keyframe, now I've added keyframes just to
| | 05:57 | the Position category, not to anything else.
| | 06:00 | So now I could choose to move the
effect back into the picture area over
| | 06:06 | the course of the clip.
| | 06:10 | If I close the Effect Editor,
I can now play back the result.
| | 06:14 | (Clip playing.)
| | 06:20 | So we've just seen an example of using
Media Composer's Simple Keyframe Effects
| | 06:25 | model and then using Media
Composer's Advanced Keyframing model.
| | 06:30 | Before I finish up, I just like to
show you, like any effect, if I go back into
| | 06:35 | Effects mode, and I grab hold of the
Effect icon itself, I'll be able to copy
| | 06:41 | this effect to my bin.
| | 06:45 | Many different types of software use
numerical entry, keyframe sliders, and
| | 06:50 | direct manipulation handles to give
you control over aspects of your work.
| | 06:55 | Once you have mastered these concepts
here, you'll also be able to apply your
| | 06:58 | knowledge in other applications, too.
| | Collapse this transcript |
| Setting system performance and rendering effects| 00:00 | Whatever we're doing with Media
Composer, there will be numerous ways for us
| | 00:04 | to achieve our goals.
| | 00:06 | If we understand some basics about how
the system works with media, we'll be
| | 00:10 | able to make smarter and more
efficient choices about how we work.
| | 00:14 | I've got numerous effects
down here in my Timeline.
| | 00:17 | I'm actually going to go ahead
and mute my audio tracks, like so.
| | 00:20 | I am going to playback these effects,
and we'll see what they look like.
| | 00:27 | Depending upon the resolution of
your material and the power of your
| | 00:31 | computer you may find that certain
effects are real-time, whilst others
| | 00:35 | might require rendering.
| | 00:37 | A real-time effect is one where the
system can calculate the changes to the
| | 00:41 | image or audio on the fly, and display
the result as the Timeline plays back.
| | 00:48 | Many of the effects are real-time in
Media Composer, and that's indicated by
| | 00:51 | this green dot here.
| | 00:54 | A non real-time effect is
indicated by the blue dot.
| | 00:57 | And what this is telling us is that
the system will not be able to make the
| | 01:01 | calculations on the fly.
| | 01:03 | The effect definitely will have to be rendered.
| | 01:06 | But sometimes even real-time effects
are hard for the system to play back,
| | 01:11 | depending upon the complexity of the
effect, the number of layers involved, and
| | 01:15 | the resolution of the material,
even the power of your computer.
| | 01:19 | It can mean that real-time effects
can sometimes stutter or not playback
| | 01:24 | smoothly in the Timeline, like so.
| | 01:31 | Or hear again.
| | 01:32 | Or hear again.
| | 01:36 | To solve this, we can render those effects.
| | 01:39 | This means that rather than waiting
until that very moment in the Timeline, and
| | 01:44 | then trying to do the math on the fly,
| | 01:46 | we asked the system to calculate the
effect beforehand and then write the effect
| | 01:51 | out as a media file just like any other clip.
| | 01:53 | That way, when the system comes to
that effect on the Timeline, instead of
| | 01:58 | bogging down computer resources trying
to make the calculation, Media Composer
| | 02:03 | just calls up the pre-rendered media
file and place that back for the duration
| | 02:07 | of the effect instead.
| | 02:09 | In order to render an effect, what
we would do is park on that effect in
| | 02:13 | the Timeline, make sure that the
track is active for the clip that we want
| | 02:17 | to render.
| | 02:18 | Next, we come here to the Render Effect button.
| | 02:22 | Click that, and a dialog opens.
| | 02:24 | This is just simply confirming that we
want to render to the Manage Media Files
| | 02:29 | folder on the D drive.
| | 02:30 | Click OK. We have a dialog box, which shows
us the progress of our render.
| | 02:36 | And once this is complete, we will be
able to play the effect back, guaranteed,
| | 02:40 | in real-time.
| | 02:41 | Okay, let's see how that looks.
| | 02:48 | There we go. So we've got completely
smooth playback now on that effect.
| | 02:53 | Now the majority of Media Composer
effects are designed to be real-time when
| | 02:57 | played back on a reasonably
new and powerful computer.
| | 03:01 | The older your machine, the more
likely you are to have to render.
| | 03:05 | Now one drawback of rendering
effects is that the process takes time.
| | 03:09 | Sometimes when we're designing an
effect, we just want to see how the
| | 03:12 | effect flows over time.
| | 03:15 | To have to keep stopping in order to
render the effect can interfere with
| | 03:19 | the creative process.
| | 03:21 | Another way that you can get around
this is to use the Video Quality menu.
| | 03:25 | Here at the bottom of the Timeline,
there is the Video Quality menu, and I can
| | 03:29 | toggle it between full green, full
yellow and half green half yellow.
| | 03:36 | Now full green mode, this is
displaying full qualities, displaying all of the
| | 03:41 | pixels all of the time.
| | 03:43 | Now depending on the resolution of
your material, that could be quite resource-
| | 03:47 | hungry, meaning that when we try and
playback effects that would normally be
| | 03:51 | real-time, that they
might stutter or even freeze.
| | 03:54 | What we can do is we can drop
ourselves down to the next quality level, half
| | 04:00 | yellow half green and see how that plays back.
| | 04:02 | Now we're getting more
movement, but it's still stuttering.
| | 04:07 | So let's drop ourselves right down
to Full Yellow mode, which is the
| | 04:11 | lowest quality, but will provide
the greatest opportunity to see the
| | 04:16 | effect in real-time.
| | 04:17 | Okay.
| | 04:20 | Now we get an idea of what the effect
would be like at full quality, and if
| | 04:25 | we're happy with that, then we can
bump our Quality back up and then go ahead
| | 04:29 | and render this effect, too.
| | 04:36 | So far, we've been adding effects
directly to clips, but what I'd like to show you
| | 04:41 | now is that I can actually add
an effect to an entire track.
| | 04:46 | I'm going to add a video track to my Timeline.
| | 04:48 | Right-click > New Video Track.
| | 04:51 | Now I've got video track 2.
| | 04:53 | Disable 1, because I'm going to add
an effect across the entire Timeline.
| | 04:58 | I'm going to come up here to the
Effects palette, and I'm going to come to
| | 05:03 | the Generator category.
| | 05:06 | Now not all effects are designed
for the audience to see; some are
| | 05:10 | utility effects.
| | 05:11 | Here, for example, I have
the Timecode Burn-in effect.
| | 05:14 | If I drag and drop that, it's going
to drop across the entire track of V2,
| | 05:19 | covering all of the sequence.
| | 05:22 | I'm going to have to monitor V2 in order
to better see it, and you can see there
| | 05:27 | now I've got a Timecode Reader
that's overlaying on top of my sequence.
| | 05:31 | If I want to customize this, I just
have to go back into Effects mode. I can
| | 05:37 | reposition the Timecode box
like so, and make it bigger.
| | 05:44 | I can also come down and switch on
the second Display, and instead of
| | 05:47 | showing Timecode this time, I could
maybe say, let's have a look at the
| | 05:51 | Source Clip Name.
| | 05:55 | Let's affect the size of that, too.
| | 05:58 | Reposition that and close the effect.
| | 06:06 | If I play that back, you can see that
this effect plays over the entire Timeline,
| | 06:10 | over the top of all the other
clips with their effects on them.
| | 06:20 | So not all effects are
designed for the audience to see.
| | 06:23 | In this particular case, having a read
out of the Timecode in my sequence and
| | 06:28 | the name of individual clips in the
sequence, a producer, or a director, or anyone
| | 06:33 | else I'm working with can have an
intelligent conversation with me about the
| | 06:37 | sequence that I'm working on.
| | 06:39 | Certain effect types fulfill
technical or production workflow requirements,
| | 06:44 | Other effect types are purely to
enhance story, pace, rhythm, and meaning.
| | Collapse this transcript |
|
|
7. Motion Effects and CompositingCreating freeze-frames and motion clips| 00:00 | If media plays back at the same frame
rate at which it was shot or created, then
| | 00:06 | all motion will appear as it does in real life.
| | 00:09 | When we start to create clips which
play back at a rate different than the
| | 00:14 | original frame rate of the aource
file then we are entering the arena of
| | 00:18 | motion-affected clips.
| | 00:20 | Here in my sequence I have
got a shot of the bike path.
| | 00:23 | If I play that back, let's see what we have got.
| | 00:27 | (Clip playing.)
| | 00:31 | Let's say I would like to freeze on
this frame here for the remainder of the
| | 00:34 | clip. How would I do that?
| | 00:36 | First thing I am going to do is I am
going to place a mark in point here, so I
| | 00:40 | know where I'd like to begin the freeze.
| | 00:43 | Next, I am going to right-click on my
Track panel and say Match Frame Track.
| | 00:48 | When I do this, watch what
happens in the Source viewer.
| | 00:51 | It calls up this very clip and puts a
mark in point exactly where we are parked
| | 00:57 | on that clip in the Timeline.
| | 00:59 | With this in the Source viewer, all I
need to do is go to the Clip menu and
| | 01:04 | to Freeze Frame.
| | 01:06 | Here, it's asking me how long I
would like the Freeze Frame to last.
| | 01:09 | 5 Seconds is good.
| | 01:11 | Next, which drive of the manage
Media Files folder would I like to render
| | 01:15 | the effect to?
| | 01:16 | Okay, the video effect is
created and dropped into my bin here.
| | 01:24 | It's also automatically loaded
in to my Source viewer here, too.
| | 01:28 | You can tell, look that's the
Motion Effect icon there, different to a
| | 01:31 | regular clip icon.
| | 01:32 | Okay, so if I now want to freeze this
clip from that point forward, all I need
| | 01:38 | to do is come down, Ctrl on a Windows
machine, Command on Mac, Snap to the edit
| | 01:43 | point, and I am just going to back on
frame, so I know I am on the last frame of
| | 01:48 | this clip here, mark an out point, like so.
| | 01:52 | Now, I am just going to do a three-point edit.
| | 01:53 | There's two points in the Timeline.
| | 01:55 | And I don't even need to place a
mark in point in my Source viewer here.
| | 01:59 | The system will assume that I want to
use it from wherever the time bar is.
| | 02:03 | Just drop that in and play it back.
| | 02:06 | (Clip playing.)
| | 02:15 | Okay, so that's how to create a freeze frame.
| | 02:18 | Let's go early in our sequence;
we have a shot of these skateboarders here.
| | 02:23 | (Clip playing.)
| | 02:27 | If I wanted to turn that in to slow-
motion clip, here is how I do that.
| | 02:31 | Again, what I am going to do is call
this clip up in my Source viewer using the
| | 02:36 | Match Frame command.
| | 02:38 | First though, I am going to snap to
the very head frame, the very beginning.
| | 02:41 | I can tell I'm there because
I have got this white bracket.
| | 02:45 | Next, I am going to right-click
here and Match Frame Track again.
| | 02:50 | This time, I am bringing up the
skater's clip at the very beginning.
| | 02:54 | If I select a portion of the clip now,
I can come to the Fast menu here.
| | 03:01 | Click down, and I am going to
access the Motion Effect Control palette.
| | 03:06 | You can see here that, by default, a 50%
Speed adjustment has been applied.
| | 03:13 | Since the frame rate is 24 frames per second,
| | 03:16 | that gives us a new rate of 12 frames per second.
| | 03:20 | Or another way of thinking about it
is that we have a duration of 63 frames
| | 03:24 | selected, and if we process this out,
we will have 126 frames instead.
| | 03:30 | You can see here that I could type
into any of these fields in order to make
| | 03:33 | an adjustment.
| | 03:35 | Perhaps I would like to
make it 33% speed instead.
| | 03:39 | This is for creating Strobe Effect, so
we are not going to use that right now.
| | 03:43 | Down here is our rendering methodology.
| | 03:46 | If you are using interlaced material,
such as 30I or 50994, then you will have
| | 03:51 | to experiment with these different
rendering methods in order to get the best-
| | 03:55 | looking image.
| | 03:56 | Since we are using progressive
material, we don't need to worry about
| | 03:59 | this dialog box.
| | 04:00 | We have got our target drive.
| | 04:02 | I am going to Create and Render.
| | 04:05 | Now we are writing a new file to the
Manage Media files folder, and that has
| | 04:11 | been deposited in my bin.
| | 04:13 | It's also been deposited
in my Source viewer here.
| | 04:17 | Let's play it back.
| | 04:18 | (Clip playing.)
| | 04:25 | Now of course I could take this
clip and add it into my sequence.
| | 04:30 | Freeze Frames and Motion Effected clips
are new media files generated by Media
| | 04:35 | Composer and available in the bin
for editing in to your sequence.
| | Collapse this transcript |
| Understanding timewarp effects| 00:00 | Unlike motion effects, timewarps are
not clips that we originate and store in the bin;
| | 00:06 | instead, they are effects which we drop
onto clips already in the Timeline. Rather
| | 00:12 | than creating a new version of a clip at
are specified new frame rate, timewarps
| | 00:16 | allow us to adjust the speed
of a clip dynamically over time.
| | 00:20 | Timewarps can be found in the Effects palette.
| | 00:25 | If I scroll down, I have
got a Timewarp category.
| | 00:29 | Inside the time Timewarp
category, there are numerous pre-built
| | 00:33 | template effects.
| | 00:34 | For example, here is the Speed Bump effect.
| | 00:38 | Down here in the Timeline, let
me play back the boardwalk clip.
| | 00:42 | (Clip playing.)
| | 00:47 | Currently playing back at normal speed,
but if I take the Speed Bump effect,
| | 00:51 | drag it and drop it onto the clip here,
now as I play it back, you should see
| | 00:56 | it slows down towards the middle of the
clip and then speed back up towards the end.
| | 01:00 | (Clip playing.)
| | 01:08 | Like so. And because of the green
dot here, it's a real-time effect.
| | 01:12 | In fact, the only one that isn't real-
time is the Reverse Motion effect here.
| | 01:17 | So these are templates.
| | 01:20 | The last two at the bottom here
in the category are not templates.
| | 01:24 | They are blank effects that
we are going to customize.
| | 01:28 | Let's look at this clip here, called cafe.
| | 01:31 | (Clip playing.)
| | 01:38 | There is a black gap between
cafe and the downtown clip.
| | 01:41 | If I want to bridge that gap, now
suppose I could just go to Trim mode and
| | 01:46 | trim it out.
| | 01:47 | But now, I have got a red bracket in the
bottom right-hand corner of my left-hand
| | 01:51 | viewer, indicating that there are no
more handles available for this clip.
| | 01:56 | If I wanted to make this clip last
until the next clip, what I could do is
| | 02:01 | use Trim to Fill.
| | 02:02 | Drag and drop Trim to Fill on, and
now the clip will dynamically adjust its
| | 02:08 | playback rate to allow it to
last the duration of the trim.
| | 02:12 | See, it's changed to 63%,
and now when I play back...
| | 02:16 | (Clip playing.)
| | 02:23 | a slight adjustment to the speed to
allow that clip to make up the rest of the
| | 02:27 | gap in the Timeline there.
| | 02:30 | That's using Trim to Fill.
| | 02:31 | What about timewarp itself?
| | 02:33 | I have got a clip of the bike path.
| | 02:35 | (Clip playing.)
| | 02:38 | Let's take the timewarp effect, drag
it and drop it onto bike path clip.
| | 02:44 | Now, at the moment,
| | 02:45 | (Clip playing.)
| | 02:48 | you can see there
is no change to the speed of the clip.
| | 02:52 | That's because there's no template.
| | 02:54 | This is a blank effect
that we need to customize.
| | 02:56 | Okay, so how do we do that?
| | 03:00 | Down here in the Timeline palette,
there is the Motion Effect Editor button.
| | 03:04 | If I click on that, it takes me
in to the Motion Effect Editor.
| | 03:07 | Here we have got the ability to
open up two different graphs: Speed
| | 03:13 | and Position.
| | 03:15 | Now, because I am going to be editing
Speed, I don't really need the Postion
| | 03:19 | graph open at the moment, so I am
going to close that back up to give us a
| | 03:22 | little bit more room on our desktop.
| | 03:25 | You can see here that I've got a Scrub bar.
| | 03:27 | I can scrub it backwards and
forwards across the length of the clip.
| | 03:30 | I have also got a keyframe.
| | 03:32 | If I grab hold of the keyframe and drag
it down to 50%, now I have changed the
| | 03:38 | speed of that clip to 50%.
| | 03:39 | Let's play it back in the Timeline.
| | 03:41 | (Clip playing.)
| | 03:53 | Okay, so that's great, but what if
I want to customize it even more?
| | 03:57 | Well, no problem.
| | 03:59 | I can come along here, and I can
pre-stage keyframes by using the Add
| | 04:03 | keyframe button.
| | 04:04 | So may be I am going to add one here,
move along a little way, add another
| | 04:09 | one here, move along a little ways,
and then add another one here.
| | 04:15 | Now I can grab hold of the
middle one and push it up.
| | 04:19 | You can see the speed updating there
in the top left corner, as I move the
| | 04:24 | keyframe up and down.
| | 04:26 | This is the Speed scale
along the left-hand side here.
| | 04:30 | You can see it goes into negative
values there. And this is the Time value
| | 04:35 | along the bottom.
| | 04:36 | If I want to zoom in or zoom out, I
have got a scale bar that allows me to
| | 04:40 | resize the window itself and
zoom in along the Speed axis.
| | 04:45 | Let's see how that plays back.
| | 04:49 | (Clip playing.)
| | 04:53 | So you can see, this time we
started off with 50% speed.
| | 04:56 | We sped up, and then we
went back to 50% speed again.
| | 05:01 | Well, maybe I would like it to
return it to normal speed after the
| | 05:04 | speed increase.
| | 05:05 | So I am going to grab the keyframe,
move it up to here. Now I am back at 100%.
| | 05:11 | Let's play it back.
| | 05:12 | That's actually a Play Loop button
right here in the Motion Effect Editor.
| | 05:16 | (Clip playing.)
| | 05:26 | Great! Click it again to stop playback.
| | 05:28 | That looks pretty good to me.
| | 05:31 | Just like any other effect, if I
like this and I want to save the
| | 05:34 | customized version, click down, drag to
the bin, and now I have got that saved
| | 05:39 | for future use.
| | 05:41 | Close the Motion Effect Editor, and
we are back to regular Source Record
| | 05:46 | Editing mode.
| | 05:49 | If we look down here in the Timeline,
we can see that the two timewarps we have
| | 05:52 | added have a double dash
on them, two black marks.
| | 05:57 | And yet here in the Timeline, there's
an effect with a single dash on it.
| | 06:01 | The ones with the double dash indicate
Timewarp effect. The ones with the single
| | 06:07 | dash indicate that they
are Motion Effects instead.
| | 06:12 | If I park on Motion Effect, and I go to
the Motion Effect Editor, I am given the
| | 06:17 | opportunity to promote my
Motion effect to a timewarp.
| | 06:21 | Remember, a Motion effect will
affect the clip at a constant frame rate.
| | 06:26 | If I want to dynamically vary it, I
should go ahead and promote this effect, and
| | 06:31 | now I get the ability to
keyframe changes over time again.
| | 06:37 | Let's make a couple of changes,
| | 06:40 | add another keyframe, and
then another keyframe, like so.
| | 06:47 | Close out of that, and now I have
promoted my skater's clip to a Timewarp effect
| | 06:52 | that dynamically changes over time.
| | 06:55 | (Clip playing.)
| | 07:00 | Sometimes we simply want to make a shot
last a little bit longer; other times we
| | 07:05 | want to create a speed ramp for impact.
| | 07:08 | Media Composer provides a
combination of powerful tools for affecting the
| | 07:12 | playback speed and clip length.
| | Collapse this transcript |
| Understanding Timeline compositing | 00:00 | Using multiple video tracks, we can
stack clips vertically in the Timeline and
| | 00:05 | then use effects to blend those
various layers of imagery together.
| | 00:09 | This procedure is known as compositing.
| | 00:12 | Here, I've got some clips in my bin.
| | 00:14 | Before I can composite these together,
the first thing I need to do is add
| | 00:17 | them to a Timeline.
| | 00:18 | I am going to click down, lasso the clips,
drag them into the Timeline area, and
| | 00:23 | now I have created a
sequence, as you can see here.
| | 00:26 | Let's rename the sequence as Composite.
| | 00:32 | The next thing I am going to do is I
am going to add some video tracks to
| | 00:36 | my Timeline.
| | 00:37 | I can right-click and say New Video
Track, or I can use Command+Y on a Mac or
| | 00:42 | Ctrl+Y on a Windows machine, to add
those from the keyboard, like so.
| | 00:49 | Because I'm in Lift/Overwrite mode, I
am just going to grab these clips and
| | 00:53 | start compositing them by dragging
them up to the next layer and then putting
| | 00:58 | them over top of each other.
And then finally, the spider.
| | 01:03 | Let's put that up there on V5.
| | 01:04 | I am just going to trim up
the edges here a little bit.
| | 01:09 | So I've created a bit of a pyramid.
Okay, great!
| | 01:15 | So now I have got my clips positioned.
| | 01:17 | Of course, at the moment, I
am monitoring video track 1,
| | 01:22 | so we know that we will only see the
contents of the video track 1, unless I go
| | 01:27 | now and switch the monitor up to video
track 2, and then video track 3, 4, 5. Great!
| | 01:36 | If we want to start compositing now,
I need to go to the Effects palette
| | 01:40 | and find in an effect.
| | 01:43 | Up here in the Project window, to the
Effects palette, in the Blend category, I am
| | 01:48 | going to use Superimposition.
| | 01:50 | I want to use the Superimposition
to blend the bark clip with the water
| | 01:55 | close-up clip.
| | 01:56 | So I can see what I'm doing,
| | 01:58 | I am just going to come back
down and monitor from V2 downwards.
| | 02:03 | Pick up the superimposition clip,
drag it and drop it onto the bark.
| | 02:08 | Immediately, you can see that the bark
is at 50%, and is allowing us to see the
| | 02:13 | water in the background.
| | 02:18 | That's pretty simple.
| | 02:20 | Now let's start using some
of the tracks above that.
| | 02:23 | I am going to go back to monitoring V5.
| | 02:28 | Here I've got the Picture-in-Picture effect.
| | 02:30 | If I drag that and drop that on the
spiderweb clip here, you can see that it
| | 02:36 | automatically sizes it down to 50%.
| | 02:41 | Another way to add effects more rapidly
to my sequence is to multi-select clips
| | 02:46 | using the Lift/Overwrite mode.
| | 02:49 | Now when I come back up to the Picture-
in-Picture effect, I can double-click on
| | 02:53 | it, and it will add those effects
to any clips that are highlighted.
| | 02:57 | Now let's focus back on the V3 for
a moment where we've got the sky.
| | 03:01 | That's a 50% size over the top of
the bark and the water close-up.
| | 03:07 | If we want edit this effect, we are
going to have to use Effects mode.
| | 03:11 | So here it is.
| | 03:12 | Let's enter Effects mode, and now we
enter the Picture-in-Picture Effect.
| | 03:16 | All I want to do here is affect the
scaling a little more, maybe drop it down a
| | 03:21 | tad more, and now I would like to move
it across to the left, and maybe I'll just
| | 03:27 | push it up a little bit, too.
| | 03:28 | So I am happy with that.
| | 03:30 | If I want to move efficiently to the
next affect that I would like to edit on, I
| | 03:35 | am going to just click here, and now I
am going to be editing this effect, but I
| | 03:40 | am going to have to just bump my
monitor up to see what I am doing.
| | 03:43 | Let's take this clip, and let's
move it off down to the bottom right.
| | 03:47 | Again, maybe I would like
to scale it down a little.
| | 03:50 | I am going to highlight the slider
there and now use the arrow keys on my
| | 03:55 | keyboard to take the scale down a little bit.
| | 03:57 | Maybe I will take it down a
bit more than the sky, like so.
| | 04:02 | Now I am going to click
up to the spiderweb clip,
| | 04:05 | again, bump up my monitor so I can
see all of the tracks in context.
| | 04:11 | With this particular clip, what I'd
like to do is actually use the Crop tool to
| | 04:16 | take some material off of the top and
some material off of the bottom to create
| | 04:21 | sort of a custom sized frame.
| | 04:23 | That will do for now.
| | 04:26 | If I close this, I can now go back to
my Timeline and play back the results.
| | 04:37 | Okay. So, that looks pretty good.
| | 04:39 | The fact that these Pictures-in-
Pictures are sort of popping on and off of the
| | 04:42 | screen is a little bit disconcerting to me.
| | 04:45 | So I just want to show you one final thing.
| | 04:47 | I am going to mark across these clips
here, and now I want to go back to the
| | 04:52 | Quick Transition dialog, and I am going
to call up the Dissolve, and I am just
| | 04:56 | going to add an 8 frame dissolve
centered on the cut to all of the transition
| | 05:01 | points between the in and out markers. Add.
| | 05:02 | Great! Now let's play that back, and now
they dissolve on and dissolve off.
| | 05:15 | The simplest type of compositing is the
picture over the newsreader's shoulder,
| | 05:20 | or a title over the start of your video.
| | 05:22 | More complex composites are things like
green and blue screen keys or tracking a
| | 05:27 | new logo onto a basketball player's jersey.
| | 05:31 | All of these things are
possible inside of Media Composer.
| | 05:35 | You have all of the tools at your
disposal to really build up some quite complex
| | 05:39 | effects inside of Media Composer.
| | 05:41 | Have fun!
| | Collapse this transcript |
|
|
8. FinishingWorking with basic color correction| 00:00 | The finishing stage of your project
is when you have largely done with
| | 00:03 | editing clips in your sequence, and
you've moved on to refining the look and
| | 00:08 | sound of the entire piece.
| | 00:10 | Audio and video receive attention
from specialized tools during the
| | 00:14 | finishing process.
| | 00:15 | Here, we will be
concentrating on basic color correction.
| | 00:20 | Before we start though, it's
important to note that your perception of
| | 00:23 | brightness and color is greatly
affected by your surroundings as well as the
| | 00:28 | device which you use to look at the images on.
| | 00:31 | So make sure that your monitor is
doing a good job of showing colors and
| | 00:35 | brightness accurately.
| | 00:36 | Make sure also that the changing light
in your room during the day doesn't alter
| | 00:41 | your perception of what
you were doing as you work.
| | 00:46 | Looking through this sequence, it
doesn't look like we have I think too
| | 00:49 | drastic to deal with.
| | 00:50 | All we need to do is balance up our
brightness levels, sometimes referred to as
| | 00:56 | luminance, and add color,
sometimes referred to as chrominance.
| | 01:00 | To do that, I'm going to
enter Color Correction mode.
| | 01:03 | I've got my track active, and I could
enter Color Correction mode from the
| | 01:09 | Timeline palette here.
| | 01:11 | Another way to do it though, is to
go to the Toolset menu and select
| | 01:14 | Color Correction.
| | 01:15 | I am just going to
reposition this window slightly.
| | 01:18 | Okay, there has been a
big change in the interface.
| | 01:23 | Let's examine what's going on here.
| | 01:26 | First off, the center window displays
the image that we are currently looking on
| | 01:30 | with the Color Correction tool,
which is this palette down here.
| | 01:33 | After that, we have the next clip in the
sequence for reference, but because we
| | 01:39 | parked on the first clip, the box for
the previous clip is currently unoccupied.
| | 01:44 | Indeed, I can even go in here
and select from other choices, too.
| | 01:50 | Let's have a look at the Y Waveform,
which is a description, a graphical
| | 01:54 | description, of the Luminance channel.
| | 01:56 | This is the black down here, and
these are the whites, and this is the
| | 02:00 | midrange levels here.
| | 02:01 | You will see this update as I make
corrections on the image in this window.
| | 02:08 | Now here is the Color Correction tool itself.
| | 02:10 | There is a lot of options in this tool.
| | 02:13 | So what we are going to do is confine
ourselves to looking at the HSL tab and
| | 02:17 | the Hue Offsets subtab.
| | 02:20 | We are going to further confine
ourselves to using three buttons here, Auto
| | 02:25 | Balance for removing a color cast, Auto
Black for making sure our black levels
| | 02:30 | are nice and rich, and Auto Contrast
for making sure that the contrast between
| | 02:36 | black and white is as good as it can be.
| | 02:40 | So let's do that right now.
| | 02:42 | Currently parked on the cobweb clip,
displayed here, let's go ahead and use
| | 02:48 | Auto Black first.
| | 02:50 | You saw a slight decrease in brightness,
and you should have seen that reflected
| | 02:54 | in the Y Waveform there.
| | 02:56 | Next, Auto Contrast.
| | 02:58 | There wasn't really much needed there,
| | 03:00 | so let's go to Auto Balance.
| | 03:03 | A very slight change to remove
a color cast across the image.
| | 03:07 | A Color Correction icon has now
been added to my clip in the Timeline.
| | 03:13 | If we want to move on to the next clip,
we just use this next uncorrected button
| | 03:17 | here, and now we are parked on
the first frame of the next clip.
| | 03:22 | We could go through the same
procedure again: Auto Black, Auto Contrast,
| | 03:28 | Auto Balance.
| | 03:31 | I have a Dual Split window, which
allows me to see the difference between my
| | 03:35 | original version and the new version.
| | 03:40 | As you can imagine, it would be quite
laborious to go through the entire sequence,
| | 03:44 | applying this basic set of auto
corrections to each clip in turn.
| | 03:48 | I am going to show you a
shortcut to make this work a lot faster.
| | 03:54 | In the Color Correction tool,
we have Correction Mode Settings.
| | 03:58 | If I click this, you get a dialog box.
| | 04:01 | Now I want you to make sure that you
are not on Features, but on AutoCorrect.
| | 04:04 | What we can do here is set up a
rule to do exactly what we just did.
| | 04:09 | First, we'd like to do an HSL Auto
Black, then we'd like to do an HSL Auto
| | 04:18 | Contrast, and finally we'd
like to do an HSL Auto Balance.
| | 04:23 | Now if I click OK here, the way that
I apply that is actually going to be
| | 04:30 | through the Effects palette.
| | 04:31 | So let me return back to Source Record
Editing mode and show you what I mean.
| | 04:41 | In the Effects palette, under the
Image category, there is a Color
| | 04:44 | Correction effect.
| | 04:46 | This Color Correction effect, when
dropped onto a clip, will apply those rules
| | 04:51 | that we just set inside of
the Color Correction tool.
| | 04:53 | So with Left/Overwrite enabled, I am
going to go through my sequence and
| | 04:59 | multi-select the clips that remain.
| | 05:01 | Now all I need to do is double-click
on my Color Correction effect, and the
| | 05:06 | Auto Correction that we set up has now
been applied to all of the clips in my
| | 05:10 | sequence, like so.
| | 05:13 | Incidentally, if I need to remove a
Color Correction effect, I use the same
| | 05:17 | commands that I would use
to remove any other effect.
| | 05:20 | Let's put that back.
| | 05:24 | One final thing I'd like to show you is
that we've been adding Color Correction
| | 05:28 | effects on a per-clip basis.
| | 05:31 | What if we would like to add a look
across the entire Timeline when we're done?
| | 05:37 | All I need to do is right-
click, add a New Video Track.
| | 05:41 | Let's make sure that only video track
2 is active and that we're monitoring
| | 05:46 | from the video track 2.
| | 05:48 | Now I am going to reenter
Color Correction mode, like so.
| | 05:52 | So if I'd like to create a look now
across the entire Timeline, let's say I want
| | 06:02 | to make it dramatic.
| | 06:03 | So I will l take the Setup, and I
will start to pull that down, like so,
| | 06:08 | making it very dark.
| | 06:10 | Now I might take the Gain, start to
pump that up, make it very extreme.
| | 06:14 | Here is my before and after,
to show me what I am doing.
| | 06:17 | Maybe I could also grab the Gamma now
and start to really play around with
| | 06:23 | how this is looking.
| | 06:24 | Okay, that's quite extreme, really, but
it gives us an idea that if we now exit
| | 06:31 | back, Toolset > Source Record Editing,
we've now created a Color Correction
| | 06:36 | effect across the entire Timeline,
which is combined with the other color
| | 06:41 | corrections that we made to now
create the look that we've achieved.
| | 06:47 | Color Correction can be used to make
things seem more realistic, take us into
| | 06:51 | the past, or transport us to some
fantastical, otherworldly landscape.
| | 06:58 | Broadcast TV, DVD, and web all have
different tolerances and limits for Color
| | 07:03 | and Luminance values.
| | 07:05 | The finishing stage is about paying
close attention to both aesthetics and
| | 07:10 | technical considerations.
| | Collapse this transcript |
| Stabilizing shaky footage| 00:00 | Another specialized tool used
during the finishing process is
| | 00:04 | Image Stabilization.
| | 00:06 | Media Composer can help remove or
reduce movement which comes from
| | 00:11 | shaky cameras.
| | 00:12 | Let's have a look here at the
clip that we need to stabilize.
| | 00:15 | (Video playing.)
| | 00:21 | That's a pretty typical problem.
| | 00:23 | The cameraperson is on a very long lens,
and it's super-hard to keep that lens
| | 00:28 | steady when you are zoomed all the way in like that.
| | 00:31 | Let's go to the Effects
palette > Image category.
| | 00:35 | Here in the Image category, I've
got a great effect called Stabilize.
| | 00:39 | Watch this.
| | 00:40 | I am going to take the effect, drag it,
drop it onto this clip, and sit back
| | 00:45 | while the system analyzes the
image and removes the shake.
| | 00:52 | What you can see here is the
system's doing a multipoint analysis.
| | 00:56 | It's looking at all sorts of objects in
the field of view and using those as a
| | 01:00 | reference point to stabilize the whole image.
| | 01:06 | You can see here that I have
actually got Auto Zoom applied.
| | 01:11 | That's automatically applied when we
add the Stabilize effect like this.
| | 01:15 | So that means that when I close this
window and play the clip back, it will
| | 01:20 | now be stabilized.
| | 01:21 | (Video playing.)
| | 01:29 | And that's it. It doesn't get any
more complicated than that.
| | 01:32 | Camera shake can come from a moving
vehicle, wind, a long lens, or even
| | 01:38 | tired arms.
| | 01:39 | Whatever the cause, you now have the
tools at your disposal to take care of it.
| | Collapse this transcript |
| Creating a basic title| 00:00 | Graphics, lower thirds, titles and
end credits may all be required on a
| | 00:05 | single project.
| | 00:06 | Media Composer comes standard with
two tools: Title tool and Marquee.
| | 00:12 | Here, we are going to look at Title
tool. As the name suggests Title tool is
| | 00:17 | relatively basic in its ambitions.
| | 00:20 | Nevertheless, it's easy to use, and will do
75% of what you need to do on a day-to-day basis.
| | 00:26 | In order to add a title, the first thing I
am going to do is move in my Timeline to
| | 00:31 | where I'd like to add the title.
| | 00:33 | I want to be parked over a
representative frame of the background clip.
| | 00:37 | Next, I want to right-click and add
a new video track, monitor from V2,
| | 00:42 | disengage V1 so we're just active on V2 there.
| | 00:47 | Now I am going to the Tools menu,
and I am going to go to Title tool.
| | 00:51 | As I said, there are two
choices: Marquee and Title tool.
| | 00:57 | You'll have plenty of time to
explore Marquee by yourself.
| | 01:00 | I am going to go here into Title tool.
| | 01:03 | Now you can see why I
parked on that particular frame.
| | 01:07 | I wanted to have it as my background.
| | 01:10 | The first thing that I'm going to do
is come down here to this palette. I am
| | 01:14 | going to choose the Square and Rectangle tool.
| | 01:18 | I can click in the interface
and drag and draw myself a box.
| | 01:24 | If I want to change the color of the box,
I just click in here, in the Fill color
| | 01:30 | selection, and now I can
choose whatever color I would like.
| | 01:33 | Maybe we will go for a dark version of that there.
| | 01:39 | Next, I have my Transparency.
| | 01:42 | If I click in here and drag, I've
now added transparency to the box.
| | 01:48 | Now let's add some text.
| | 01:49 | Here I have got the Text tool so I
want to highlight that, and I'll click in
| | 01:54 | my image area.
| | 01:55 | I am going to type in my words;
| | 02:02 | in this case I am just going to
use 'opening title' as my example.
| | 02:05 | Now of course, I can format this text.
| | 02:07 | If I highlight the text I can come
down here change the Font if I want to,
| | 02:13 | change the Font size.
| | 02:15 | If I change the font size and things
spill over on to a second line, just go
| | 02:19 | to the Selection tool.
| | 02:20 | You can see this box has being drawn
around the text. Just grab hold on one of
| | 02:24 | handles and make it bigger.
| | 02:28 | I can also center justify, but that's
only center justified within the box.
| | 02:33 | If I want to put this in the center of
the image, then go to the Alignment menu >
| | 02:38 | Center in Frame Horizontally.
| | 02:40 | I am going to reselect the text and
just add a drop shadow. I can enter a
| | 02:47 | shadow of two, or I can pull a
shadow out graphically, like so.
| | 02:59 | Now, if I go back to my Selection arrow
and click off, I can see my drop shadow.
| | 03:04 | If I am happy with the title, go
ahead and close the Title tool. It asks me
| | 03:09 | to Save.
| | 03:11 | Asking me to give it a name, and it's
also asking now, okay, which bin would
| | 03:17 | I like to go into?
| | 03:18 | Which drive am I going to render the effect to?
| | 03:21 | So it's going to go in the manage
media folder on the D drive, and also
| | 03:26 | the Resolution.
| | 03:28 | I am actually going to take
this up to one to 1:1p 10b MXF.
| | 03:32 | I always like to create my titles and
graphics at as higher quality as possible.
| | 03:36 | Let's Save.
| | 03:37 | So you can see the clip has been
automatically loaded into my bin, and also loaded
| | 03:45 | into the Source viewer here.
| | 03:46 | I am just going to just
drag a little way into my clip.
| | 03:51 | The reason is that what I make a mark in
here, it gives me handles, should I want
| | 03:56 | to do an effect with this clip later on.
| | 03:58 | Okay! Now let's come down to the Timeline
area and make an in point and an out point.
| | 04:06 | Now, I am just going to use Overwrite
to recall the title onto video track 2,
| | 04:11 | and you see, it's ready for Playback.
| | 04:14 | (Clip playing.)
| | 04:20 | Now it pops on and pops off, so we
are just going to mark an in point,
| | 04:25 | mark an out point, go to the Quick
Transition tool, and now video track 2 add a
| | 04:30 | dissolve that's 8 frames on both transitions,
between the in point and the out point. Add.
| | 04:39 | (Clip playing.)
| | 04:48 | Being able to create a basic title
directly inside of Media Composer is a huge
| | 04:53 | timesaver compared to having to leave
and work in a third party application to
| | 04:58 | create your graphics.
| | Collapse this transcript |
| Mixing down video and audio| 00:00 | Mixing down is the process of taking
multiple clips or layers of media and
| | 00:05 | condensing them down into
fewer clips or layers.
| | 00:10 | Media Composer supports playback of up
to 16 tracks of audio simultaneously;
| | 00:15 | however, there are 24 audio
tracks available in your Timeline.
| | 00:20 | One way to get all 24 tracks to
play back using those 16 live tracks is to mix
| | 00:27 | some groups of tracks down into stereo pairs.
| | 00:31 | Here, in this sequence, I have
sync material on audio tracks 1-4.
| | 00:37 | I then have music on A5 and A6, and
then I have percussion on A7 and A8.
| | 00:46 | If I wanted to mix all of this down
into a single stereo pair, the way I'd
| | 00:50 | do it is as follows.
| | 00:51 | First of all, I'm going to
mark the entire sequence.
| | 00:55 | I'm going to hit the End key on my
keyboard and use the O key to mark an out,
| | 01:01 | and now I'm going to hit the Home key
on my keyboard and use the I key to make
| | 01:07 | a mark in.
| | 01:08 | Now I've selected the entire Timeline.
| | 01:10 | Now obviously I don't need
the video track selected.
| | 01:14 | I'm going to go to the Special
menu and choose Audio Mixdown.
| | 01:19 | Here, I'm going to select Stereo, and
then the new Target Track will be Track 9.
| | 01:25 | I'm also selecting the bin here, where
my mixdown file will reside when it's
| | 01:30 | done, and also the drive to which we
want to render the new mixdown file.
| | 01:35 | I'm also going to choose
to save my premix sequence.
| | 01:40 | Click OK.
| | 01:44 | A new audio track is written to the
managed media files folder and placed in my
| | 01:49 | Timeline, on audio track 9.
| | 01:52 | You can see that this is a stereo track,
because there's a ghosted audio icon
| | 01:56 | here, as opposed to the single
audio icon on my primary tracks.
| | 02:03 | Here in my bin, you can see now,
that I have the earlier version of the
| | 02:07 | Timeline without the mixdown, and now
the new version of the Timeline that I've
| | 02:11 | created with the mixdown.
| | 02:14 | If I was doing this, in order to
consolidate the number of tracks in my
| | 02:17 | Timeline for real-time audio monitoring,
the next stage will be to go ahead and
| | 02:22 | remove these tracks here.
| | 02:24 | Highlighting my Timeline, I'm
going to hit Delete on the keyboard.
| | 02:28 | I'm asked to confirm, and I click OK.
| | 02:30 | Those tracks are now removed, and the
entire contents of audio tracks 1-8 will
| | 02:38 | now play back from audio track 9.
| | 02:40 | I'm going to open up my Track
Control panel, make sure I'm monitoring the
| | 02:44 | track and play back.
| | 02:47 | (Video playing.)
| | 02:52 | Okay, there we go.
| | 02:55 | So that's a way for me to consolidate
space in my Timeline and make room for
| | 02:59 | more track to play back live.
| | 03:01 | Now we can do a similar thing with video.
| | 03:04 | There are 24 video tracks available in
your Timeline for creating effects and
| | 03:08 | composites, but sometimes, even when
effects have been rendered, your system may
| | 03:14 | struggle to play back very
complex or fast-cutting sequences.
| | 03:18 | This will be especially true if you're
using high resolution material and/or
| | 03:23 | an older computer.
| | 03:25 | As such, you may need to mix down some
or all of your video tracks in a sequence
| | 03:30 | before you can output to tape or file.
| | 03:33 | By combining the result of all the layers
in your sequence into a single new clip,
| | 03:38 | your computer will have a much easier
time playing back the entire sequence
| | 03:43 | without dropping any frames.
| | 03:45 | Another reason that you may want to
mix down is that you have a mixture of codecs
| | 03:49 | in the Timeline and want to output
your work as a DVD-compliant file or as a
| | 03:54 | QuickTime reference movie.
| | 03:56 | In this case, you'll need to mix down in
order to create a new file, which is all
| | 04:01 | one codec - for example, the Avid DNxHD codec.
| | 04:05 | Once this is done, you'll be able to
export your sequence to almost any file
| | 04:09 | type and to other applications
as a QuickTime reference movie.
| | 04:12 | Let me show you how I do that.
| | 04:14 | I'm going to select all of my video tracks.
| | 04:17 | I've still got my entire Timeline
selected, back to the Special menu and now,
| | 04:22 | to Video Mixdown.
| | 04:23 | Target Drive again.
| | 04:24 | This is where the file will be rendered.
| | 04:27 | I'm told how much space is available on
that drive, and then my resolution and
| | 04:32 | therefore, how much space would be required.
| | 04:34 | If I bump the resolution up,
more space will be required.
| | 04:40 | Let's choose DVCPro HD.
| | 04:41 | I'm going to click OK, and
now the mixdown takes place.
| | 04:46 | So, all of the layers of effects and
titles are being combined down into
| | 04:54 | a single clip.
| | 04:56 | That single clip will be
deposited in my bin, ready for editing.
| | 05:02 | There it is.
| | 05:03 | That's the file.
| | 05:04 | I can load it into my Source viewer and
scrub through it. See, it contains all of
| | 05:08 | the layers that we had in the
Timeline, and now if I wanted to,
| | 05:13 | I could patch that up to V6, deselect
these tracks, add this to my Timeline,
| | 05:21 | invert my video selection
and now Delete those tracks.
| | 05:28 | I have one video track and a stereo
audio track, which represents all of the
| | 05:33 | work that I've done.
| | 05:35 | Editing is a mixture of art and science.
| | 05:38 | Even as we enjoy our moments of
creative excitement, we'll need to keep our
| | 05:42 | attention on processing
efficiencies and media management.
| | Collapse this transcript |
|
|
9. Delivering Your Finished PieceBuilding the final output| 00:00 | After you've done all your work, you'll
want the world to see your final piece.
| | 00:05 | Maybe you need to get in onto YouTube,
or you want to record your final back to
| | 00:09 | your camera, or else you'll want to
output a file so you can create a DVD.
| | 00:13 | Whatever the end goal, Media
Composer provides a range of output options
| | 00:18 | and tools.
| | 00:21 | There are numerous ways to get your
final project out of Media Composer.
| | 00:25 | If you have hardware options
connected to your Media Composer system, then
| | 00:30 | you can play your final sequence out
as a video feed to an HD or SD Video
| | 00:35 | Tape Recorder.
| | 00:36 | Even without hardware attached to your
system, you can still output via FireWire
| | 00:41 | to your camera or tape deck.
| | 00:43 | Alternatively, you can write back file-
based media, such as Panasonic P2 or Sony
| | 00:49 | XDCAM, to specific cameras
or card-reading hardware.
| | 00:53 | You can also create a very
basic DVD, direct from the Timeline.
| | 00:58 | Here, we are going to cover two
processes for creating multimedia files
| | 01:03 | direct from the Timeline.
| | 01:05 | The first method we'll look at is
creating a multimedia file using the Media
| | 01:09 | Composer Export dialog.
| | 01:11 | I've already mixed down all of
my video onto video track 6.
| | 01:16 | I've also already mixed down all of
my audio onto stereo audio track 9.
| | 01:22 | As a result, I'm just going to leave
those two tracks enabled, and I'm going to
| | 01:26 | mark my sequence: end out, home in.
| | 01:30 | Now I'm going to get it to my Timeline
in my bin, select it and right-click.
| | 01:34 | Here, I can go to Export.
| | 01:37 | I'm going to choose the desktop
as the location to put my file.
| | 01:44 | Next, I'm going to go to
the Options dialog here.
| | 01:48 | At the very top, I can choose what type
of output I'd like to create: an Audio
| | 01:54 | file, a Windows Media, an AVI, a
QuickTime Movie, DV Stream, HDV or a
| | 02:01 | QuickTime reference.
| | 02:02 | I'm going to choose AVI, in this particular case.
| | 02:05 | I've got Video Format options,
including Codec options, and I've also got
| | 02:11 | Width and Height.
| | 02:12 | I'm going to choose 1280x720.
| | 02:13 | I'm going to choose 601/709. Frames
per second is 24. Double-check my audio
| | 02:22 | format: stereo, 16 bit.
| | 02:26 | I can even go ahead and Save this
as a custom setting for use later.
| | 02:30 | And now I can go ahead and render the file out.
| | 02:41 | Once that's done, if I look on my
desktop, there's my AVI file, ready
| | 02:45 | for playback.
| | 02:48 | (Clip playing.)
| | 02:56 | There we go.
| | 02:57 | Let's go back to Media Composer.
| | 03:00 | I'd like to show you another
method for exporting multimedia files.
| | 03:05 | This time, I'm going to go back to my
bin, right-click and go to Export again.
| | 03:09 | I'm going to choose the desktop as
my Output location and choose Options.
| | 03:15 | This time, I'm going to
go to QuickTime Reference.
| | 03:18 | Now this is important distinction.
QuickTime Movie would render another file,
| | 03:23 | just like when we created
our AVI file a few seconds ago.
| | 03:27 | A QuickTime Reference, however,
reads the Timeline and doesn't have to
| | 03:32 | generate any media.
| | 03:34 | It creates an encapsulated file
that can then be loaded into another
| | 03:38 | application, and that
application can be used for batch encoding.
| | 03:41 | I'm going to choose Use
Marks and Use Enabled Tracks.
| | 03:46 | I'm going to select 16.9, I'm going to
deselect Mixdown Audio Tracks, and I'm
| | 03:51 | going to select 601/709 for Video Color space.
| | 03:56 | Now, I'm going to save this out to the desktop.
| | 04:00 | It didn't take hardly any time at all,
because we're not generating a new
| | 04:04 | file; instead, the file on the desktop
is actually reading the media from the
| | 04:10 | Media Composer Timeline.
| | 04:15 | (Video playing.)
| | 04:21 | So now, I can take this file and put
it into a third-party application for
| | 04:27 | batch encoding.
| | 04:28 | So, what I'm going to do is
come down here to my Start menu.
| | 04:32 | I'm going to search for Sorenson.
| | 04:35 | I just downloaded a free 30
day Trial of Sorenson Squeeze.
| | 04:39 | Of course, if I was on a Mac,
I could also use Compressor.
| | 04:44 | Now that Squeeze is open, all I need to
do is take my QuickTime Reference movie,
| | 04:49 | drag it and drop it into the view area here.
| | 04:53 | I can scrub through it to make sure
that I can see in here all of my media
| | 04:57 | and now remember,
we haven't rendered a file yet.
| | 05:00 | This is being read directly live from
the Media Composer Timeline through the
| | 05:05 | QuickTime Reference movie. Well this is great
because, as you can see, though there
| | 05:10 | are a large number of different file
types you can export from Media
| | 05:13 | Composer, here in Sorenson, there are many more.
| | 05:16 | For example, here I've got Flash presets.
| | 05:20 | Let's apply one of those.
| | 05:22 | Underneath that, I've got MPEG-4 presets.
| | 05:25 | Let's apply one of those.
| | 05:27 | I've even got Windows Media presets.
| | 05:30 | Let's apply one of those.
| | 05:32 | So, wherever I'm going, whether I'm
going to a mobile device, or I'm going to
| | 05:36 | the web, or I'm going to a DVD, I've
got the option here to do a full batch
| | 05:41 | encode of all different file types,
from a single QuickTime Reference movie.
| | 05:45 | It's a very, very efficient way to go.
| | 05:47 | Finally, I'm just going to right-click
on the destination, modify the output
| | 05:52 | directory, select the desktop,
click OK, and then squeeze it.
| | 05:56 | And you can see here, the files are
beginning to render and crop up on
| | 06:02 | the desktop.
| | 06:19 | We've now output our files to the
desktop using Sorenson Squeeze, and we've
| | 06:23 | finished our project.
| | 06:24 | Media Composer has the tools to help
you create whatever output types you need
| | 06:29 | in order to complete your
project and release it to the world.
| | Collapse this transcript |
|
|
ConclusionGoodbye| 00:00 | Well, there we go.
Thanks very much for listening.
| | 00:02 | I really hope that you've enjoyed the course.
| | 00:05 | I've certainly enjoyed presenting it.
| | 00:06 | I'd like to thank Bryce Poole very
much for the music that we used, and I
| | 00:10 | wish you all the best.
| | 00:11 | I hope you get out there, shoot your
own stuff, put it together with Media
| | 00:14 | Composer and win lots of awards.
| | 00:16 | Go get them.
| | Collapse this transcript |
|
|
