IntroductionWelcome| 00:04 | Hi, I'm Ashley Kennedy.
| | 00:06 | Welcome to Avid Media
Composer 6 Essential Training.
| | 00:10 | Media Composer is one of the world's
widest-used video editing systems,
| | 00:14 | complete with tools to help you turn
your raw media assets into the building
| | 00:18 | blocks for great story creation.
| | 00:22 | In this course, I'll show you basic
and intermediate editing techniques as
| | 00:26 | we build sequences,
| | 00:27 | everything from simple montages to
more complex interview-based packages.
| | 00:32 | We'll take a look at how to mix audio as
well as how to perform color correction
| | 00:37 | to fix and enhance your footage.
| | 00:40 | We'll explore how to apply all types of
effects, including compositing effects,
| | 00:44 | color effects, and titles, so that you
can enrich your program to its fullest.
| | 00:50 | We'll dive into Avid's powerful
metadata searching and script-based options so
| | 00:55 | that you can find exactly what you need.
| | 00:58 | And I'll demonstrate how to input,
output, and troubleshoot your footage so that
| | 01:03 | you can take a project from
concept to creation with ease.
| | 01:06 | So let's have fun as we begin to peel
back the many exciting layers of video
| | 01:12 | editing in Avid Media
Composer 6 Essential Training.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library or if you're
| | 00:05 | watching this tutorial on a DVD-ROM,
you have access to the exercise files used
| | 00:09 | throughout this title.
| | 00:11 | Once you unzip your folder, you'll
see a folder called Exercise Files and
| | 00:15 | inside of there are three additional
folders: Avid Projects, Avid MediaFiles
| | 00:20 | and Additional Files.
| | 00:22 | You can put Avid Projects and
Additional Files anywhere that you want.
| | 00:27 | Avid MediaFiles, however, has to live at
the root directory of your media drive.
| | 00:33 | In this case, my C drive is where my
operating system and all the programs are
| | 00:37 | installed, and my data drive, or D drive,
is where I'm going to place my media.
| | 00:43 | I recommend just clicking and dragging
on the Avid MediaFiles folder and then
| | 00:47 | dropping it right on your data drive.
| | 00:50 | Notice that I already have the Avid
MediaFiles folder living here, so I'm not
| | 00:54 | going to perform this right now, but
because this is not inside any other
| | 00:58 | folders and because it's at root directory
of my data drive, Avid will see this media.
| | 01:05 | I do want to just mention that in the
Avid Project's folder you'll see two
| | 01:09 | projects: Swing Dancing BASIC, which
is used in chapter one of this title and
| | 01:14 | Swing Dancing, which is used in
chapters two through fourteen.
| | 01:17 | Now, let's go ahead and launch Media Composer.
| | 01:24 | Once Media Composer finishes launching,
choose External. Then click on the
| | 01:29 | folder here to navigate to the
folder where you have your Avid projects.
| | 01:34 | Go ahead and click on
Avid Projects and click OK.
| | 01:38 | The projects Swing Dancing and Swing
Dancing Basic will appear here on the
| | 01:43 | left part of the window.
| | 01:44 | Since the majority of the course is
spent in Swing Dancing, I'll go ahead and
| | 01:48 | select this and press OK.
| | 01:51 | Once inside the Avid project, you'll
notice that everything is laid out for you
| | 01:55 | so that you can follow
along with the exercise files.
| | 01:58 | Here at the top, in the folder called
Editing Materials, are all of the materials
| | 02:03 | that you can use throughout
the duration of the course.
| | 02:06 | Below that are folders and inside those
folders are bins so that you can follow
| | 02:12 | along in each movie and
have material to work with.
| | 02:15 | For example, if you're watching the
movie on trimming 03.1, just open the bin by
| | 02:21 | double-clicking, load the sequence,
and you have the sequence to work with.
| | 02:27 | If you're a Monthly subscriber or an
Annual subscriber to lynda.com, you
| | 02:31 | don't have access to the exercise
files, but you can follow along from
| | 02:35 | scratch with your own assets.
| | 02:37 | Now, let's get started.
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1. Overview of the Editing EnvironmentTouring the Select Project window| 00:00 | In this movie, we'll talk about
setting up a project and user setting for
| | 00:04 | starting a project in Avid Media Composer.
| | 00:07 | I'm going to launch Media Composer by
clicking on my Media Composer alias on
| | 00:11 | my desktop, and if I was working on a Mac,
I'd of course click on the icon within my Dock.
| | 00:17 | Media Composer works equally
as well on both Mac and a PC.
| | 00:23 | Now, we're brought to a screen
called the Select Project window.
| | 00:27 | Here's where you're going to make
choices about which user profile to use and
| | 00:31 | which project to work on.
| | 00:33 | Right now, I have my user profile
loaded up, and it happens to be the same name
| | 00:37 | as my operating system log-on, and it's
the only one available to me right now.
| | 00:42 | If I wanted to create a new user
profile, I would just click on Create User
| | 00:47 | Profile and only in this default.
| | 00:51 | And the reason for that is that if I
ever need to go back to the Media Composer
| | 00:55 | Default factory settings, I can do that easily.
| | 01:01 | However, I do want to use my own user
settings because user settings are customizable.
| | 01:06 | It allows me to have a unique editing
experience in regard to what tools are
| | 01:10 | available to me, how I access those
tools, the arrangements of windows in my
| | 01:15 | user interface, and so on.
| | 01:17 | In this way, Media Composer editors can
isolate exactly how they like to work,
| | 01:22 | make a user profile, and access
those settings every time they edit.
| | 01:26 | Many experienced editors consider their
user profile one of the most important
| | 01:31 | parts of feeling at home
in the editing environment.
| | 01:33 | It allows them to move quickly and
instinctually through the editing process.
| | 01:37 | We'll go into customizing
user settings in another movie.
| | 01:42 | One other option within this
dropdown is Import User or User Profile.
| | 01:47 | I would choose this if I had already created
a user profile and had them stored somewhere.
| | 01:53 | This allows editors to travel from system to
system and bring their user profile with them.
| | 01:58 | In the middle of the screen are
three radio buttons that tell me where
| | 02:02 | my project is located:
| | 02:04 | Private, Shared, and External.
| | 02:07 | The Private location refers to a
folder in my user's Document folder.
| | 02:12 | I would choose this if I'm working
alone on the system and I'm not sharing the
| | 02:16 | project with anyone else.
| | 02:19 | If I need to create a new project in
this location, I click on New Project.
| | 02:23 | And I immediately want to rename this.
| | 02:28 | And I have a number of options
that I need to choose from, which are
| | 02:31 | located right here.
| | 02:33 | Under Format, I can choose from a
number of standard-definition NTSC and PAL
| | 02:38 | choices and lots of HD options.
| | 02:42 | Now, I happened to know that my
footage was shot in 1080i59 94, and I'm going
| | 02:48 | to choose that here.
| | 02:50 | I also have options for Aspect Ratio, Color
Space, Raster Dimension, and this 3D option.
| | 02:58 | Now I'm not working in 3D so I'm going
to leave that off, and we're also not
| | 03:02 | matching back to film so I'm going to
leave that unchecked, and I'll press OK.
| | 03:08 | Now I have a project
located in the Private location.
| | 03:10 | If I move on to Shared, I would choose
this if I am working on this computer
| | 03:16 | with another editor that has a different log-on.
| | 03:20 | It's in a Shared Avid Projects folder,
and as you can see, there's nothing
| | 03:24 | located here right now.
| | 03:25 | For External, this is a location that is
anywhere else that's not in the Private
| | 03:31 | Projects folder or Shared Projects folder.
| | 03:34 | This can be a flash drive location, as
indicated here, or my computer's desktop
| | 03:40 | or anywhere else in my computer system.
| | 03:42 | This is a flexible option that
allows me to dictate exactly where I want
| | 03:47 | my project to live.
| | 03:48 | The way that I dictate that is clicking on
this folder here and navigating to that location.
| | 03:55 | Now, I happen to know that my
projects are located on my desktop.
| | 03:59 | I have my desktop selected.
| | 04:02 | Right in here in this folder called
exercise files, and it's in Avid Projects.
| | 04:07 | I'm going to go ahead and say OK, and here
are the two projects located in that folder.
| | 04:13 | So now that we've appropriately located
a project and loaded our user setting, I
| | 04:19 | can simply click on my project,
Swing Dancing BASIC, and press OK.
| | 04:26 | Media Composer launches, the
project opens, and we're ready to edit.
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| Exploring bins| 00:00 | Once you've launched Avid Media Composer,
you'll see a number of windows in front of you.
| | 00:05 | We're first going to focus on the
Project window, located here in the lower-left
| | 00:09 | portion of the screen.
| | 00:11 | The Project window is the central
repository of everything inside of your project.
| | 00:15 | As you see, there are six tabs going
across here and if I expand this, you'll be
| | 00:20 | able to see all six. And we have the Bin
tab, the Settings, our Effect palette,
| | 00:28 | Format, Usage, and Info.
| | 00:32 | And in this movie, we'll just focus on the bins.
| | 00:34 | So as you see here, we have six bins,
and inside each one of these bins are the
| | 00:41 | clips, which we talked about in a prior movie.
| | 00:45 | Here are the clip icons, and there are a
number of different icons, whether it's a
| | 00:49 | video clip or an audio clip or a subclip--
| | 00:52 | you'll see them all throughout this
course. But these are all just master clips.
| | 00:56 | If I want to close a bin, I just click
on the red X in the upper right-hand
| | 01:01 | corner and if I was on a Mac, it would
be in the upper left-hand corner. And if I
| | 01:06 | want to open up multiple bins, I can
either do so separately or what's really
| | 01:11 | great about Media Composer 6 is that
they've introduced a tabbed interface.
| | 01:16 | So I can just drag my bin into this
heading right here and the bin will open
| | 01:23 | right beside the previous bin and I
can toggle back and forth like so. And I
| | 01:28 | can open up as many as I want. And as
you can see, we really can't see what the
| | 01:33 | bins are called anymore.
| | 01:35 | To make it easy, there's this dropdown
menu where I can toggle between them, like so.
| | 01:41 | So I can have as many bins as I
want open, and this is a really great
| | 01:45 | organizational tool, so we don't
have window clutter and so that we could
| | 01:49 | contain all of the things that we
want to work on at once in one location.
| | 01:54 | And if you look down here, you can
see the difference in icon between an open
| | 01:58 | bin and a closed bin.
| | 02:00 | To close a bin within the tabbed
interface, just click on this x.
| | 02:04 | Bins can be organized inside of folders,
and this menu right here, called a Fast
| | 02:11 | menu, contains the option to create a new folder.
| | 02:15 | So, I'll just create a new folder.
| | 02:17 | I want to name this immediately.
| | 02:19 | Let's create a folder for my Broll.
And we just want to drag our Broll bins
| | 02:25 | inside. And you can see the contents of my bin,
if my disclosure triangle is pointed down.
| | 02:31 | I can close that by just clicking on it,
and we'll open it again. And if I want to
| | 02:37 | put multiple bins inside of my folder,
I can just click and Shift+Click to
| | 02:42 | select them all and drag them all in.
| | 02:44 | To take a bin outside of a folder, I
can just drag into an empty space on the
| | 02:51 | Project window and out they come.
| | 02:55 | To create a new bin, click on New Bin or
use my keyboard shortcut of Ctrl+N or
| | 03:02 | Command+N if I was on a Mac. And again,
I immediately want to rename this, so
| | 03:08 | we'll just name this _Sequences. And as
you see, I actually put in an underscore
| | 03:15 | at the beginning of sequences because
when I hit Enter, it gets sent to the very
| | 03:19 | top of the bin because these are
ordered alphanumerically, and I always like to
| | 03:24 | have immediate access to my sequences,
which are the construction of all of my
| | 03:28 | clips that make my show.
| | 03:31 | If I'd like to delete bins or folders,
I can just click on the icon and press
| | 03:36 | Delete on my keyboard. And I'll delete
the Broll Folder 2. And as you see here, I
| | 03:43 | can see the contents of my trash,
but I can't open anything inside of it.
| | 03:47 | It gives me this error that says
I cannot open bins in the trash.
| | 03:50 | I have to move it out first.
| | 03:52 | So to do that, again, you just drag
it into an empty place in the Project
| | 03:56 | window and out it comes.
| | 03:58 | To empty the trash, I come up to my
Fast menu again and say Empty Trash, and it
| | 04:04 | asks me if I'm sure.
| | 04:06 | Yes, I am, and it's emptied.
| | 04:09 | Keep in mind, most editors don't
actually empty the trash until they're done
| | 04:14 | with the project because while it's
nice to discard of things that you don't
| | 04:18 | think you'll need in the future,
| | 04:20 | it's always nice to bring
it back in an emergency.
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| Customizing user settings| 00:00 | In this movie, we're going to stay
inside the Project window, but we're going to
| | 00:04 | talk about settings.
| | 00:07 | Settings are the way that you can
customize your editing environment.
| | 00:10 | I'm going to expand this window.
| | 00:13 | You'll be able to see the list of
settings on the left and the type of setting
| | 00:18 | that it is over here on the right side.
| | 00:21 | And as you see, most of the
settings are User settings.
| | 00:26 | This follows you, the user, as you go from
system to system and from project to project.
| | 00:33 | There are also Project settings, which
are specific to this project, and there
| | 00:38 | are Site settings, which are specific to this
computer system and everything connected to it.
| | 00:43 | We are going to spend the vast majority
of our time talking about User settings
| | 00:48 | because it's important that you
build your own editing workspace.
| | 00:52 | So a very common User setting
is something like the interface.
| | 00:56 | And a quick way to get to a specific
setting is to just click on any setting and
| | 01:01 | then press the first letter that it starts with.
| | 01:04 | So I'm going to press I and that gets me to
my I's, and I will double-click on Interface.
| | 01:10 | And this is going to show me
what my user interface looks like.
| | 01:13 | There are a couple of options I can choose.
| | 01:15 | For example, perhaps I would like my
interface to look a little bit darker, and I
| | 01:21 | can apply that to see if I like it.
| | 01:23 | And maybe I want my accent color to
change from blue to, say, purple, and we'll
| | 01:30 | apply that, and you can see the
change is made over here in the interface.
| | 01:34 | There are also a lot more options
that we won't discuss now, but you can go
| | 01:38 | through those on your own and
set it up exactly how you like.
| | 01:41 | We'll go ahead and OK that.
| | 01:45 | Another extremely common
User setting is your keyboard.
| | 01:48 | We're going to customize our
keyboard heavily in a future movie,
| | 01:52 | but I just want to show you one thing that you
can do to any of your settings if you choose to.
| | 01:57 | So, I'm going to click on Keyboard and
I'm going to press Ctrl+D or Command+D
| | 02:04 | if I was on the Mac.
| | 02:06 | This duplicates my settings.
| | 02:08 | For example, I can have one keyboard
that is dedicated to my general editing
| | 02:14 | environment and another keyboard
that's dedicated to my audio environment.
| | 02:21 | I would then move from setting to
setting by shifting this check mark right here.
| | 02:26 | Now as you can see, there are many, many
more User settings that you can explore
| | 02:30 | on your own and that we'll
definitely explore in future movies.
| | 02:35 | Examples of a Project setting are things
like Audio Project, where you define how
| | 02:40 | your audio comes into this project,
and things like Media Creation settings.
| | 02:45 | Go ahead and type M. Here is my Media
Creation settings, and this is where I set
| | 02:50 | things like my media resolution and
the hard drives to which my media is
| | 02:55 | captured to, things that are
very important for this project.
| | 02:59 | Finally, there is Site settings.
| | 03:01 | A common Site setting is something
like Deck Configuration, where I can choose
| | 03:06 | how this system interfaces
with the deck connected to it.
| | 03:10 | It's something that is very specific to this
system and that's why it's called a Site setting.
| | 03:15 | Now again, this was just an
introduction on how to access your settings, a
| | 03:19 | little bit on how to change them, but we
will go further into that in future movies.
| | 03:24 | It's just important to get familiar
with where everything lives and how
| | 03:27 | everything works, because as we go
forward, we'll begin slowly adding to
| | 03:31 | this information, until you've set up
your own efficient, comfortable editing
| | 03:35 | workspace.
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| Setting up and organizing a project| 00:00 | Now that you're a little more familiar
with the Project window, it's time to
| | 00:03 | delve deeper into the heart of editing
by looking at where all of the clips and
| | 00:07 | sequences live within the bins.
| | 00:10 | Let's open a bin so that we can explore all
of the ways that we can look at our clips.
| | 00:15 | I'll double-click.
| | 00:17 | As you see here, we have the
clip icon and the clip name.
| | 00:21 | If I drag this over, you'll actually
see that there's a lot of information,
| | 00:26 | detailing lots of
different things about the clip.
| | 00:29 | Right now, we're in a view called Text view,
which is the default view when you open up a bin.
| | 00:35 | You know this because if you click on this
button here, you'll see that it's labeled Text.
| | 00:41 | If I click on this button here that
says Untitled, you'll see that I have a
| | 00:46 | number of options, presets about the ways
that I can display information within Text view.
| | 00:52 | So if click on Capture, this is all
information that is really useful during
| | 00:57 | the capturing process.
| | 00:59 | Or if I click on Format, this is all just
basic format information about my clips.
| | 01:05 | The most powerful thing about Text
view is when you set up your own view,
| | 01:11 | and you do that by clicking on the Fast menu
within your bin and selecting Choose Columns.
| | 01:18 | As you see, there are lots and lots of
different pieces of information that you
| | 01:23 | can display about your clips.
| | 01:25 | Let's go ahead and set up a
view that is very video-focused.
| | 01:28 | So I'm going to select All/None to
deselect everything that was in there,
| | 01:35 | and we'll go ahead and choose Format, and
Frame, Tracks, Video, and Video File Format.
| | 01:48 | I'll go ahead and click OK.
| | 01:50 | And as you see here, here's
everything that we just chose.
| | 01:54 | If you'd like to reorder the way
that you look at this, you can just grab
| | 01:58 | the heading and drag.
| | 02:00 | So let's have our frames right by the
clip name, and then let's go to Format, and
| | 02:07 | we'll keep everything else the same.
| | 02:09 | And I want to name this and use it again,
| | 02:12 | so I'll come to this button that now
says Format.1 and choose Save As and I'm
| | 02:18 | just going to call this Video View. Press OK.
| | 02:22 | And now this is one of the options that
I can select from as I toggle back and
| | 02:26 | forth between my various text views.
| | 02:31 | You'll also see this setting if I click on
my Settings tab, and we'll go to our Bins.
| | 02:36 | Go ahead and press B, and there's my Video view.
| | 02:41 | If expand this further, you can
see that this is a User setting.
| | 02:44 | So this is something that's going to
follow you, the user, as you go from system
| | 02:49 | to system and project to project.
| | 02:50 | The Video view will always be there for you.
| | 02:53 | Another bin view is Frame view, and I'll
go ahead and select that from this dropdown.
| | 03:01 | And this simply shows you
thumbnails of all of the clips in your bin.
| | 03:07 | By default, it shows the very first frame.
| | 03:10 | And in some cases the first frame
really doesn't make a lot of sense.
| | 03:14 | For example, this one, I
really can't see the dancers.
| | 03:17 | So if you want to change the first frame,
you just click on the clip. I'm going
| | 03:20 | to press spacebar to play.
| | 03:24 | So as you see here, we've advanced this
to a frame where we can see both of our
| | 03:28 | dancers, and I like that much better.
| | 03:31 | If I would like to increase the
size of these frames, I press Ctrl+L or
| | 03:36 | Command+L on a Mac, and they
can actually become quite large.
| | 03:42 | And again, you can play any of these if you want.
| | 03:45 | If I want to make sure that all of my
frames fill the window, I come to the Fast
| | 03:50 | menu and choose Fill Window.
| | 03:52 | I'm going to expand the size of this and
show you one more method that is really
| | 03:58 | great in Frame view, and that's storyboarding.
| | 04:01 | Let's say that I'd like to start with a
long shot and then go to my medium shot
| | 04:08 | and then maybe a shot of the feet and
then maybe back to this medium shot.
| | 04:13 | And we're assembling what we think is
going to be the order of our sequence. So
| | 04:18 | you can show this to your
producer or a fellow editor.
| | 04:20 | You can even come up to File and
Print Bin so that someone can see the
| | 04:26 | layout that you've chosen.
| | 04:29 | The final bin view is Script
view, so we'll choose Script.
| | 04:34 | And as you see here, this is kind of
a combination between Frame and Text.
| | 04:39 | We have our frames here and we have
the text of the last view that I was in.
| | 04:45 | So you can see that it's my Video view.
| | 04:48 | If I go back to Text and change my
view to, say, Capture, then when I go into
| | 04:55 | Script, these are my Capture headings.
| | 04:59 | But the real special thing about
Script view is that I can insert notes.
| | 05:03 | So if I've gone through and
captured these clips, I can put my notes in
| | 05:08 | this field right here.
| | 05:10 | This is my favorite take, and let's
say this one didn't work out so well.
| | 05:17 | We can insert whatever information we want.
| | 05:20 | There's actually no limit here,
| | 05:21 | so you can actually copy and paste entire
transcripts into this field for interviews.
| | 05:27 | If I go back to Text view and I choose
Columns and display Comments and click
| | 05:37 | OK, these comments appear right here.
| | 05:40 | Being efficient and organized while
working with your bins is really important
| | 05:45 | to being a good editor,
| | 05:46 | so make sure you take the time to get
everything set up in a way that makes
| | 05:49 | sense, that you display the information
that you need, and this will allow you
| | 05:54 | to quickly access all of your
clips and sequences going forward.
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| Saving and backing up the project| 00:00 | Have you ever heard the
saying, save early and often?
| | 00:03 | It's something that writers live by, and it's
something you should live by, too, as an editor.
| | 00:08 | But add one more thing to that phrase:
| | 00:10 | save and back up early and often.
| | 00:13 | In this movie, we'll discuss how to
appropriately save and back up your work so
| | 00:17 | that you can avoid unforeseen
catastrophes with computer crashes and data loss.
| | 00:23 | Now as you see here, I have two open bins,
here and here, and to the left of the
| | 00:28 | bin name is a little star.
| | 00:31 | This indicates that the bin has not been
saved since something inside of it was modified.
| | 00:37 | If I was on a Mac, this is
icon would be a little diamond.
| | 00:41 | To save a bin, I just click on the bin
heading and type Ctrl+S or Command+S on a Mac.
| | 00:49 | As you can see, this bin is
now saved, but this bin is not.
| | 00:53 | So to actually save all open bins, you
just click on the Project window, type
| | 00:58 | Ctrl+S or Command+S, and then
all open bins are saved at once.
| | 01:04 | If you are in the Timeline, you can
also type Ctrl+S or Command+S, but we
| | 01:08 | haven't gotten there yet,
so just keep that in mind.
| | 01:12 | Fortunately for you, Media Composer
doesn't rely on you alone to save the
| | 01:16 | project along the way;
| | 01:17 | Media Composer also saves the project
via a great feature called Auto-Save.
| | 01:23 | If I click on the Settings tab and
then open up my Bin settings, you'll see
| | 01:28 | here that I have an Auto-Save
interval and Inactivity period and a Force
| | 01:33 | Auto-Save interval.
| | 01:35 | This is saying that Media Composer is
going to save all open bins every fifteen
| | 01:40 | minutes, but it's going to wait until
there's an Inactivity period so it doesn't
| | 01:45 | bug me while I'm editing and that
Inactivity period as set at fifteen seconds.
| | 01:49 | And then if in between fifteen minutes and seventeen
minutes I'm on a roll and don't stop at all,
| | 01:55 | it's going to perform a Force Auto-Save.
| | 01:58 | I actually think these numbers are too high.
| | 02:00 | I like to have Media Composer
save my project every ten minutes.
| | 02:04 | And an Inactivity period of fifteen
seconds is also a little high I think, so I
| | 02:09 | change this to five, and then I change this to fifteen.
| | 02:12 | You can put whatever settings you
want here, but I find that this is a good
| | 02:18 | combination for Media Composer saving
all of my open bins as often as possible
| | 02:24 | so that I never really loss a
lot of data while I'm working.
| | 02:27 | I'm going to go ahead and click OK here.
| | 02:29 | Well, saving a project is critically important,
| | 02:33 | it does you absolutely no good if your
computer or hard drive crashes, taking all
| | 02:38 | of your hard work with it;
| | 02:39 | therefore, when editors back up
their work, they always back up in
| | 02:42 | multiple locations.
| | 02:44 | Always remember, a crash should never
really affect you as an editor, because
| | 02:48 | you've taken the time to back up your
projects in multiple locations every
| | 02:52 | single time you edit.
| | 02:53 | I'm going to minimize Avid, because
backing up actually takes plays outside
| | 02:57 | of the application.
| | 02:58 | I'm just going to go inside my Exercise
Files folder and copy my Swing Dancing
| | 03:06 | BASIC project, which as you can see
here was modified on November 3. Copy.
| | 03:14 | And then I have a Backup folder on my
flash drive so that even if my computer
| | 03:22 | crashes, my flash drive
has all of my project data.
| | 03:26 | And as you see here, I already have a
folder titled Backup of Swing Dancing
| | 03:30 | BASIC November 3, so that's the
folder I'm going to put it in. Paste.
| | 03:35 | There might be a couple of dialog
boxes that ask you if you want to copy the
| | 03:40 | file without its properties.
| | 03:41 | This is okay, so we're going to go
ahead and say Yes to all. Great!
| | 03:46 | Now I have a copy of the project as it
appeared on November 3 just like I have
| | 03:52 | versioned copies from
yesterday and the day before.
| | 03:56 | This type of project is an added
benefit because even if your drive doesn't
| | 04:00 | crash, you still have version copies
of your project going back every single
| | 04:05 | day you worked on them.
| | 04:06 | And sometimes it's just really useful to
be able to go back in time to see where
| | 04:10 | you are at during a
particular point in the edit.
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|
|
2. Basic Editing: Building the Rough CutTouring the Composer Monitor and the Timeline| 00:00 | By now you should be fairly familiar
with Media Composer's organizational tools
| | 00:04 | within the Project window in bins.
| | 00:07 | In this movie, we are going to take a
look at the Composer window and Timeline.
| | 00:12 | In the next movie, we'll populate them
from scratch and get started editing.
| | 00:16 | Let's take a look at the Composer
window first, which is comprised of two
| | 00:21 | monitors, the Source
monitor and the Record monitor.
| | 00:25 | The Source monitor is where I look
at all of my raw master clips, which
| | 00:29 | again, live in the bins.
| | 00:31 | Right now, I have a clip loaded in the
Source monitor, but if I wanted you to do
| | 00:35 | that from scratch, you just double-click
on the clip icon in the bin to load it
| | 00:42 | and then you can use this Time bar below
the Source monitor to scrub through it.
| | 00:47 | And you can see the position
indicator move through the clip.
| | 00:50 | It shows us exactly what we are looking at.
| | 00:53 | You can also click and drag clips
into the Source monitor, and we can
| | 00:59 | scrub through, like so.
| | 01:01 | This is where we look at the clips in
full and choose which portion of them to
| | 01:07 | edit into the Timeline.
| | 01:08 | If we move over to the Record monitor,
we see the visual output of our show.
| | 01:14 | It corresponds with the Timeline, which
you can see as I drag through the Time
| | 01:20 | bar below the Record monitor.
| | 01:22 | Moving on down to the Timeline, this
is graphical representation of our show.
| | 01:27 | You can see that it's comprised of
the various clips--again, came from
| | 01:31 | the Source monitor.
| | 01:33 | As I move through the Timeline, you
can see that it likewise corresponds
| | 01:37 | with the Record monitor.
| | 01:39 | I also want to draw your attention
to these two track selector panels.
| | 01:45 | This is the track
selector panel for the Timeline.
| | 01:48 | I have one track of video and two
tracks of audio, which you can see here in the
| | 01:53 | Timeline and which you can
hear in the Record monitor.
| | 01:58 | I can play by simply pressing
spacebar so that we can hear it.
| | 02:02 | (clip playing)
| | 02:07 | Also, you can see that there's lots of
buttons underneath the Source monitor,
| | 02:12 | the Record monitor, and the
Timeline which are specific to each of the
| | 02:16 | locations that they are in.
| | 02:18 | We'll cover most of these
buttons in future movies.
| | 02:22 | With that tour of the user interface,
I think we are ready to get started
| | 02:25 | playing and marking our
clips in preparation for editing.
| | Collapse this transcript |
| Touring the Edit interface| 00:00 | We are back out at the Select Project
window, and this time we are going into the
| | 00:05 | Swing Dancing project,
| | 00:06 | so I'll select that. And we've
got the proper user profile loaded.
| | 00:11 | Let's go ahead and click
OK to launch Media Composer.
| | 00:14 | Okay, I want to talk just a little bit about
the organization inside the Project window.
| | 00:19 | If you are following along with the
exercise files, you'll definitely just stay in
| | 00:23 | this project for the duration of the
course, but each of the chapters is broken
| | 00:27 | out into its individual folder.
| | 00:30 | Then inside each of the folders is a
bin that contains the material that you
| | 00:35 | will be working with.
| | 00:36 | Notice that this movie has an
empty bin because you are going to be
| | 00:40 | starting from scratch.
| | 00:41 | You will also want to open this folder
called _Editing Materials, and then inside
| | 00:49 | there is another folder called Broll.
| | 00:50 | This is all of the raw material that
you will be working with when constructing
| | 00:55 | the programs throughout
the duration of this course,
| | 00:58 | so you want to keep this open all the time.
| | 01:00 | Now that we know what the Source
monitor, the Record monitor and the Timeline
| | 01:05 | do, let's go ahead and get started editing.
| | 01:08 | I'm going to open up my Broll Dancing 2
bin, and we will go ahead and load a clip
| | 01:16 | by double-clicking on the clip icon.
| | 01:18 | I will go ahead and double-click on
this first clip. And I want to go through
| | 01:24 | this clip, and there are several ways to do that.
| | 01:27 | We already know one way, which is
dragging the position indicator through the
| | 01:31 | Time bar underneath the Source monitor,
and another way is to click on the play
| | 01:36 | button on the user interface.
| | 01:37 | Now, I mentioned this, but I also want
to drive home the importance of using
| | 01:42 | keyboard shortcuts over
the user interface buttons.
| | 01:46 | It makes you a much faster and more
efficient editor if you use the keyboard, so
| | 01:50 | while I will reference these, I'm
going to practice on the keyboard.
| | 01:54 | The equivalent to the play button on the
user interface is the spacebar. And if I
| | 01:59 | press it once, I will play and
if I press it again, I will stop.
| | 02:03 | I will go ahead and do that.
| | 02:05 | (clip playing)
| | 02:09 | That's both a play and a stop button.
| | 02:12 | The 5 key on the keyboard also does that.
| | 02:15 | (clip playing)
| | 02:17 | Those are our two main play/stop
buttons and if I come over to these buttons
| | 02:24 | here, this is the step backward 1
frame, step forward 1 frame, step back 10
| | 02:30 | frames, and step forward 10 frames.
| | 02:33 | Again, here they are on the user
interface, but on our keyboard these are the
| | 02:38 | 1, 2, 3, and 4 keys.
| | 02:41 | I press 1 to go back ten frames or one third
of a second, 2 to go forward ten frames,
| | 02:49 | 3 to go back one frame, and
4 to go forward one frame.
| | 02:57 | And if I press the left arrow key, I go
to the left by one frame, and the right
| | 03:02 | arrow key I go to the right by one frame.
| | 03:05 | Also, if I want to go to the beginning
of a clip, I can press the Home button
| | 03:10 | and if I want to go to the end of
the clip, I can press the End button.
| | 03:14 | Already, we know the spacebar, the 1, 2,
3, and 4 key and the Home and End key.
| | 03:22 | Now that we know how to navigate
through the source clip, I would like to
| | 03:25 | cover how to mark it.
| | 03:27 | If you take a look at the left and
right side of the play button, you will see
| | 03:32 | the Mark IN button and the Mark OUT button.
| | 03:36 | These correspond to the I
key and O key on the keyboard.
| | 03:42 | So, I am going to play through the clip
and when I want to mark an in point, I'm
| | 03:47 | going to press I and when I want to
mark an out point, I will press O.
| | 03:51 | (clip playing)
| | 03:56 | There is my marked clip.
| | 04:00 | If I want to go to my in point, I can
press this button here, or the Q key, and if
| | 04:07 | I want to go to my out point, I can
press this button here, or the W key.
| | 04:13 | A great button to know is the Play IN
to OUT so you can see how the clip looks
| | 04:18 | before you edit it into the
Timeline, and that corresponds to the 6 key.
| | 04:22 | (clip playing)
| | 04:28 | Also, if you would like to know the
duration of the clip in between your in and
| | 04:31 | out point, you can look up here in the
Center Duration box and we can see that
| | 04:36 | this is a four-second-and-fourteen-frame clip.
| | 04:39 | Finally, if I would like to move my in
or out points, I can do by Alt+Dragging
| | 04:45 | or Option+Dragging on a Mac, like so.
Or I can simply just remark the point by
| | 04:53 | going to different location and
pressing the out or the in key.
| | 04:59 | So now that you are familiar with
playing through and marking clips, we are all
| | 05:04 | set to begin editing.
| | Collapse this transcript |
| Splicing shots| 00:00 | Once you have marked your shots, they
are ready to be added to your Timeline to
| | 00:04 | form and build the sequence.
| | 00:05 | In this movie, we will talk about how to
use the Splice tool to add shots into a
| | 00:09 | sequence, and we will begin exploring
the non-linear nature of Media Composer by
| | 00:14 | splicing shots in at different
moments of the sequence to build our story.
| | 00:19 | Let's go ahead and make sure that our
Broll Dancing 2 bin is open, and I also
| | 00:24 | want to open my Music bin,
| | 00:26 | so I will go ahead and just drag it
up here and take advantage of the tabbed
| | 00:30 | interface. And I also want to open the
_Sequences bin, because we are about to
| | 00:35 | build a sequence and I want to make sure
that the bin is open so that it can go into it.
| | 00:39 | I am going to my Music bin and
load the clip called Swing that Thing.
| | 00:46 | This is actually the first time that we
have seen an audio-only clip, so this is
| | 00:50 | what that looks like, a little waveform.
| | 00:52 | Go ahead and double-click.
| | 00:54 | So once we load that clip, we see the
name of the clip up here at the top in
| | 00:59 | the Clip Name menu.
| | 01:00 | We don't get a visual representation of
it because it's an audio-only clip, but
| | 01:05 | if we look down here in the Timeline, we can
see that it is two tracks of audio: A1 and A2.
| | 01:11 | I am going to mark this entire clip
because I want the entire thing edited.
| | 01:15 | And I can either mark an in by
pressing I at the beginning and an out by
| | 01:23 | pressing O at the end or I am going
to go ahead and clear those in and out
| | 01:28 | points by pressing G. I can just click
anywhere in the Time bar and press T,
| | 01:37 | which means Mark Clip, and that means
that both the in and out point are added to
| | 01:42 | the entire clip simultaneously.
| | 01:45 | So my clip is ready to be
edited into the Timeline.
| | 01:48 | I am going to press the Splice key,
which is right here underneath the Source
| | 01:53 | monitor, and that corresponds to the V key.
| | 01:56 | I will go ahead and press V. This is
asking me which bin I would like to put
| | 02:01 | this sequence in, so I am going to
put it into _Sequences, say OK, and I
| | 02:07 | immediately want to name that.
| | 02:09 | I am going to go over to the _Sequences
bin, which I can't see, so I can go ahead
| | 02:13 | and pull it down right here.
| | 02:17 | Instead of Untitled Sequence, we want
to name this Swing montage, and a good
| | 02:23 | practice you can adopt is to append
the sequence with your date and initials.
| | 02:27 | This will let you know exactly when
it was created and who created it.
| | 02:32 | I won't be doing it throughout this course, but
it's definitely a good thing for you to adopt.
| | 02:38 | So as we take a look here, we have A1
and A2 edited with a blank video track,
| | 02:45 | which is perfect for our montage.
| | 02:47 | I'm going to go back to my Broll bin,
which I can do by clicking on this pulldown
| | 02:54 | menu here, and I am going to go back to
Broll Dancing, and I am going to load the
| | 02:58 | Swing dance all Extreme Long Shot clip.
| | 03:02 | This is a video clip of an entire dance
from beginning to end, and the one under
| | 03:09 | it, Swing dance all Medium Shot, is the
same exact dance, but in a medium shot.
| | 03:17 | So what we are going to do is to cut
back and forth between the extreme long
| | 03:24 | shot and the medium shot so that
it looks like one dance sequence.
| | 03:30 | Let's go ahead and load up the extreme
long shot and I'm going to mark an in at
| | 03:36 | the very beginning of this
dance sequence, right here.
| | 03:39 | I'm going to play through
and I will mark out on the fly.
| | 03:43 | So I will press spacebar.
| | 03:44 | (clip playing)
| | 03:50 | And I marked out, and I am going to go
ahead and go to my out point by pressing W,
| | 03:55 | and you will notice that our female
dancer, Kim, has her back to us right here.
| | 04:03 | So that becomes important in our next step.
| | 04:05 | Let's go ahead and play that
by pressing 6, Play IN to OUT.
| | 04:09 | (clip playing)
| | 04:14 | All right, I am going to move my in
point just slightly so that they have
| | 04:19 | already started moving, and I will press
the I again to reestablish that in point.
| | 04:24 | Okay, so this is the first video clip
that I want to edit into the Timeline.
| | 04:30 | If I come down here to the Timeline, I
see that my track selectors are set up
| | 04:35 | for a video-and-audio edit.
| | 04:37 | So what I want to do is just deselect my
audio so that this becomes a video-only edit.
| | 04:43 | I want to make that my position
indicator is at the very beginning of the
| | 04:47 | sequence, and I am going to splice this in.
| | 04:51 | Again, the keyboard shortcut is V.
| | 04:54 | That's our first video clip.
| | 04:56 | Let's go ahead and play through.
| | 04:58 | I'm going to press the Home key to go to the
beginning, and we will see what this looks like.
| | 05:03 | (clip playing)
| | 05:09 | That's our first clip. Looks good.
| | 05:11 | I want to make sure that the next clip
starts directly after this, and since my
| | 05:15 | position indicator is not there, I am
going to Ctrl+Click or Command+Click on a
| | 05:21 | Mac near the edit point
and it will snap right there.
| | 05:26 | I can even Ctrl+Click or Command+Click
on this side and it will still snap to
| | 05:32 | this edit point right here.
| | 05:33 | So, I am all set to go, and this little
white L also indicates that I am right
| | 05:38 | there on that edit point.
| | 05:40 | Let's go back to our medium shot.
| | 05:44 | So here is where Kim has her back to
us. I am going to go ahead and mark an in
| | 05:49 | point there, and let's go ahead and play
through. And I am going to mark an out.
| | 05:56 | Maybe a little bit before that so maybe
their arms are outstretched here. I will
| | 06:02 | go ahead and mark an out and
let's play that by pressing 6.
| | 06:05 | (clip playing)
| | 06:08 | I am going to go ahead and
edit this into the Timeline.
| | 06:10 | Again, I will press V. Let's go back
to our extreme long shot, and we will
| | 06:16 | follow the dance through.
| | 06:18 | There are their outstretched hands.
| | 06:19 | I want to make sure that I again
match on action, so that we have the
| | 06:23 | same moment in time.
| | 06:25 | Again, we are constructing a reality
here. Even though these were shot at
| | 06:28 | different times, we were editing them
together so that it seems like it was at one time.
| | 06:33 | So, I am going to mark an in, press Play.
| | 06:36 | (clip playing)
| | 06:40 | And this time I am going to
go ahead and press an out here.
| | 06:44 | This is a three-second-and-15-frame clip.
| | 06:47 | I have got my position
indicator positioned perfectly.
| | 06:50 | We want this to be a video-only edit,
so I am going to deselect my audio
| | 06:53 | here and I will press V. And so far
we have edited eight seconds and 24
| | 07:00 | frames into our sequence.
| | 07:02 | We have got three shots.
| | 07:03 | Let's go ahead and take a moment to
see how this looks, how it's working
| | 07:06 | together, and see if we need to
change anything or if we like it.
| | 07:09 | (clip playing)
| | 07:21 | Everything looked really smooth there.
| | 07:23 | We are going back and forth between
camera angles, and I think it looks pretty good.
| | 07:29 | So this is the pattern.
| | 07:30 | We are going to back and forth between
our extreme long shot and our medium shot
| | 07:34 | to assemble this dance sequence.
| | 07:36 | It's a fairly simple process, but
you will see that by the end it will
| | 07:39 | definitely start forming a really nice product.
| | Collapse this transcript |
| Splicing non-linearly| 00:00 | In the previous movie we covered
splicing to build our sequence.
| | 00:05 | We did it linearly, which means that we
added one shot after another, and here I
| | 00:10 | have this sequence completed.
| | 00:12 | What if I wanted to put a
shot in non-linearly, though?
| | 00:16 | I want to put it in before
everything that I previously did.
| | 00:20 | That's not a problem because Media
Composer is a non-linear editing application.
| | 00:25 | So I am just going to open up my Broll
Event bin, because there is a shot in
| | 00:30 | there of a swing dancing poster that
could establish this scene quite nicely.
| | 00:34 | I am going to just open this bin, and we will
go to there, and my poster shot is right here.
| | 00:43 | Let's see. We want to definitely show swing dancing
competition text and maybe a little bit
| | 00:54 | of the beginning of that.
| | 00:55 | That's already 10-second-and-7-frame
shop, but we will have a little bit of
| | 01:00 | narration for our promo underneath,
so we will go ahead and go with this.
| | 01:04 | We have moved our position indicator to
the beginning, which again we can do by
| | 01:08 | pressing the Home key
if it's not there already.
| | 01:11 | And we know that we are patching our video
and audio to video and audio in the Timeline.
| | 01:19 | Now, we probably won't end up using
this audio, but for right now, we're going
| | 01:23 | to put it in, in case we need a little bit
of natural sound underneath our promo audio.
| | 01:30 | So I am going to press Splice here,
again, by pressing the V key, and you
| | 01:34 | will notice that it got spliced at the very
beginning and pushed everything else down.
| | 01:41 | This is what Splice does;
| | 01:42 | it edits the shot in
wherever my position indicator is.
| | 01:45 | I'm going to undo that by pressing
Ctrl+Z or Command+Z if I was on a Mac, and I
| | 01:52 | want to show you something else
regarding my in and out points.
| | 01:57 | If I set an in point at the beginning,
which you can see here, but I have my
| | 02:02 | position indicator elsewhere, and then I
press V to splice, you will notice that
| | 02:08 | the shot still was edited into the
beginning. Even though my position indicator
| | 02:13 | was elsewhere, it honored the in point.
| | 02:16 | The basic rule is, if you don't have an
in or out point, your position indicator
| | 02:20 | acts as your in or out point, but in
the presence of another in or out point,
| | 02:25 | your position indicator is no
longer your establishing in or out point.
| | 02:29 | So, keep that in mind, in case you should have
any stray in or out points in your sequence,
| | 02:34 | that's how it behaves.
| | 02:36 | The point I want to drive home is that
you can edit your shots into the Timeline
| | 02:40 | in any order that you choose.
| | Collapse this transcript |
| Overwriting shots| 00:00 | As we saw in the last movie, Splice is a
great tool to quickly add shots to the Timeline.
| | 00:05 | Overwrite is another very useful tool
that you can use to not only add but also
| | 00:11 | replace material on the sequence.
| | 00:14 | You need to do both in conjunction with
one another to properly build any sequence.
| | 00:19 | So we have our base sequence here.
| | 00:22 | It's the entire dance sequence edited
together minus the poster at the beginning.
| | 00:27 | We just want to focus on the dance.
| | 00:29 | We got some comments that this
third shot here is a little long.
| | 00:35 | Let's go ahead and check the duration.
| | 00:36 | Again, I'm just going to park right here
and press T to mark clip. And we look up
| | 00:42 | here and it's five seconds and eight
frames, which isn't that long, but for a
| | 00:46 | sequence like this with faster music,
we want to go a little bit quicker.
| | 00:51 | So, what I want to do is actually
insert a cutaway right in the middle of it
| | 00:56 | of our medium shot.
| | 00:57 | I am going to clear my in and out
point by pressing G, and let's pick a good
| | 01:03 | section to get this cutaway.
| | 01:07 | How about when their arms
are extended right here,
| | 01:11 | we will go ahead and mark our in, and
this time we are doing it in the Timeline
| | 01:15 | rather than in the source.
| | 01:17 | Let's go ahead and mark our out right
where Kim is about to turn around to Dave,
| | 01:24 | so about right here.
| | 01:26 | It's always nice to cut on action so
we have got a nice fluid edit as we go
| | 01:32 | from one shot to another.
| | 01:35 | So this is almost a two-second marked portion.
| | 01:38 | It's one second and 26 frames to be
exact. And now all we need to do is find the
| | 01:43 | exact moment that this
occurs within our medium shot.
| | 01:48 | I'm just going to go to my in point by
pressing Q so we can get a good visual
| | 01:52 | representation of where this is.
And it looks like it's about right here.
| | 02:01 | So I am going to mark my in right here.
Then I don't have to go any further,
| | 02:06 | because this is an Overwrite
edit in which we need three points.
| | 02:12 | It takes three points to make any edit.
Just like we were doing an in and an out
| | 02:18 | in the source within in or using the
position indicator in the Timeline,
| | 02:24 | this time we are just doing it in reverse.
| | 02:25 | We have got an in and an out in the
Timeline and we have marked our in in the source.
| | 02:31 | So three marks makes an edit.
| | 02:32 | It's basically going to take this one
second and 26 frames and count forward for me.
| | 02:39 | So, I'm going to press the Overwrite
key, which is right here, underneath the
| | 02:43 | Record monitor, or the B key on the keyboard.
| | 02:46 | I will go ahead and press B. We have
now edited in our medium shot into our
| | 02:52 | sequence, and let's go ahead and
play through and see if we like it.
| | 02:57 | (clip playing)
| | 03:03 | That was pretty good.
| | 03:04 | It looks really smooth.
| | 03:06 | We matched on action, so it
was a really seamless edit.
| | 03:10 | Let's go ahead and do something similar
down here where we have another longer clip.
| | 03:16 | Go ahead and choose the portion
where we would like to make the edit.
| | 03:21 | Maybe this turn would be nice to cut on,
so I will go ahead and mark an in here.
| | 03:28 | Let's go ahead and mark our out right
here where they both have their right legs
| | 03:34 | kicked out. And then again, we will come
back up here in the medium shot and see
| | 03:38 | if we can find that moment
so that we can overwrite.
| | 03:41 | All right, so it looks to be right here.
| | 03:45 | Again, we want to cut on the turn.
| | 03:49 | I am going to go to this in point so I can
see the exact visual moment that this occurs.
| | 03:54 | We want to match that up.
| | 03:56 | There it is, right there.
| | 03:59 | I am going to mark an in here because
as you see, I still have my in point left
| | 04:04 | over from before, so I will mark an in.
| | 04:07 | And again, one, two, three marks makes
an edit, so I am going to overwrite by
| | 04:13 | pressing B, and let's see how this worked out.
| | 04:16 | (clip playing)
| | 04:24 | And now this entire dance sequence really
does seem like it's one fluid performance.
| | 04:28 | It moves a little bit quicker, just
like our producer wanted, so it looks like
| | 04:32 | Overwrite was definitely the tool to use here.
| | Collapse this transcript |
| Removing shots using Extract and Lift| 00:00 | Adding and replacing
material is only part of the story;
| | 00:04 | you'll also need to remove material
from the sequence in order to build a
| | 00:07 | successful story, and in this movie
we'll take a look at how to remove material
| | 00:12 | using the Extract and Lift commands,
which as you'll see, are the exact inverses
| | 00:17 | of Splice and Overwrite. Let's take a look.
| | 00:20 | So, I have a different sequence here, and
there are a couple of shots that I need
| | 00:24 | to change. Specifically I
need to remove some material.
| | 00:27 | And let's take a look at the fourth
shot in the sequence, which is right here.
| | 00:32 | The shot starts off pretty static and
then the pan starts, and I'm just going to
| | 00:37 | play it in real time so you
can see what I'm talking about.
| | 00:40 | (clip playing)
| | 00:44 | Okay, so I'd really like the shot
to start about right there.
| | 00:48 | So I want to remove the head of this shot.
| | 00:50 | So I'll mark an out by pressing O. And I
want to snap to this edit point, so I'm
| | 00:56 | going to Ctrl+Click or Command+Click and
press I. We're dealing with two seconds
| | 01:03 | that we want to remove, except we only
want to remove the video, not the audio, so
| | 01:08 | I'm going to deselect the audio here.
| | 01:11 | We want to remove it completely,
so I want to perform an extract.
| | 01:15 | The Extract command is located right
here under the Record monitor and right
| | 01:20 | here above the Timeline, and I'll go
ahead and just press this right now in
| | 01:24 | the user interface.
| | 01:25 | Okay, so you see that that portion
of the clip was extracted, all other
| | 01:29 | clips rippled in to fill the space, and we have
this blank filler at the end of our sequence.
| | 01:36 | So the duration of our video track has
been altered, but our audio track was
| | 01:41 | left alone because it was
not included in the extraction.
| | 01:44 | So, let's go ahead and play this right
now and see if this looks a little better.
| | 01:48 | (clip playing)
| | 01:52 | All right! I think that works better.
| | 01:55 | And if we move over to this clip here
of her putting the flower in her hair, I
| | 02:01 | actually just want to get rid of this
altogether, but instead of performing an
| | 02:05 | extract what I want to do is perform a
lift, because while an extract takes out
| | 02:12 | the shot and then ripples in all of the
clips to fill in the gap, a lift is just
| | 02:17 | going to leave behind visual filler and
leave all the rest of the clips alone.
| | 02:21 | So, to quickly mark this clip right here,
I'm going to press T, and we have an in
| | 02:27 | and an out point automatically marked for us.
| | 02:30 | And this time, I'm going to press
the Lift command, which is right here
| | 02:36 | underneath the Source monitor,
or right here above the Timeline.
| | 02:40 | This corresponds to the Z key on our
keyboard. And I'll go ahead and press that
| | 02:46 | now, and you can see that this shot is
gone and all other shots were left alone.
| | 02:51 | I can then go back into my bin, find
a shot that works better, and overwrite
| | 02:55 | it into the sequence.
| | 02:57 | So you can extract or lift partial
shots, as we did here; whole shots, as we
| | 03:04 | did here; or multiple shots, and we'll
actually do that at the beginning of the sequence.
| | 03:10 | We have Kim and Dave come in and put
down a few suitcases, and then we kind of
| | 03:14 | get in to this artistic montage.
| | 03:16 | If we want to look at this sequence
without this intro, we can certainly do that.
| | 03:21 | I can mark an in point at the
beginning. And I'm going to Ctrl+Alt+Click or
| | 03:28 | Command+Option+Click if I was on a Mac
and mark an out. This will snap to the
| | 03:33 | tail instead of the head, which is what
I want here. And then I want to extract
| | 03:38 | both video and audio,
| | 03:41 | so as you quickly select all of my
tracks, I'm going to press Ctrl+A or
| | 03:45 | Command+A on a Mac, and then I'm going to
press X to extract and the shots are gone.
| | 03:53 | Okay, so that's how to mark in and out
points to extract and lift our material
| | 03:58 | out of our Timeline, either partial
shots, whole shots, or multiple shots.
| | 04:04 | Remember, no editor is perfect, and no
editor will lay down a sequence perfectly
| | 04:08 | on the first attempt.
| | 04:09 | Removing and tweaking material is
sometimes an even more important part of the
| | 04:13 | process than laying it down in the first place.
| | 04:16 | Therefore, make sure to work the
Extract and Lift commands into your
| | 04:19 | muscle memory as well.
| | 04:21 | Also, as you'll notice, Lift, Extract,
Splice, and Overwrite are all in the lower
| | 04:26 | left-hand corner of the keyboard.
| | 04:28 | Media Composer groups like
functions near one another on purpose.
| | 04:32 | We'll see more patterns as we continue,
| | 04:34 | so get used to these keyboard
commands as you keep practicing.
| | Collapse this transcript |
| Using Segment mode (Extract/Splice) to switch shots| 00:00 | Once you've edited shots into the Timeline,
you'll often want to move them around.
| | 00:05 | Whether this means switching locations
or just nudging them slightly one way
| | 00:08 | or the other, it's important that you know
how to reposition clips once you've edited them.
| | 00:13 | In this lesson, we'll take a look at
Extract/Splice Segment mode to learn how to
| | 00:18 | reposition shots in the Timeline.
| | 00:20 | Now there are two types of Segment
modes in Media Composer: Extract/Splice
| | 00:24 | Segment mode and Lift/Overwrite Segment mode.
| | 00:26 | They're represented by these arrows here.
| | 00:30 | The yellow arrow on the bottom is
Extract/Splice Segment mode and the red arrow
| | 00:34 | on top is Lift/Overwrite Segment mode.
| | 00:37 | They probably look familiar to, as they
look a lot like the Splice and Overwrite
| | 00:41 | arrows that we used previously.
| | 00:43 | As you may imagine, they not only
look similar to the Splice and Overwrite
| | 00:47 | arrows, but they act very similarly too.
| | 00:50 | However, instead of editing shots from
the Source monitor to the Timeline, these
| | 00:55 | arrows are for grabbing shots and
moving them around the Timeline.
| | 00:59 | They each behave differently and in this
lesson, we'll explore the functionality
| | 01:03 | of the yellow arrow,
Extract/Splice Segment mode.
| | 01:07 | Okay, so we're working
with the same sequence here.
| | 01:09 | Let's just go ahead and review our footage.
| | 01:12 | We have kind of a narrative montage in
the beginning, and we have a little bit
| | 01:18 | more of a complex dance scene
afterwards, and it's followed by a little more of
| | 01:24 | that narrative story.
| | 01:25 | So, we have a couple of notes, and
basically after they set down their suit-
| | 01:31 | cases, we want to change
the order of these two shots.
| | 01:36 | So she's putting the flower in her
hair here, and here we have kind of a nice
| | 01:40 | slow pan over to her shoe.
| | 01:43 | We want to change that around
so that the pan over comes first.
| | 01:46 | I'm going to go ahead and play so
you can see what I'm talking about.
| | 01:49 | (clip playing)
| | 01:59 | Okay, so we have suitcase too
and we want to stick with suitcase.
| | 02:05 | So what I'm going to do is just click
on the Extract/Splice Segment mode and
| | 02:10 | then click on this clip right here.
| | 02:14 | If I click and drag and I drag to the left,
you'll see that I get a four-window display.
| | 02:20 | Now, the first and the fourth windows
represent the frames on either side of the
| | 02:27 | clip that I'm about to drop down.
| | 02:30 | So I can see exactly where I'm dropping it.
| | 02:33 | The second and third windows
represent the first and last frames of the
| | 02:38 | clip that I'm dragging.
| | 02:39 | So, as you might imagine, I want to
snap to the point in between two edits and
| | 02:48 | if you remember, I was able to snap to
an edit by holding down Ctrl or Command
| | 02:54 | on a Mac, and this is no different.
| | 02:56 | I'm going to hold down Ctrl and now
when I drag this clip, you can see that it
| | 03:01 | snaps to those edit points.
| | 03:03 | Okay, so we are going to insert this
shot right here, and I'm going to let go,
| | 03:08 | and the shot's changed position.
| | 03:10 | I now have the pan over to
the shoe right where I want it.
| | 03:15 | Let's go ahead and watch
it and see if we like it.
| | 03:17 | (clip playing)
| | 03:29 | All right, that looks a lot better,
| | 03:31 | more what we were going for.
| | 03:32 | We're telling the story
better here, and this works well.
| | 03:37 | So, we have another note where we
actually want to change a couple of shots with
| | 03:42 | a couple of more, and that's down here
where we have her adjusting the tie and
| | 03:49 | then looking at the tie and then we
have him flipping up his hat and then
| | 03:53 | continuing to put on his hat.
| | 03:54 | Let's go ahead and take a look at this
sequence, and we'll start right here and I'll Play.
| | 03:59 | (clip playing)
| | 04:09 | So, where we get that horn, we would
instead like him flipping up his hat.
| | 04:14 | So, we're going to switch these two
shots with these two shots, and it works
| | 04:19 | the same exact way.
| | 04:20 | We're just going to grab two shots at a time.
| | 04:23 | I'm going to click on this shot here
and then Shift+Click on the adjacent one.
| | 04:29 | And if I wanted to move many, many shots,
I could just Shift+Click all the way
| | 04:34 | down the line and everything could move
at once, but we only wanted to grab two.
| | 04:39 | Another way to actually grab multiple
shots at one time is to make sure that I
| | 04:44 | have the correct arrow selected and
then lasso, and then they're both selected
| | 04:49 | using Extract/Splice Segment mode.
| | 04:51 | So I'm going to grab on, and then I'm going to
hold down the Ctrl key and just move it over.
| | 04:57 | And we want to go over two, so I'm
going to let go here. All right!
| | 05:03 | We have our hat and we have the tie, and I'm
going to play to see if this works for us.
| | 05:09 | (clip playing)
| | 05:19 | All right! I think the timing works out really
well in all of our decisions to move
| | 05:24 | those shots around.
| | 05:26 | I do want to point out one more thing
about Extract/Splice Segment mode. And if
| | 05:30 | I just wanted to get rid of a shot entirely,
I could use it to delete shots as well.
| | 05:35 | So say, for example, I wanted to find a
different shot of her putting the flower
| | 05:39 | in her hair and I wanted to just
extract it so that I could go back to my bin,
| | 05:43 | find a new shot, and splice it in.
| | 05:45 | Well, before we learned how to
extract material using in and out points and
| | 05:49 | the Extract command.
| | 05:51 | Now, if you wanted to extract an entire
segment in this case, I would just click
| | 05:55 | on the segment and press
the Delete key on my keyboard.
| | 05:59 | It's extracted, the duration of our
sequence shortens, and I can go find another shot.
| | 06:04 | Now, this is something I don't want to
do in this case, so I'm going to Ctrl+Z
| | 06:08 | or Command+Z on a Mac. And again, I
think that the order of our shots in this
| | 06:13 | case works really well for our sequence.
| | 06:15 | Moving shots around in the Timeline is
essential to the editing process, as it
| | 06:19 | allows you to lay down an initial rough
cut and then fine-tune by moving things
| | 06:23 | around as you see fit.
| | 06:24 | Extract/Splice Segment mode, or yellow
arrow, is very important to this overall
| | 06:30 | process, as it allows you to freely
manipulate clip locations without going back
| | 06:34 | into the bin for additional material.
| | Collapse this transcript |
| Using Segment mode (Lift/Overwrite) to move shots| 00:00 | Switching shots in the Timeline is very
important, but sometimes you just want
| | 00:05 | to nudge your shot without
affecting any shots around it.
| | 00:09 | To achieve this, we'll use the other
type of Segment mode represented by
| | 00:13 | this red arrow here.
| | 00:14 | It's Lift/Overwrite Segment mode, and it's
found at the very top of our smart tool.
| | 00:19 | To enable Lift/Overwrite Segment mode, I
just make sure that I have this selected.
| | 00:23 | And just so you know, you don't want to
have both of the arrows selected at this
| | 00:28 | point in time. This does function in a
different way, and we'll cover that at
| | 00:33 | the end of this movie but for right
now, just make sure that Lift/Overwrite
| | 00:37 | Segment mode is selected.
| | 00:38 | So again, this is used for nudging
shots without affecting the duration of our
| | 00:44 | sequence, or any of the shots around it.
| | 00:47 | So, we've got a little bit of an audio-
video mismatch here, and I'm going to play
| | 00:51 | it so you can see what I'm talking about.
| | 00:53 | (clip playing)
| | 01:03 | So, we see the suitcases being set down and we
hear them being set down in a different time.
| | 01:09 | We want to make sure to sync that
up, and we're going to do that with
| | 01:13 | Lift/Overwrite Segment mode, or our red arrow.
| | 01:16 | Now I've set a locater, which we're
going to discuss in a future movie, but
| | 01:20 | basically, it's a visual Post-it note so
that I as the editor can see this point
| | 01:26 | in time as I'm performing a maneuver.
| | 01:29 | And what I want to do is match this
point in time up, which is the moment that
| | 01:33 | this suitcase gets put down, with
the moment that we hear the suitcase.
| | 01:38 | So to help myself out, I'm going to
actually put some waveforms in my audio tracks.
| | 01:43 | To do that, I'm going to open up my
Track Control panel, where I can put the wave-
| | 01:50 | form on, on these buttons here, on the left.
| | 01:53 | Now if you're not able to do that,
make sure that in your Timeline Fast menu,
| | 01:57 | under Audio Data, that you have Allow
Per Track Settings selected. All right!
| | 02:03 | So let's play this and see
exactly where that audio is.
| | 02:08 | (clip playing)
| | 02:13 | The suitcases are being set down right here
and so I want to move my video to the right.
| | 02:19 | Now, I have a couple of options here.
| | 02:21 | I can just click and drag, but as you see,
it's really hard to see where that locator is.
| | 02:28 | It's not really working for me.
| | 02:29 | I can guess and then let go and I'll
probably get it pretty close, and let's go
| | 02:34 | ahead and just see if that worked.
| | 02:36 | (clip playing)
| | 02:40 | Okay, so that's pretty good, but I
want to show you another way that you can
| | 02:44 | actually nudge the shot and see it a lot better.
| | 02:48 | I'm going to undo, Ctrl+Z or Command+Z
on a Mac, and I'm going to select this and
| | 02:55 | by using the M, comma, period, and backslash
keys on my the keyboard, I'm going to be able to nudge this
| | 03:02 | either by one frame or by
ten frames, right or left.
| | 03:06 | Now, the comma and the
period go to the left and right.
| | 03:11 | So, if I press the comma, I nudge to the
left; if I press the period I nudge one
| | 03:18 | frame to the right. If I press my M key,
I nudge ten frames to the left, and if I
| | 03:25 | press my backslash key, I
nudge ten frames to the right.
| | 03:30 | So this is a great way to move
your segments around the Timeline.
| | 03:33 | Now, I've kind of messed things up here,
| | 03:35 | so I'm going to Ctrl+Z or Command+Z to
undo so I can get this back where it was.
| | 03:41 | So again, I'm just going to click on
this clip, and I'm going to use my period
| | 03:46 | key to just nudge this over one frame
at a time, and we are matching it up with
| | 03:52 | this audio waveform here.
| | 03:53 | I'm able to see everything vertically
lined up, so this should be pretty good.
| | 03:59 | Let's go ahead and give it a try.
| | 04:01 | (clip playing)
All right!
| | 04:03 | That worked out really well.
| | 04:05 | Everything happened at the same
time. It makes a lot more sense.
| | 04:08 | One thing it did do, as you see, is leave
behind blank space, or in Media Composer,
| | 04:14 | this is called filler.
| | 04:16 | I'm going to zoom in by using my scale
bar down here so that we can see this a
| | 04:21 | little bit closer and you'll see that
we have visual filler here and we've
| | 04:28 | overwritten the very first part of
the clip adjacent to it over here.
| | 04:33 | Now, I think this is going to be a
little bit of a problem because we have
| | 04:36 | this clip start right where our music starts
right here, and we want to keep it that way,
| | 04:41 | so let's just use Lift/Overwrite
Segment mode again to correct that.
| | 04:44 | Go ahead and scroll over there, and let's
just see what this looks like right now.
| | 04:50 | (clip playing)
| | 04:54 | Yeah, we definitely want to move this shot over.
| | 04:56 | So again, I'm just going to click on it
and this time I am going to drag because
| | 05:01 | I want to show you a technique.
| | 05:03 | If I hold down Ctrl and drag, you'll
notice that Media Composer snaps to the
| | 05:10 | head of that waveform.
| | 05:12 | A lot of times editors do need to snap
to where a waveform starts, so it's really
| | 05:18 | nice to be able to do that.
| | 05:19 | I'm going to let go here and
I'll zoom back out, so we can see
| | 05:23 | we do have a couple of holes.
| | 05:25 | Don't worry about that.
| | 05:27 | We will fix those in a future movie
when we learn about trimming. But for
| | 05:31 | right now, we've got our timing good
here, and it looks like we've got our
| | 05:34 | timing good here too.
| | 05:35 | (clip playing)
| | 05:41 | Great! So we fixed one problem and then we
created another, but we ended up fixing
| | 05:46 | that problem as well, by the same method.
| | 05:49 | Again, we will fix those holes
later, so hang onto that thought.
| | 05:53 | I do want to show you one more thing
about Lift/Overwrite Segment mode, and
| | 05:56 | that's how to delete material.
| | 05:58 | Again, I can just click on a clip, and
let's say that I wanted to switch out this
| | 06:05 | shot here of Kim looking at Dave's tie.
| | 06:08 | We have a different shot, more
close-up that we want to use.
| | 06:11 | So, I'm going to click on this
clip and press Delete on my keyboard.
| | 06:16 | You'll notice that it leaves behind
visual filler, and I can go back to my bin
| | 06:20 | and find the shot later, but
I've kept the timing of my sequence.
| | 06:24 | I don't want to this, so I'm just
going to undo, Ctrl+Z or Command+Z, and
| | 06:29 | we're back where we were.
| | Collapse this transcript |
| Using Extract/Splice and Lift/Overwrite together| 00:00 | Now you know how to edit shots with
Splice and Overwrite, remove shots with
| | 00:05 | Extract and Lift, and move shots
around using Extract/Splice Segment mode and
| | 00:10 | Lift/Overwrite Segment mode.
| | 00:12 | Each of these functions is related
to one another in a fundamental way:
| | 00:16 | they add, subtract and move around
shots by a correlating operation of either
| | 00:22 | inserting and extracting or
overwriting and moving material.
| | 00:26 | Now, what I want to do is take it one
step further and combine the functionality
| | 00:32 | of a couple of these commands. And in the
smart tool here, we have Lift/Overwrite
| | 00:37 | Segment mode and Extract/Splice Segment
mode, which if I click on both of them,
| | 00:41 | they're both enabled.
| | 00:43 | And you can see the arrow change from
one to another, and at first it might seem
| | 00:48 | like it's behaving erratically, but it isn't.
| | 00:51 | Let's go ahead and take a
look at exactly what's going on.
| | 00:54 | To help us out, I'm going to
increase the size of my video track width.
| | 00:58 | To do that, I'm going to press
Ctrl+L or Command+L on a Mac, and this will
| | 01:05 | give us a little bit more real estate here.
| | 01:07 | If I hover in the upper portion of any
of these segments in the Timeline, I am
| | 01:13 | enabling Lift/Overwrite Segment mode.
| | 01:16 | If I hover in the lower
portion of these tracks, I'm enabling
| | 01:20 | Extract/Splice Segment mode.
| | 01:23 | In this sequence, all of the changes in
the previous two movies have not been made,
| | 01:27 | so we're going to quickly make them
using the dual functionality of both
| | 01:32 | of these smart tools.
| | 01:34 | So if we start here, we want to adjust the
order of our shoe shot and our flower shot.
| | 01:41 | So I'm going to just hover in the
lower portion of the segment and Ctrl+Drag
| | 01:46 | over. And likewise, I want to change
these two shots with the hat with these
| | 01:52 | two shots with the tie,
| | 01:54 | so again, I'm going to Shift+Click
and move, Ctrl+Drag, and that looks
| | 02:05 | good. And then over here, we wanted
to move this segment over to the audio
| | 02:13 | queue, which is indicated by these waveforms,
so I'm going to park in the upper portion.
| | 02:20 | Now, I'm going to click on this
segment here and again, we want to match our
| | 02:25 | visual queue of putting down the
suitcase with the audio queue of putting down
| | 02:29 | the suitcase, so I'm just going to drag
this over slightly, and then we'll go
| | 02:36 | ahead and drag this over to where
our audio queue started with the music.
| | 02:41 | Ctrl+Drag to snap to that waveform.
| | 02:44 | So as you see, we just performed four
operations very quickly, just by where our
| | 02:50 | cursor was positioned within the Timeline.
| | 02:53 | So, a lot of people like to work this
way, and as you see, we also have a couple
| | 02:57 | of other buttons below that, which we'll
explore in future movies, where you can
| | 03:01 | actually have lots of things enabled
and depending on where your cursor is in
| | 03:05 | the Timeline, it will behave a different way.
| | 03:08 | So, you may have noticed that all of
these related functions are linked by color.
| | 03:14 | The yellow functions of Splice, Extract,
and Extract/Splice Segment mode are
| | 03:19 | related, while the red functions of
Overwrite, Lift, and Lift/Overwrite
| | 03:25 | Segment mode are related.
| | 03:26 | We're going to take a look at one
more addition to these families in the
| | 03:30 | next movie.
| | Collapse this transcript |
| Manipulating the Timeline directly| 00:00 | The classic workflow for editing in
Avid has always been to mark your in and
| | 00:05 | your out points in your source monitor,
then splice or overwrite those shots
| | 00:09 | into the Timeline, and then, if
necessary, move those shots around using the
| | 00:14 | Segment mode buttons;
| | 00:16 | however, if you'd like, you can also
combine these functions and drag your shots
| | 00:21 | directly from the source
monitor to the Timeline.
| | 00:24 | So our sequence here is exactly where
we left off, and we want to make a couple
| | 00:28 | more changes downstream.
| | 00:31 | Specifically on this shot, we would
like to introduce a long shot of this dip,
| | 00:37 | because we don't exactly
know what's going on here.
| | 00:39 | So, I'm going to open up my Broll
Dancing 2 bin, and let's go ahead and load the
| | 00:48 | Swing dance Dave dip Long Shot, and we see a
little bit better about what's going on here.
| | 00:58 | I've got an in point marked about at
this location, so I think that's good.
| | 01:04 | I'm going to mark an out about on this
turn, because it's always nice to match on
| | 01:10 | action and turns are a great place to make cuts.
| | 01:13 | So, I'm going to mark an out by
pressing O, and the next thing want to do is
| | 01:18 | enable my Lift/Overwrite Segment mode,
because we want to overwrite this shot, and
| | 01:24 | we also want to make sure that
we're not overwriting audio,
| | 01:27 | so I'm just going to deselect my audio tracks--
| | 01:29 | this is a video-only edit. And I'm going
to go ahead and just drag it down and as
| | 01:35 | you see, we have an outline of exactly
where the shot is going to be dropped.
| | 01:39 | So again, the first and the fourth
windows up here indicate the frames on either
| | 01:44 | side of the clip that I am dragging,
and the second and the third windows
| | 01:49 | indicate the first and the last frames
of the clip that I am dragging, so I can
| | 01:54 | try to match this up.
| | 01:55 | If I look on the left, I want to
make sure that he is about halfway down,
| | 02:00 | about right maybe there, and I'm going to go
ahead and release, and let's see how this works.
| | 02:06 | Go ahead and play.
| | 02:10 | (clip playing)
| | 02:18 | And it matched really well into that
spin, as you can see. So, I like this,
| | 02:22 | I think this works well, and it
tells our story a little bit better.
| | 02:27 | Here's one more shot down here where
I'd like to make a change, and that's where
| | 02:32 | they're going to their suitcases.
| | 02:33 | I want to, instead of cutting straight
to the long shot, I want to cut to the
| | 02:37 | medium shot, because we had that in
the beginning of the sequence as well.
| | 02:41 | So, I'm going to open my
Broll Narrative Story bin,
| | 02:45 | I'm just going to open it up in tabbed
view here. And we want to expand this so
| | 02:51 | that we can see our clips, and it's
going to be Kim and Dave pick-up suitcases
| | 02:57 | from side Medium Long Shot, and we're
going to go ahead and load that. And again,
| | 03:04 | let's just mark an in right before they
enter the frame, about right there and I'm
| | 03:10 | going to mark an out. I will go ahead and play
this, and I'll mark an out on the fly by pressing O.
| | 03:18 | I'll go ahead and go to my out by
pressing W. I marked an out in mid-pick-up
| | 03:23 | because again, it's
really nice to match on action.
| | 03:27 | So again, this is a video-
only edit. We're good there.
| | 03:30 | We want to enable Lift/Overwrite Segment mode.
| | 03:32 | We're good there. And again, these
actions occur very, very quickly when you're
| | 03:36 | actually doing them.
| | 03:37 | So, just do a quick visual check.
| | 03:38 | We're good and drag. And I'm going to
go ahead and snap to this edit point so
| | 03:43 | that we don't get a flash frame, and
release, and let's go ahead and play through
| | 03:47 | and see how this works.
| | 03:48 | (clip playing)
| | 03:57 | And there's a little bit of a
mismatch here, but we're not going to worry
| | 04:02 | about that for right now.
| | 04:03 | That's a very, very easy thing to fix,
when we learn about trim in the next chapter.
| | 04:08 | So as you can see, dragging and
dropping clips to the Timeline is a much more
| | 04:12 | tactile approach to editing, and for
some editors it's absolutely necessary to
| | 04:17 | be able to use the Timeline as a
palette and move clips around freely.
| | 04:22 | This is especially true of many
editors coming from more mouse-centric
| | 04:25 | editing application.
| | 04:27 | If you find yourself being this type of
editor, you may find it useful to drag
| | 04:30 | clips around to create
your sequences dynamically.
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| Creating subclips and subsequences| 00:00 | Sometimes, for organizational and
logistical purposes, you'll want to break a
| | 00:04 | master clip or sequence down
to its more basic components.
| | 00:08 | In this movie, we'll go over creating
subclips and subsequences, so that you can
| | 00:12 | make clips and sequences as
long or as short as you want to.
| | 00:16 | So, we first want to create a subclip
and to do that, I'm going to open my
| | 00:20 | Interview bin and I'm going to load up
Kim interview. And I know here at the end
| | 00:27 | of the clip there's something that I'd
like to sub-clip because it's the way I
| | 00:30 | would like to end my show.
| | 00:33 | So, I'm going to play through and I'm
going to mark an in and an out around the
| | 00:36 | area that I want to subclip.
| | 00:38 | (Female speaker: Okay. Swing dancing is
bigger now around the world than it ever was.
| | 00:48 | (It's bigger now than when it first came out
in the '40s, and it's held out for a longer duration.)
| | 00:55 | (The actual Swing era was so short and so quick.
The second coming of swing has lasted longer.)
| | 01:02 | All right, so we have 16-second-and-22-
frame portion that we want to make its own clip.
| | 01:10 | This is out of more than a six-minute
interview, so this is going to help us out
| | 01:15 | later when we're building our sequence.
| | 01:17 | To make a subclip, I can do one of two things.
| | 01:21 | I can either drag this icon up here
into my bin--and you'll see that there is an
| | 01:27 | icon that looks a lot like a master
clip, just a little bit smaller, and I
| | 01:31 | immediately want to rename this.
| | 01:35 | The other way I could create a subclip
is to Alt+Drag or Option+Drag, if I was
| | 01:40 | on a Mac, right from the
source monitor to my bin.
| | 01:43 | So, I'll hold down the Alt key and drag
my subclip over and you can see that I
| | 01:49 | created one that way as well.
| | 01:51 | This is a duplicate, so I'm just going
to delete the subclip, and OK, and this is
| | 01:57 | the one we want to work with.
| | 01:58 | Now similarly, we could also sub-sequence
which means to just create a portion of
| | 02:03 | a sequence that we want to use for later.
| | 02:05 | Now we have this sequence here, which
again starts with our suitcases and into
| | 02:11 | our narrative and the dancing
and it ends with the suitcases.
| | 02:14 | Let's try to find a part of the
sequence that doesn't involve the suitcases, so
| | 02:20 | I'm basically going to remove the last
two shots and the first two shots when I
| | 02:25 | form my subsequence.
| | 02:26 | So again, I'm going to Ctrl+Click or
Command+Click at the beginning where I
| | 02:31 | want to mark my in, and I want to
Ctrl+Alt+Click or Command+Option+Click near the
| | 02:38 | end to mark my out. And we want to
make sure that all tracks are selected,
| | 02:43 | so I'm just going to do a quick
Ctrl+A or Command+A. And now, this is the part
| | 02:47 | of the sequence that I want to maintain.
| | 02:49 | This is still going to be there in the
master sequence, but for my subsequence,
| | 02:54 | I don't have that beginning and ending.
| | 02:56 | So again, there are two ways that I can do this.
| | 02:59 | I can either drag this icon right above
the record monitor over to my bin and
| | 03:05 | then we can go ahead and just rename this,
or we can Alt+Drag or Option+Drag from
| | 03:11 | my record monitor over to my bin and it
does the same thing. I don't need this,
| | 03:16 | this is a duplicate, so I'm just
going to delete it, and it's gone.
| | 03:22 | So, I'm going to load my subclip into
the source monitor, and you'll see that it
| | 03:27 | is only this portion of the clip.
| | 03:30 | Okay, it's a lot more manageable.
| | 03:32 | Likewise, when I load my
subsequence, it's only this portion.
| | 03:37 | We've lopped off the beginning and the end.
| | 03:39 | So as you can see, using subclips and
subsequences is a great way to break out
| | 03:43 | material into elements that make the
most sense for your editing purposes.
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| Adding multiple video and audio tracks| 00:00 | So far, we've only used one
video track to edit our sequences.
| | 00:04 | Many editors like to work in a more
layered view so that higher video tracks
| | 00:08 | work in conjunction with lower
ones to create the appropriate effect.
| | 00:12 | In this movie, we'll take a look at how
to add and patch tracks so that you can
| | 00:16 | work vertically as well as horizontally.
| | 00:18 | Okay, so I have three interview
segments that form one cohesive interview, and
| | 00:25 | basically all I've done is I've
extracted some "ums" and "ahs" so that this is
| | 00:29 | a more fluid product.
| | 00:31 | However, as you see as we play over,
there's a little bit of jump cut.
| | 00:34 | (Female speaker: One person follows, one person leads,
and there's only three things that matter.)
| | 00:40 | It's not too bad, but it is
noticeable, so we will need to fix that.
| | 00:43 | What we'll do is we'll
just put some Broll over it.
| | 00:47 | So, I'm going to open up my Broll
Dancing 1 bin, and I'm just going to load Swing
| | 00:53 | dance all Long Shot.
| | 00:54 | You can put any piece of footage that
you want in here. And as she's talking, I
| | 01:00 | want to make sure that I get a nice
portion of the dance floor, because she's
| | 01:06 | talking about one person follows, one
person leads, and how important the dance
| | 01:10 | floor and that interaction is.
| | 01:12 | So, we'll go ahead--and maybe at
this portion right here. Okay.
| | 01:18 | So, if we're ready to do this using
methods we already know, I'd mark an in here,
| | 01:23 | and I'd mark an in and an out in my Timeline.
| | 01:26 | This is a video-only edit so I'll
deselect my audio and I'll overwrite by
| | 01:31 | pressing B, and I'm just going to go ahead
and play this so you can see how it looks.
| | 01:36 | (Female speaker: One person follows, one person leads,
and there's only three things that matter.)
| | 01:40 | All right, so that's perfectly
acceptable, and you can totally work this way,
| | 01:45 | but if I wanted to see Kim's interview
clip, I'd have to undo that or go back
| | 01:50 | to my main master clip.
| | 01:52 | So, I'm going to undo that by pressing
Ctrl+Z or Command+Z, and I want to show
| | 01:57 | you a different method.
| | 01:58 | I'm going to add another video track,
and I can either do that by right-clicking
| | 02:04 | here in the Timeline and choosing New
Video Track or selecting it from the Clip
| | 02:09 | menu, or I like to use the keyboard
shortcut of Ctrl+Y or Command+Y on a Mac,
| | 02:16 | and I'm going to add it up here on V2.
| | 02:21 | So, I'll just draw a line from V1 to V2
using my mouse and we've done our patch,
| | 02:28 | and now you'll see I have my
source video going to my Timeline video.
| | 02:32 | If I now press overwrite by pressing
B, we have the same exact effect because
| | 02:38 | we'll play through it here.
| | 02:39 | (Female speaker: One person follows, one person leads,
and there's only three things that--)
| | 02:44 | But if we also want to see Kim's
interview for any reason, we can move
| | 02:48 | this monitor down to V1.
| | 02:51 | Now, I'm just going to see V1 and not V2.
| | 02:54 | (Female speaker: One person follows, one person leads.)
| | 02:57 | But we have the option of going back
and forth and having that flexibility.
| | 03:01 | Again, a lot of editors like to put
their base video down on V1 and their Broll
| | 03:07 | up on V2 and higher tracks, because
Media Composer works in a top-down fashion.
| | 03:12 | I'm going to undo this once more because I
want to talk about patching audio as well.
| | 03:19 | We have some just natural sound here, and
I'll play this for you so that you can hear.
| | 03:24 | (clip playing)
| | 03:28 | And if we want this sound to go
underneath the video in sync, I can certainly do
| | 03:33 | that by adding two more audio tracks.
| | 03:36 | So, I again can right-click
and choose New Audio Track,
| | 03:41 | I can choose either Mono or Stereo, and
we also have Surround sound options as
| | 03:47 | of Media Composer 6.
| | 03:48 | These options are also available via the
Clip menu, but again, I like to use the
| | 03:52 | keyboard so we will press
Ctrl+U or Command+U on a Mac.
| | 03:56 | All right, so we have our
video patched appropriately.
| | 04:01 | Now we just need to patch our audio.
| | 04:04 | Again, I can click with my mouse and
drag down to create a line, and I'm going to
| | 04:09 | patch down from A1 to A3 as well.
| | 04:13 | Now, the general rule is to patch odd to
odd and even to even because odd tracks
| | 04:19 | are panned to the left and even tracks
are panned to the right by default. Okay?
| | 04:24 | So, we have everything set up correctly.
| | 04:26 | We see our highlighted portion which
indicates where this is going to be overwritten.
| | 04:30 | I'm going to press B to overwrite and
now as we go through this, we'll hear her
| | 04:36 | interview and the natural sound underneath.
| | 04:39 | It will probably need to be mixed,
but you will get the general idea.
| | 04:42 | (Female speaker: One person follows, one person leads,
and there's only three thing--)
| | 04:47 | Yes, we definitely need to mix that so
that we can hear Kim, but you get the idea.
| | 04:51 | So as you can see, depending on how you
like to work, you may gravitate toward
| | 04:55 | vertical track building to
construct your sequences.
| | 04:58 | Now you'll obviously being constructing
vertically as you begin adding effects
| | 05:02 | and titles and other audio tracks, but as far
as basic video editing, the choice is yours.
| | 05:08 | Find and develop your own editing preference.
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|
|
3. Refining the Edit: Using TrimUnderstanding trimming| 00:00 | Trimming is probably the most
important part of editing. Why?
| | 00:04 | Well, it's because where editors work
out the timing and pacing of a scene.
| | 00:08 | Keep in mind, anyone can string shots
together in a sequence, but that doesn't
| | 00:12 | make them a good editor.
| | 00:13 | But it's through trimming the sequence that
an editor can really breathe life into a scene.
| | 00:18 | By starting a shot sooner or later,
or ending a shot sooner or later, and
| | 00:23 | deciding where audio and video
intersect, that gives the sequence the proper
| | 00:27 | energy it needs, rather
than having it fall flat.
| | 00:30 | To do this, you must use and understand Trim. Okay.
| | 00:34 | So, we have our sequence here, and I
just want to review how we bring shots into
| | 00:39 | the sequence by setting in and out
points in the source, and then bringing them
| | 00:44 | into the sequence by splicing or overwriting.
| | 00:47 | Now, we've chosen the section that we
want to include, which corresponds right
| | 00:52 | here, but we have all of these
material before my in point and after my
| | 00:58 | out point that's still here in my
master clip and is totally accessible to me.
| | 01:03 | So, if we want to let this shot out,
perhaps we would want to have the shot
| | 01:08 | start sooner, or later, or both, or if we
wanted to tighten it up, we have that option too.
| | 01:16 | Except we don't set our in or out
points again in the source. That just
| | 01:19 | doesn't make sense. Instead, we're
going to do all of these adjustments
| | 01:22 | within the Timeline.
| | 01:24 | Let's go ahead and enter a trim so that you can
see a little bit about what I'm talking about.
| | 01:29 | There's a couple of ways to enter a trim.
| | 01:31 | One way is to make sure you have the
correct track selected, which I do, and
| | 01:35 | park near the transition point and press U.
| | 01:38 | And I'm going to get out of Trim by
either clicking U again or clicking on
| | 01:45 | the Time Code track or my ruler up here.
| | 01:50 | And one more way to enter Trim
is to just lasso the transition.
| | 01:53 | It's a really easy way to get in, and
again, I can just click on my Time Code
| | 01:58 | track to get back out.
| | 02:01 | So, let's enter a trim, zoom in, and take a
look at exactly what we're looking at here.
| | 02:07 | Now, as you will notice, this
is no longer my source monitor.
| | 02:12 | As you remember, I have this clip loaded in
my source monitor, but now we see this clip.
| | 02:17 | And this clip corresponds to
the last frame on my A side;
| | 02:22 | that's the clip on the left.
| | 02:24 | This frame corresponds to the very first frame
on my B side, which is the clip on the right.
| | 02:30 | You'll also notice that I have two trim rollers.
| | 02:33 | Right now, we're in something called
Dual Roller Trim, which we will explore in
| | 02:37 | a future movie, but you know this
because I have rollers on either side.
| | 02:41 | And as my cursor approaches these
rollers, it turns into a Trim icon.
| | 02:45 | You'll also notice that I have Trim
Counters, an A-side Trim Counter, and a
| | 02:49 | B-side Trim Counter, and that is
going to count the number of frames that I
| | 02:53 | either add or subtract from my A and B Side.
| | 02:57 | We also have trim buttons underneath my
A side monitor that allow me to trim to
| | 03:01 | the left and right by one frame
and by then frames, respectively.
| | 03:07 | All right, I'm going to exit Trim mode
here by again clicking on my ruler, or
| | 03:14 | my Time Code track.
| | 03:15 | And with that tour, let's go
ahead and get started trimming.
| | Collapse this transcript |
| Performing single-roller trims| 00:00 | Okay, so it's time to start trimming.
| | 00:03 | We're going to through our sequence
transition by transition and treat each
| | 00:07 | side of the transition as a
separate case for improvement.
| | 00:10 | We'll ask ourselves if the cut works,
and if not, does the A side need to be
| | 00:15 | trimmed, the B side, or both?
| | 00:18 | So, let's get started, and we want to
enter a trim by clicking near the transition
| | 00:23 | point and pressing U, and I'm going to
go ahead and zoom in so that we can see
| | 00:28 | what we're doing here. And I'll also
want to enable the waveforms, because it's
| | 00:32 | often useful to align our video and audio.
| | 00:35 | So, I'm going to open my track control
panel and put on my waveforms, and let's
| | 00:42 | go ahead and play through this
transition, and we want to see if the cut works
| | 00:47 | and if not, what needs to change.
| | 00:49 | So, I'm going to press Play Loop,
which is this button underneath the B side
| | 00:54 | monitor, or I can just press
any play button on my keyboard.
| | 00:58 | So, I'm going to press spacebar.
| | 01:00 | (clip playing)
| | 01:06 | Okay. Well, there is nothing wrong with that,
but you know what? She took an awful
| | 01:10 | long time to put that flower in her hair.
| | 01:13 | I want these shots to come quick and to
get to the point, so I'm going to remove
| | 01:17 | some of the frames from the B side of this clip.
| | 01:21 | So, I'm going to go into B side single
roller trim by clicking on my B side monitor.
| | 01:26 | You'll notice that my roller jumped to the B side--
| | 01:29 | it went from white to yellow--and my trim
counter is now lit up only on in the B side.
| | 01:35 | Now we want to remove frames, so I can
use my trim buttons, which are right here
| | 01:40 | underneath my A side monitor, to
trim one frame at a time to the right.
| | 01:44 | I'm going to go ahead and just click
several times, and I'm going to stop right
| | 01:48 | before that flower enters the
frame and back a little bit. Okay.
| | 01:57 | So, I think that's about how I want it.
| | 01:59 | This is actually forty-twenty frames that we've
removed from the head of that shot, and I'm
| | 02:05 | going to ahead and play
through this to see if we like it.
| | 02:08 | (clip playing)
| | 02:13 | All right, I like that a lot
better, so I think the timing works.
| | 02:17 | Let's go on to the next edit.
| | 02:19 | I can do that by getting myself out of
Trim and then reentering Trim here, but
| | 02:22 | the better way to do it is to actually
just press the fast-forward button right
| | 02:27 | here underneath my B side monitor.
| | 02:28 | All right, that jumps me into Trim down here.
| | 02:31 | We're going to play around this edit.
| | 02:33 | Again, I'll press spacebar.
| | 02:35 | (clip playing)
| | 02:42 | Again, I think that this clip
right here needs to start a lot later.
| | 02:46 | We don't really need to see him holding his hat.
| | 02:48 | So again, this is a B-side trim.
| | 02:51 | We're going to go ahead and click on the B side.
| | 02:53 | The keyboard shortcut for this is the
right bracket key, and that jumps me to my
| | 02:58 | B side. And this time, instead of using
the interface trim buttons, I'm going to
| | 03:04 | use the ones on my keyboard.
| | 03:06 | These four buttons correspond to
the M, comma, period, and backslash.
| | 03:14 | So I'm going to press my period key to
trim to the right one frame at a time.
| | 03:19 | I'm actually going to hold it down
because I think it's quite a few frames. Okay.
| | 03:25 | There's the flip, so I'm going to go back to
the left just a little bit, and I like that.
| | 03:31 | Again, that's thirty-five frames that we've
removed, and I'm going to go ahead and play
| | 03:35 | through this and see if we like it.
| | 03:37 | (clip playing)
| | 03:42 | All right, I think that worked really well.
| | 03:44 | Let's go ahead to the next edit.
| | 03:47 | We'll go ahead press fast-forward, and let's
play through this. I'll press spacebar.
| | 03:53 | (clip playing)
| | 03:53 | All right, well it looks like
there's definitely a problem here.
| | 04:00 | We took way too long to finish this
shot, and it actually needs to sync up so
| | 04:08 | that it matches on action
between the A side and B side;
| | 04:12 | therefore, I'm going to remove frame
from the A side, so I'll click on the A
| | 04:16 | side monitor, or I can use
my keyboard shortcut of P.
| | 04:22 | Again, the frames jump to the A side.
| | 04:24 | My trim counter is lit up on the A side,
ready to count my frames, and I want
| | 04:28 | to take away frames.
| | 04:30 | Okay, I'm going to go ahead and click and
drag this roller over until I see the hat.
| | 04:35 | All right, there it is.
| | 04:38 | I'm going to use my trim
buttons on the keyboard to fine-tune,
| | 04:41 | so, I'm going to trim to the right by
pressing the period key and just as soon
| | 04:45 | as he's bringing it up,
| | 04:47 | I think this is going to match really well.
| | 04:48 | He's bringing it up on the left.
| | 04:50 | He's bringing it up on the
right. This should work.
| | 04:53 | So, we have subtracted forty-fwo frames from
our A side, and let's go ahead and play
| | 04:59 | through and see how we like it.
| | 05:01 | (clip playing)
| | 05:06 | All right, not bad.
| | 05:08 | So you're going to continue going
through transition by transition, tightening
| | 05:12 | up shots and in some cases, letting them out.
| | Collapse this transcript |
| Performing dual-roller trims| 00:00 | In the previous movie, we used A-Side
Single Roller Trim and B-Side Single
| | 00:05 | Roller Trim to adjust each
side of the transition separately.
| | 00:10 | In this movie, we'll take a look at
Dual Roller Trim, which allows us to trim
| | 00:14 | both sides of the transition simultaneously.
| | 00:17 | All right, so this is a sequence
that we adjusted when we were doing
| | 00:21 | overwrites, and as you remember, we
left some gaps, and I said we would fix
| | 00:27 | those later on down the line.
| | 00:29 | Well, we're fixing them
now using Dual Roller Trim.
| | 00:32 | We'll be able to close these
gaps without any problem at all.
| | 00:37 | Let's go ahead and zoom in so that
we can see what we're dealing with.
| | 00:42 | And as you remember, I moved this
segment over so that my audio and video matched.
| | 00:48 | But I do have this gap, and I'm just
going to close this up by entering Trim
| | 00:52 | mode, and I will lasso my transition.
And in this case, I am going to extend
| | 01:00 | the A side and I am going to shorten
the B side. And in this case, the B side
| | 01:05 | is a visual filler.
| | 01:06 | So, you can actually trim filler
here, which is what I'm going to do.
| | 01:10 | I'm going to drag my transition over to the
right until I butt up against the next clip.
| | 01:16 | And let's go ahead and play
through and make sure we like it.
| | 01:19 | (clip playing)
| | 01:25 | Well, we fixed the problem, but I'm
actually going to use Dual Roller Trim again
| | 01:29 | so that I can try to match on action,
so that they're not just holding the
| | 01:33 | suitcases on both sides.
| | 01:35 | So again, I'm just going to drag my
rollers over until they start to set them
| | 01:42 | down, which is about right here,
| | 01:46 | and let's go ahead and play through.
| | 01:47 | I'll press spacebar.
(clip playing)
| | 01:55 | So, that matched pretty well.
| | 01:57 | As you'll see in the Trim counters, I
added a total of fifty-six frames to the A aide
| | 02:02 | because I performed two trims, one after
another, and thirty-one frames to the B side.
| | 02:09 | Let's zoom back out, because we want to
go to this next part where there's a gap.
| | 02:14 | I'm going to go ahead and
just lasso to get into Trim mode,
| | 02:17 | and I'm going to play through and make sure
that I know exactly what is going on here.
| | 02:21 | (clip playing)
| | 02:25 | Okay, so this was just a
resulting gap from moving this clip over.
| | 02:29 | Again, I'm just going to close it
up, and we should be in good shape.
| | 02:33 | We'll play it through.
(clip playing)
| | 02:38 | That looks just fine.
| | 02:40 | Okay, so that's closing gaps.
| | 02:41 | Let's take a look right here, because
it looks like our video starts before our
| | 02:47 | audio, and I think it'd be better
if that happened at the same time.
| | 02:50 | Again, I'm just going to enter
Trim mode, and we'll play through.
| | 02:54 | (clip playing)
| | 03:00 | We want this to start over here, and
we could do that during a B-Side Single
| | 03:04 | Roller Trim, but as you'll see, my
sequence is perfect at the end and I don't
| | 03:10 | want to change that.
| | 03:11 | So, I'm going to do a Dual Roller Trim instead.
| | 03:14 | I'm going to take my rollers and I'll
use my keyboard, so I'm going to trim to
| | 03:22 | the right by ten frames at a time by
pressing the backslash key, and we'll fine-
| | 03:29 | tune it by pressing the period a couple
of times, and let's see how that looks.
| | 03:34 | (clip playing)
All right, that looked just fine.
| | 03:42 | So as you see, Dual Roller Trim is a
great way to close up gaps, and it can also
| | 03:48 | be used to trim both the A side and
the B side of your edit simultaneously.
| | Collapse this transcript |
| Using Ripple Trim and Overwrite Trim| 00:00 | We've already taken a look at a couple
of the tools in the Smart tool: the Lift
| | 00:04 | Overwrite Segment button and
the Extract/Splice Segment button.
| | 00:08 | Well, right below those tools
are two Trim Smart tool buttons.
| | 00:12 | We've got Ripple Trim and Overwrite Trim.
| | 00:16 | Just as with the Segment mode buttons,
the Smart Tool Trim buttons allow you to
| | 00:19 | grab material in the Timeline and manipulate
it directly with your mouse. Let's take a look.
| | 00:24 | So, I have a couple of shots in
here that I want to take a look at.
| | 00:27 | The first is right here, as
Dave is flipping up his hat.
| | 00:30 | I'm going to go ahead and play through,
and let's see what we need to do to it.
| | 00:34 | (clip playing)
All right, so much too long.
| | 00:43 | We need to get rid of the first part
of the clip and the last part, and we're
| | 00:48 | going to do that using Ripple Trim.
| | 00:50 | Now, Ripple Trim does not
require that you enter Trim mode first.
| | 00:55 | So the way we know how to do it
right now is to enter Trim mode and then
| | 00:58 | select the A side of the edit and then
trim back, but to do this, I'm going to
| | 01:04 | simply select Ripple Trim--
| | 01:07 | this corresponds to Shift+F on your
keyboard--and I'm going to go ahead and
| | 01:11 | just drag this back.
| | 01:13 | Now, one tool we haven't gone over
yet is to actually set a point where the
| | 01:19 | edit is going to be.
| | 01:20 | So I'm going to set either an in or
an out point, either one will do, at
| | 01:25 | this frame right here.
| | 01:26 | So, I'm going to press I to mark an
in point, and then I'm simply going to
| | 01:32 | Ctrl+Drag, or Command+Drag
on a Mac, back to my in point.
| | 01:37 | So I'm going to click right near the
transition, and then I'm going to Ctrl+Drag
| | 01:41 | to my in point and release, and
you'll notice that my edit snapped to the
| | 01:47 | in point. And let's play through and
make sure that it fits with the next shot.
| | 01:51 | (video playing)
| | 01:56 | So, I think that worked.
| | 01:58 | We do need to come to the beginning
of this clip and cut out that rack
| | 02:03 | focus there as well.
| | 02:04 | So, I'm going to this time mark an out point.
| | 02:08 | I'll first clear my in by
pressing D and I'll mark an out here.
| | 02:14 | Again, I'm going to Ripple Trim by
holding down Ctrl, or Command on a Mac, and
| | 02:19 | dragging to this out point,
and I'm going to release.
| | 02:24 | Now, because this was a B-Side trim,
I don't visually see that I'm at my
| | 02:28 | out point, but if you'll notice when
I play through, it worked just fine.
| | 02:37 | So, B-Side trims can be a little tricky
visually, but as you can see, it still
| | 02:41 | works when you're snapping to in or out points.
| | 02:42 | I'm going to clear my out by pressing F,
and I have another moment downstream
| | 02:48 | that I'd love to look at.
| | 02:50 | Let's go ahead and play
through this part right here.
| | 02:54 | I'll press spacebar to play.
(music playing)
| | 03:01 | All right, so we have a medium
shot on Kim as she dips Dave down.
| | 03:06 | What I'd like to do, I think, is
actually cut from the medium shot, and about
| | 03:11 | right here, I'll go ahead and mark an in
point there. I'd like to cut to the
| | 03:16 | long shot of this action.
| | 03:17 | I think it's more interesting to look at.
| | 03:19 | So my goal is to leave visual filler
right here, and I'll go back to my bin and
| | 03:24 | get that long shot at another time.
| | 03:26 | So in this instance, I'm going to use
Overwrite Trim, so I'll activate Overwrite
| | 03:31 | Trim in the Smart tool, and the
keyboard shortcut for that is Shift+D by
| | 03:36 | default. And I'm just
going to grab this transition.
| | 03:40 | And again, I'm just going to Ctrl+Drag,
or Command+Drag on a Mac, to my in point
| | 03:45 | and release, and you'll notice that
I now have filler in the place that I
| | 03:50 | trimmed and I can go back to my
bin and get this shot at a later time.
| | 03:55 | I'll go ahead and play through just to
make sure that we cut at the right place.
| | 03:58 | I'll press spacebar.
| | 03:59 | (clip playing)
I think that'll work just fine.
| | 04:04 | I'm going to undo that just a
moment because I want to talk about
| | 04:09 | combining these trim methods.
| | 04:11 | If I click on both Overwrite Trim and
Ripple Trim, the same thing happens as
| | 04:17 | with my Segment mode.
| | 04:19 | If I hover in the upper portion of the
segment, near a transition, this puts me
| | 04:24 | into Overwrite Trim.
| | 04:25 | If I hover in the lower portion of a segment,
near a transition, this puts me into Ripple Trim.
| | 04:31 | It even gets more powerful if I
also select my Segment mode buttons.
| | 04:36 | If I hover on the upper portion of a
segment, that's Lift Overwrite Segment mode;
| | 04:40 | the lower portion, that's Extract/
Splice Segment mode; and then the same thing
| | 04:43 | over here near the transition.
| | 04:45 | So, if you're an editor that likes to
manipulate clips via the interface, the
| | 04:50 | Smart tool is a great option.
| | 04:52 | If however, you are a keyboard-driven
editor, you can just disable the Smart
| | 04:56 | tool by toggling off, and use your keyboard.
| | 05:00 | Depending on your style,
either way is totally fine.
| | Collapse this transcript |
| Understanding sync| 00:00 | Trimming is a very powerful tool, but if
you don't use it correctly, you can run
| | 00:04 | into some trouble with audio and video sync.
| | 00:08 | Let's take a look at what this means.
| | 00:10 | So, I have a little bit
more of a complex sequence.
| | 00:12 | It's mostly interviews with Broll over it.
| | 00:16 | And one thing about this Broll is
that it's been positioned exactly over the
| | 00:21 | part of the interview that it concerns.
| | 00:23 | We obviously want to keep
this video over the interviews.
| | 00:28 | So, I'm going to go into my first edit.
| | 00:30 | So, I'm going to enter a
trim on this first transition.
| | 00:33 | I have my V1, A1, and A2 Track Selectors
on, and so I'm just going to press U.
| | 00:39 | And let's go ahead and play around this edit.
| | 00:42 | I'll press spacebar.
| | 00:44 | (Female speaker:--fined. One person
follows, one person leads.)
| | 00:48 | All right, so we have too
much material on the A side.
| | 00:51 | This is going to be an
A-Side Single Roller Trim.
| | 00:54 | I am going to press the P key to
jump to the A side, and we want to remove
| | 00:59 | frames, so I'm going to go one frame to
the left using my comma. And I'm going to
| | 01:05 | enable a waveform, so I can
actually see the audio as I do this.
| | 01:12 | It looks like this is the offending
audio, so we'll go ahead and trim to the
| | 01:18 | left by one frame at a
time, and I'll release there.
| | 01:24 | It looks like we just got rid
of thirty-two frames on the A side.
| | 01:27 | Let's go ahead and play.
| | 01:28 | (Female speaker: The roles are defined. One
person follows, one person leads.)
| | 01:33 | Well, we've fixed that problem, but wait a
second. It looks like we created a couple more.
| | 01:39 | We now have this gap that we didn't
have before. And I'll go ahead and do this
| | 01:44 | again so you can see everything
that happened when I did this.
| | 01:48 | I'm going to press Undo, and
I'm going to do that again.
| | 01:53 | Keep your eye on V2 as I do this edit.
| | 01:56 | So, I'm going to trim to the left.
| | 02:01 | And when I release, notice that all of
my video and audio on these three tracks
| | 02:07 | moved, but nothing on V2 moved.
| | 02:10 | That's going to create a problem
right here and on down the line as well.
| | 02:15 | Let's undo one more time, and we'll
talk about how to do this correctly.
| | 02:19 | I want to trim my V2 track with these
other three tracks so that everything will
| | 02:25 | move simultaneously.
| | 02:27 | So, what I'm going to do is I'm going
to Shift+Click on this side of the edit,
| | 02:32 | up here on V2, so it's included in that trim.
| | 02:36 | I'll go ahead and trim over to the left by
pressing my comma again. And I'll release.
| | 02:47 | Everything stayed in sync.
| | 02:49 | We don't have that gap anymore.
| | 02:51 | V2 moved at the same rate as every
track below it, and we're in good shape.
| | 02:56 | So, bottom line: as you're trimming,
make sure not to forget all of your tracks
| | 03:01 | that are involved in the trim.
| | 03:03 | While it might not look like they're involved,
| | 03:05 | they definitely are, because we have these
points of sync that we need to maintain.
| | 03:09 | So, make sure that you have the
Shift+Clicking of our trim rollers as an
| | 03:14 | available option as you go forward.
| | Collapse this transcript |
| Solving sync problems| 00:00 | Sometimes you can accidentally throw
yourself completely out of sync, and this
| | 00:04 | usually happens when you perform a
Single Roller Trim on one track but not
| | 00:09 | another, or when you perform an
Extract on one track, but not another.
| | 00:13 | Bottom line: it happens when you either
add or remove frames unevenly between tracks.
| | 00:20 | In this movie, we'll take a look at
what to do if this happens to you.
| | 00:23 | Now, if you've already edited in Avid,
you've probably seen these little white numbers.
| | 00:28 | If you're new to Avid, you
are sure to see them soon.
| | 00:31 | But I just want to give you
some tools for dealing with them.
| | 00:34 | Now, all they mean is that from this
point on, my video is thirty-six frames out of
| | 00:40 | sync from my audio.
| | 00:42 | If we take a look at how this might have
happened, we're good, we're good, we're
| | 00:47 | good, and then we go out of sync.
| | 00:50 | So it seems that right here we added thirty-six
frames of video--I'll zoom in so we can
| | 00:56 | see it--and we didn't likewise add the audio.
| | 01:02 | So, this pushed my video downstream,
| | 01:05 | my audio remained where it
was, and I'm out of sync.
| | 01:09 | Now, some people just don't know
what to do when they see these numbers.
| | 01:13 | Ideally, if it happens and you catch
it, you just undo until they go away.
| | 01:18 | But let's say that you shut down for the
day and didn't notice it, opened it back
| | 01:23 | up the next morning, and you see white
numbers all the way down your sequence.
| | 01:28 | What you need to do is enter Single Roller
Trim mode on either your video or your audio.
| | 01:35 | In this case, I see that I am over on my
video, so I'm going to enter it on my video.
| | 01:41 | So I'm going to enter Single
Roller Trim mode on my video.
| | 01:44 | I've got V1 selected, so I'm just
going to press U, and I'm going to go ahead
| | 01:48 | and select my A side.
| | 01:50 | And right now it's fairly obvious
that I need to subtract thirty-six frames to bring
| | 01:55 | everything back into sync, but sometimes
it's just not that easy to figure out
| | 02:00 | exactly which way you should go.
| | 02:02 | So, I'm here to tell you that it
really doesn't matter that much.
| | 02:06 | Just try one way, and if it
doesn't work, just reverse your choice.
| | 02:10 | So I know I'm thirty-six frames out of sync.
| | 02:12 | I'm going to go ahead and type in +36,
just to show you that it's not a big deal.
| | 02:19 | And if you look up here, I
have +36 in my frame counter.
| | 02:22 | I'm going to go ahead and press Enter,
and yup, I threw myself out of sync by
| | 02:27 | doubles, so I'm seventy-two frames
out of sync. Not a big deal.
| | 02:31 | All I do is I reverse that, so -72,
Enter, and everything comes back into sync.
| | Collapse this transcript |
|
|
4. Organization and CustomizationNavigating with JKL| 00:00 | We're going to jump back out of
editing for a few movies to talk about some
| | 00:04 | important navigation and
customization techniques.
| | 00:07 | In this movie, we'll explore one of the
most important navigation tools in Media
| | 00:11 | Composer, JKL Navigation.
| | 00:14 | Moving quickly and deliberately, or
slowly and precisely, through the Timeline is
| | 00:18 | essential in the editing process.
| | 00:20 | So far we've covered several ways to do this.
| | 00:23 | You can press play by pressing your
spacebar or 5 key, you can scrub with your
| | 00:27 | position indicator, and you can step
through either one or ten frames at a time
| | 00:32 | using your 1, 2, 3, and 4 key.
| | 00:34 | Probably the most important and most
often-used technique for the Timeline
| | 00:38 | navigation however is JKL.
| | 00:42 | JKL is a variable-motion
and direction-control device.
| | 00:45 | Let's first talk about J. When you press
it once, it goes backwards in real time.
| | 00:50 | Then as you press it more and more times,
it gets faster and faster in reverse.
| | 00:55 | L does the same thing, but forward.
| | 00:58 | You press it once, it goes forward in
real time, and then you press it more and
| | 01:01 | more times and it gets faster and faster.
| | 01:05 | Let's take a look at how this works.
| | 01:06 | I'm going to go ahead and press L
once to go forward in real time.
| | 01:11 | I'll press it again to go double speed.
| | 01:15 | Again, and I'm at triple speed.
| | 01:17 | I'll press it four times, and it
actually sends me to five-times speed.
| | 01:23 | And I'm going to try to press it five
times, and we're eight-times speed right now.
| | 01:27 | So this lets you really
zip through the sequence.
| | 01:29 | I can do the same thing with J, in reverse.
| | 01:32 | Once, in real time backwards.
| | 01:36 | This is double-time backwards. Triple.
| | 01:41 | And then I press it four times that
sends me to five-times speed backwards.
| | 01:46 | And five times will send me
to eight-times speed backwards.
| | 01:50 | When I'm doing JKL, K will pause.
| | 01:51 | So I'll just go forward
with L, press K, and I pause.
| | 01:58 | But the really great thing about K is
that you can use it to go in slow motion.
| | 02:02 | Specifically, if I hold down K and J at the
same time, I'll go backwards at one quarter speed.
| | 02:08 | If I hold down K and L at the same time,
I'll go forward at one quarter speed.
| | 02:12 | Let's take a look at this.
| | 02:14 | Let's go ahead and zoom in, because
usually when we're going in slow motion, we
| | 02:19 | want to get pretty precise here and I'm going
to hold down K and go forward with L. All right.
| | 02:31 | And I'm just going to keep holding K
and go backward with J. So, this can help
| | 02:41 | you hone in on exactly
where clips start and end.
| | 02:45 | Lastly, I'd like to point out
the location of each of these keys.
| | 02:48 | J, K, and L are right next to one
another, right below I and O. This lets you
| | 02:54 | navigate through your clips using
JKL, both forward and backward, and at
| | 02:59 | variable speeds, and then you can
extend your two fingers up to I and O to mark
| | 03:05 | your in and out points.
| | 03:06 | In this way, you have a lot of power
with just three fingers as you navigate
| | 03:10 | through and mark your clips for editing.
| | 03:13 | JKL navigation is an essential part
of any editor's experience, and it's
| | 03:18 | important that you work it in to your
muscle memory by using it to proceed
| | 03:21 | forward and backward, and at variable
speeds, through your sequences as you edit.
| | Collapse this transcript |
| Using navigation shortcuts| 00:00 | To be an efficient editor, you also
need to know shortcuts for finding footage
| | 00:04 | and customizing your workspace.
| | 00:06 | In this movie, we'll explore some of
the most useful shortcuts for selecting
| | 00:10 | tracks, zooming in and out of the
Timeline, and matching frames from the
| | 00:14 | sequence to the source monitor.
| | 00:16 | As we keep building sequences with more
and more video and audio tracks, it can
| | 00:21 | become very useful to be able to select
exactly the tracks that we want without
| | 00:25 | having to click them all on or
click them all off separately.
| | 00:29 | So, to select all the tracks at once,
I press Ctrl+A, or Command+A on a Mac.
| | 00:36 | If I want to deselect all the
tracks at once, I press Ctrl+Shift+A, or
| | 00:41 | Command+Shift+A on a Mac.
| | 00:44 | If I already have some of the tracks
selected and I want to automatically
| | 00:48 | select the reverse of what I have
selected, I just drag a lasso through my track
| | 00:53 | selectors and the reverse are selected.
| | 00:56 | If I want to turn off all of the video
tracks to a certain point, I just have to
| | 01:02 | Shift+Click on one of the
tracks that is on and drag up.
| | 01:07 | If I want to turn on certain video tracks,
I just have to Shift+Click on a track
| | 01:12 | that's off and drag down.
| | 01:15 | Now let's cover zooming.
| | 01:17 | So far, we've just been using
our Scale bar to zoom in and out.
| | 01:21 | But again, keyboard shortcuts are better,
so I want to draw your attention to the
| | 01:26 | Timeline Fast menu, where we
see more detail and less detail.
| | 01:31 | This is mapped to Ctrl+Right Bracket
and Ctrl+Left Bracket respectively.
| | 01:36 | We're going to map those to other keys
when we learned about mapping, but for
| | 01:40 | now, let's go ahead and learn this.
| | 01:42 | So, as I press Ctrl+Right Bracket, or
Command+Right Bracket on a Mac, I'm going
| | 01:48 | to zoom in, and I can zoom in so far
that my position indicator actually splits
| | 01:54 | into two, and this represents one frame
of video, which is really, really helpful.
| | 02:00 | Then if I press Ctrl+Left Bracket, or
Command+Left Bracket on a Mac, I can zoom
| | 02:05 | out, and I can zoom way out.
| | 02:07 | I'm going to go ahead and zoom
back in here to fill the frame.
| | 02:12 | Also, we covered enlarging tracks, but I
want to cover how to make them smaller as well.
| | 02:16 | I'm going to go ahead and select all my
tracks by pressing Ctrl+A, and I'm going
| | 02:22 | to press Ctrl+K, and that
makes all of my tracks smaller.
| | 02:27 | And again, Ctrl+L, or Command+L
on a Mac, makes them larger.
| | 02:32 | So sometimes, I might like to have my
video tracks large and my audio tracks
| | 02:37 | small, so I could just Shift+Drag my
audio tracks, Ctrl+L my video, then I can
| | 02:45 | select the reverse, and Ctrl+K my audio.
| | 02:52 | It's up to you how you
customize your Timeline layout.
| | 02:55 | Finally, I'd like to cover Matchframe.
| | 02:58 | This is the technique that matches a
frame from the sequence and puts it
| | 03:02 | into the source monitor.
| | 03:04 | This allows you to look at the material
either right before or right after the
| | 03:08 | frame in your sequence,
which can be very useful.
| | 03:10 | So, let's say I would like to
matchframe the beginning of her interview here,
| | 03:17 | because I want to see what came before that.
| | 03:20 | So, I'm going to select V1. Then I'm
going to come into my Timeline Fast menu
| | 03:26 | and click on this button here that
looks like a little frame of film.
| | 03:31 | So, this brings up the frame on V1, so
I'll just move my monitor down to V1, and
| | 03:37 | we have this exact frame
of video loaded up here.
| | 03:40 | It conveniently puts an in point so
that I know all of the material before is
| | 03:45 | the stuff that I want to look at.
| | 03:47 | If I would like to matchframe on V2, I
just have to select V2, and then again
| | 03:53 | choose Matchframe, and it's going to
match this frame right here and put an
| | 03:59 | in point and I can look at
the material before or after.
| | 04:04 | Now, let's say I have something
like 8-10 video tracks and I want to
| | 04:08 | matchframe the material on V1.
| | 04:11 | Rather than deselecting all of the
above video tracks and then finally getting
| | 04:15 | to V1, I have another technique in mind.
| | 04:18 | If I right-click on V1, even if
V2 is selected, I can choose the
| | 04:23 | option Matchframe Track.
| | 04:26 | This again, matches the frame on V1 and I
don't have to worry about my track selectors.
| | 04:32 | Knowing your way around the editing
interface will help you become a better,
| | 04:36 | faster, and more efficient editor.
| | 04:38 | While the tools covered in this movie
are just scratching the surface of all
| | 04:42 | the things you can do,
| | 04:43 | knowing these techniques will
greatly help you out going forward.
| | Collapse this transcript |
| Using the Command palette| 00:00 | While it's certainly useful to be
able to use classic keyboard shortcuts to
| | 00:04 | build a more efficient editing workspace,
the true secret to customization lies
| | 00:08 | in the creation of a
workspace using the Command palette.
| | 00:11 | In this movie we'll take a look at how
to use the Command palette, which is a
| | 00:15 | collection of all the possible
button and menu items that you can use to
| | 00:19 | construct your most ideal editing environment.
| | 00:22 | So, we open the Command palette by
choosing it from the Tools menu, or its
| | 00:28 | keyboard shortcut is Ctrl+3,
or Command+3 on a Mac.
| | 00:32 | We also want to open our Keyboard Settings.
| | 00:36 | I just need to click on the Settings
tab, and I'm just going to click on any
| | 00:39 | setting and type K to go down to the keyboard.
| | 00:43 | In the first chapter, we duplicated the
keyboard and made an audio and an edit
| | 00:47 | keyboard, so we're going to be working in our
edit keyboard, as indicated by this check mark.
| | 00:52 | Let's go ahead and open it, and this
should look pretty familiar to you.
| | 00:56 | We've already learned many, many of
these commands, and we're just going to be
| | 01:00 | adding a couple more.
| | 01:01 | In the Command palette, we want to
make sure that we have Button to Button
| | 01:04 | Reassignment selected.
| | 01:06 | That will allows us to map any of the
buttons within this list to our keyboard.
| | 01:12 | I'll just go through and quickly show
you all of the various categories and all
| | 01:16 | of the buttons inside of them.
| | 01:17 | We have all of the buttons related to
moving things in the Timeline, playing,
| | 01:24 | basic edit functions, trimming,
effects, 3D, color correction, multi-cam.
| | 01:32 | Here are our various video and audio tracks.
| | 01:36 | Here are our smart tools, and in the
Other and More tabs, we have Miscellaneous
| | 01:42 | tools, and at the end, we have Workspaces.
| | 01:46 | So I'm going to start in Smart tools,
because something I always do is I map the
| | 01:53 | Lift Overwrite Segment mode and the Extract/
Splice Segment mode to 9 and 0. Why is that?
| | 02:00 | Well, we've already talked about how
J,K, and L, and I, and O are conveniently
| | 02:06 | located all in one space in our keyboard setup.
| | 02:10 | So, if I mapped Lift Overwrite Segment
mode to 9, and Extract/Splice Segment
| | 02:16 | mode to 0, I can rest three fingers on
J,K, and L, I can extend those fingers
| | 02:23 | to I and O to mark, and then I can
extend them just a little bit further to move
| | 02:28 | material in the Timeline.
| | 02:29 | I call this pyramid of power.
| | 02:32 | I'm also going to map my Matchframe
button to my keyboard, and I like to map that
| | 02:36 | to Shift+M. Notice that when I press
Shift I get a mostly blank keyboard.
| | 02:42 | That's convenient because I have a
lot of commands that I want to map to my
| | 02:45 | keyboard and the shifted
keyboard allows me to do that.
| | 02:48 | So I'm going to go to Other, I'm
going to hold down Shift, and I'll drag
| | 02:53 | Matchframe to Shift+M. All right,
so let's just check it out.
| | 02:58 | I'll go ahead and press 9 and
you can see that that enables Lift
| | 03:06 | Overwrite Segment mode.
| | 03:08 | I'll press 0 and you can see that that
enables Extract/Splice Segment mode, and
| | 03:13 | I'm all set to begin moving my segments.
| | 03:15 | Now let's go ahead and try a matchframe.
| | 03:19 | I'll press Shift+M, and there's my
matchframe mapped to my keyboard.
| | 03:24 | Next I want to show you how to
map menu items to your keyboard.
| | 03:28 | I'll go ahead and open my Edit
Keyboard and I'll press Ctrl+3 to open my
| | 03:33 | Command palette, and I want to change
this to Menu to Button Reassignment, okay.
| | 03:39 | Now, what I'm going to show you how to
do is map the More Detail and Less Detail
| | 03:45 | button to the up and down arrow.
| | 03:47 | Now as you'll see, as I bring this
cursor through my interface, it looks like
| | 03:52 | a little white menu.
| | 03:54 | This is telling me that I am
all set to map my menu items.
| | 03:58 | What I do is I click on my keyboard.
| | 04:00 | I'm going to click on the down arrow,
then I come to my Timeline Fast menu, and
| | 04:06 | I'm going to choose the menu item, Less Detail.
| | 04:11 | You can see that it was
mapped to the down arrow.
| | 04:14 | I'll do the same thing for the up arrow.
| | 04:15 | Again, you press on the button first,
then you navigate to the menu item, and
| | 04:23 | you can see that we now have
this mapped to the up and down arrow.
| | 04:26 | I think it's a lot easier to
remember than Ctrl+Left Bracket or
| | 04:29 | Ctrl+Right Bracket.
| | 04:32 | I'm also going to map my waveform to
Shift+W. So again, I'm going to hold
| | 04:37 | down Shift, click on W, come down to my
Timeline Fast menu, go to Audio Data, and Waveform.
| | 04:46 | Now you can see that Waveform was
mapped to Shift+W. Let's go ahead and close.
| | 04:51 | Again, if you don't close, they won't work.
| | 04:54 | And let's try these out.
| | 04:56 | So I'm going to click on my up arrow here to
zoom in and my down arrow here to zoom out.
| | 05:03 | It's a lot easier to remember
and a lot easier to navigate.
| | 05:08 | Now I'm going to press Shift+W to show my
waveform, and I'll press it again to turn it off.
| | 05:14 | I think this is a much easier way to
show your waveform than to constantly be
| | 05:18 | opening your Track Control panel.
| | 05:19 | I'm going to just open the Command
palette one more time to just briefly
| | 05:24 | touch on Active palette.
| | 05:25 | If you chose this then all of the
buttons within this menu are just active,
| | 05:30 | they are those buttons.
| | 05:31 | But you really never use this,
because if you take the time to go into
| | 05:35 | the Command palette to find a button, you
might as well just map it to your keyboard.
| | 05:39 | So, that is available, but it's
something I don't use that often.
| | 05:43 | Using the Command palette is truly the
key to developing a dynamic, personalized
| | 05:48 | editing environment.
| | 05:49 | I highly recommend that you begin
building your own keyboard settings at this
| | 05:52 | early stage and then with each new
concept to learn, map the corresponding button
| | 05:57 | and menu item to your keyboard.
| | 05:59 | By the time you go through this course,
your keyboard should be rich and robust
| | 06:02 | with personalized settings.
| | Collapse this transcript |
| Customizing the Timeline| 00:00 | Another way for editors to customize
their editing experience is to create
| | 00:04 | customized Timeline views for quick
visual and practical changes between
| | 00:08 | various Timeline functions.
| | 00:10 | So in this movie, we'll examine how
to use customized Timeline views to our
| | 00:14 | advantage in setting up the editing environment.
| | 00:16 | So I have my Timeline here and I'd like
to make some changes, but before I do,
| | 00:22 | I want to save this one out as the default
setting in case I ever need to come back to it.
| | 00:27 | So I'm just going to click on this
menu down here and choose Save As, and I'm
| | 00:33 | going to just write in Default.
| | 00:37 | With that done, I'm ready to
create my video-centric view.
| | 00:41 | So I want to select my video tracks but
not my audio tracks or my time code track,
| | 00:46 | so I'm going to Shift+Drag to
deselect all of my audio tracks, and then I'm
| | 00:51 | going to press Ctrl+L, or
Command+L on a Mac, to enlarge these.
| | 00:56 | All right, that looks good.
| | 00:58 | Now, I'm going to go ahead and lasso
through all my tracks to select just my
| | 01:01 | audio tracks, and this time I'm going
to press Ctrl+K, or Command+K on a Mac.
| | 01:08 | And one other thing I'd like to do is
add some clip frames to my video tracks.
| | 01:13 | To do that, I'm going to come down to my
Timeline Fast menu and choose Clip Frames.
| | 01:18 | And as you see here, we have a visual
indication of what each one of these clips is.
| | 01:22 | It's a thumbnail of the first frame
of each one of these video segments.
| | 01:26 | So this looks good for my video Timeline
view. There are more things you could add.
| | 01:31 | For example, there are lots of
different text options that you can add, but
| | 01:35 | things are already getting kind of
busy, so I'm going to forego that.
| | 01:38 | And then I'm going to come down to my
menu here, choose Save As, and I'm just
| | 01:44 | going to call this Edit, as it's
my main editing view, and say OK.
| | 01:50 | And now, I'm going to create an audio-
centric view, but before I do, I want to
| | 01:54 | switch back to my default, so
it's a little bit easier to create.
| | 01:58 | And now with my audio track selected,
I just want to make those a little larger.
| | 02:01 | So I'm going to press Ctrl+L or
Command+L, and then I'm going to lasso just
| | 02:08 | like the reverse, and let's go ahead
and just make those video tracks a little
| | 02:11 | bit smaller by pressing Command+K repeatedly.
| | 02:15 | And now we want to globally insert
our waveforms in our audio tracks and to
| | 02:21 | do that, I'm going to come down to my
Timeline Fast menu, choose Audio Data, and Waveform. All right.
| | 02:28 | So, we have a couple of other options
within this Audio Data menu which we'll
| | 02:32 | learn about in the audio chapter,
| | 02:34 | so remember how to do this because
we'll probably add those to our Timeline
| | 02:37 | a little bit later.
| | 02:39 | Okay, we want to save this out, and I'm
just going to call this Audio. Say OK.
| | 02:46 | Now, we can toggle between our various views quite
easily, but you know what? It can get even easier.
| | 02:54 | Rather than toggling through them down
here, let's map these to our keyboard.
| | 02:57 | I'm going to open up my Command palette,
so I'll press Ctrl+3 or Command+3 on a Mac.
| | 03:04 | I'm going to go to the More tab,
and as you see here, we have eight
| | 03:08 | map-able Timeline views.
| | 03:10 | But which one is T1, T2, and T3?
| | 03:13 | Well, we're actually going
to assign those right now.
| | 03:17 | If we go to my Settings tab, and I'm
going to go down to my Timeline views,
| | 03:22 | you see here that we have our Timeline views.
| | 03:24 | Ideally, they'd be in alphabetical order.
| | 03:26 | This might be a little bit of a glitch,
but hopefully by the time you're
| | 03:29 | watching it, things will be in order.
| | 03:31 | But you know what? We're going to force
these to go into alphanumeric order by
| | 03:34 | just putting some numbers in front of them.
| | 03:36 | So, I'd like my first
Timeline view to be my default view,
| | 03:41 | so I'm just going to
type in a 1 and then a dash.
| | 03:45 | I'd like my second
Timeline view to be my edit view,
| | 03:48 | so I'm just going to type in 2 and dash.
| | 03:52 | And I want my third Timeline view to
be my audio view, 3, and we're all set.
| | 03:58 | So, this is going to be T1, T2, and T3.
| | 04:02 | Let's go ahead and open up my keyboard settings.
| | 04:04 | I'm just going to click on any setting
and press K, and we want to open up our
| | 04:08 | edit keyboard because that's the one
that's selected, and let's go ahead and map
| | 04:12 | those to Shift+1, Shift+2, and Shift+3.
| | 04:15 | We want Button to Button Reassignment
selected. I'm holding down my Shift key,
| | 04:20 | and let's go ahead and drag T1 to
Shift+1, T2 to Shift+2, and T3 to
| | 04:28 | Shift+3. Okay, we're all set to try this out.
| | 04:32 | I'm going to activate my Timeline.
And let's go ahead and press Shift+1, default;
| | 04:38 | Shift+2, edit; and Shift+3, audio. Works great!
| | 04:43 | So as you can see, switching back and
forth between various Timeline views is a
| | 04:46 | real time-saver when working with
different elements in the post-production
| | 04:50 | process, especially when we
can map those to our keyboard.
| | Collapse this transcript |
| Using bin layouts| 00:00 | So far, we've looked at how we can
customize our keyboard, interface, and Timeline.
| | 00:05 | Let's take it a step further and talk about
how you can customize the layout of your bins.
| | 00:09 | And this is a new
feature as of Media Composer 6.
| | 00:12 | During various points in the editing
process, you'll want to have different
| | 00:16 | bins open and available to you, so let's go
ahead and just open a couple of bins here.
| | 00:21 | Most of the time, we do
want our sequences bin open.
| | 00:24 | And let's go ahead and put that up at
the top, because I like to have of my
| | 00:28 | sequences nice and available to me on the top.
| | 00:30 | Then let's go ahead and pretend that
we're working on our narrative story scene.
| | 00:35 | So we don't need our interviews, but
we do need our dancing Broll and our
| | 00:38 | narrative story Broll.
| | 00:40 | So, I'm just going to open up this Broll
bin, and let's go ahead and just resize
| | 00:46 | it so that it fits in this space here.
| | 00:49 | You'll probably have a little bit
more space than I have here, so feel free
| | 00:52 | to take up that space.
| | 00:55 | And we'll go ahead and open this
one and this Broll bin as well.
| | 01:05 | This view, having my Sequences bin here,
and my three Broll bins here, this is
| | 01:10 | something that I'm going to use quite
often, so I'm going to come up to Windows >
| | 01:16 | Bin Layout > New Bin Layout, and
because this is the way I'm going to work
| | 01:20 | most of the time, I'm going
to call this bin layout Edit.
| | 01:23 | All right, so now I'm going to click OK.
| | 01:28 | As you see here, this is now my Edit bin layout.
| | 01:32 | Let's go ahead and create one more.
| | 01:34 | I'm going to go ahead and close this
out by pressing the red X, and this time
| | 01:40 | let's go ahead and create a bin layout
for when we're doing our interview scene.
| | 01:43 | Again, I'm going to open up my
Sequences bin, and let's open up our interview.
| | 01:47 | And we'll also want our Music bin open for this.
| | 01:55 | And we also want our Event Broll open here.
| | 01:59 | So, this is for a different type of
project, but it's still very important for
| | 02:03 | me to be able to have all of these
open at once when I'm working on it.
| | 02:07 | So, I'm going to come up to Windows >
Bin Layout > New Bin Layout, and let's
| | 02:13 | just call this Edit 2. Press OK.
| | 02:17 | So, let's go ahead and test this out.
| | 02:20 | If I come up to Windows, go to Bin
Layouts, I can toggle back and forth between
| | 02:25 | these various layouts.
| | 02:27 | Now again, this is a new
feature and it's really, really handy.
| | 02:30 | I like it a lot so far. But you know what?
| | 02:32 | It gets better.
We're going to map these to our keyboard.
| | 02:35 | So, I'm going to come down to my settings, type
K to go to my keyboards, open my edit keyboard.
| | 02:41 | I'm going to my Command
palette, Ctrl+3 or Command+3.
| | 02:45 | I'm going to go to Workspaces.
| | 02:48 | You'll probably see that I don't
have my Edit bin layout or Edit 2 bin
| | 02:53 | layout, but you know what?
| | 02:54 | These are dropdown menus and I
can make these anything I want.
| | 02:58 | So, I'm going to make these my Edit layout,
and I want to make this my Edit 2 layout.
| | 03:03 | Okay, so there they are.
| | 03:05 | They are ready for us to map.
| | 03:07 | We want to make sure that Button to
Button Reassignment is on, and in a
| | 03:10 | moment, I'm going to press Shift, and I think I
will map them to Shift+Minus and Shift+Equals.
| | 03:16 | So, I'll press Shift and just drag
this to Shift+Minus, drag this to
| | 03:22 | Shift+Equals, and let's go ahead and try it out.
| | 03:27 | All right, I am activating my Timeline,
and I am going to press Shift+Minus, and
| | 03:35 | that is my Edit 1 layout. And I'm going to press
Shift+Equals, and there's my Edit 2 layout.
| | 03:40 | So, as you can see, if you
customize your bin layouts, this can be a
| | 03:44 | real time-saver.
| | Collapse this transcript |
| Using workspaces| 00:00 | We're going to take customization one
step further by customizing our workspaces.
| | 00:06 | Now, a workspace is the entire editing
interface, which includes all of your
| | 00:10 | main windows, as well as bins and
tools that you open and keep open.
| | 00:17 | By default, Media Composer has six
workspaces, and I want to show you those right now.
| | 00:21 | Go to the Windows menu > Workspaces,
and by default, we're already in Source
| | 00:28 | Record Editing, and that's what we've been
working in for the duration of this course.
| | 00:31 | It's just basic editing where we have a
Source monitor and a Record monitor and
| | 00:35 | our Timeline, the Project
window, and any open bins.
| | 00:39 | I want to show you these other ones.
| | 00:41 | We have Audio Editing.
We have Color Correction.
| | 00:50 | There's also Full Screen Playback--
and Escape out of this to get out of
| | 00:57 | Full Screen Playback.
| | 01:01 | We also have Effects Editing,
| | 01:05 | and finally, our Capture workspace.
| | 01:09 | So, I'm going to go back to Source Record.
| | 01:12 | And by the way, if you ever
accidentally resize any of your windows and you
| | 01:16 | want to get back to just the regular
old way of editing, just come up to
| | 01:21 | Windows and go to Workspaces and go to
Source Record and everything will reset for you.
| | 01:25 | So as you see, there are quite a lot
of tools during different phases of the
| | 01:29 | post-production process
that you might want to use.
| | 01:32 | And I'm going to show you how to
create your own workspace, because you never
| | 01:35 | know what tools you want to have open,
which bins, how you want your Timeline
| | 01:40 | and your Composer window to look, so
let's take a look at how to customize this.
| | 01:44 | So, I'm going to open up my Audio Mixer,
my Audio EQ tool, and my Audio tool.
| | 01:53 | And I know we haven't covered these
yet, but I just want to show you how to
| | 01:57 | customize these, so that when we get to it,
you'll have an idea of how to go forward.
| | 02:02 | So, right now these are floating windows,
but as we know, we have the ability to
| | 02:07 | send this to a tabbed interface, so I'm
going to just grab the title of my Audio
| | 02:12 | tool and drag it to this window,
and do the same thing here.
| | 02:16 | Now, we can toggle through these tabs.
And as you see, it's kind of resting on
| | 02:22 | top of my Project window and I have some
bins behind it, so I'm going to need to
| | 02:25 | do some resizing here.
| | 02:27 | So, let's go ahead and make my Project
window a little smaller and size down my
| | 02:35 | Timeline as well. And I'm just going
to do a couple of changes, as far as
| | 02:42 | positioning of my Audio tools, and I'll
resize my Composer window here, and I've
| | 02:51 | just got a little space for my bins down here.
| | 02:53 | And let's go ahead and change this just a
little bit, so we get it exactly how we like it.
| | 03:03 | So, this is the configuration of what
my Audio Editing workspace looks like.
| | 03:09 | I have my Composer window.
| | 03:11 | I have my Project window, my Timeline.
| | 03:13 | I have some space for some bins,
| | 03:15 | and then here are my Audio tools,
which are tabbed here in this main window.
| | 03:20 | So, let's go ahead and save this out.
| | 03:22 | I'm going to go to Windows >
Workspaces > New Workspace.
| | 03:27 | I'm going to name this 3-Audio, and that
will become apparent why in just a moment.
| | 03:33 | So, I'm going to name this 3-Audio and say OK.
| | 03:40 | So, now, if I come up to Windows >
Workspaces, this is one of my options.
| | 03:44 | So, I can go back to Source
Record, and I'll go to my 3-Audio.
| | 03:51 | So why did I call this 3-Audio?
| | 03:54 | Well, if you've watched some previous
movies in this course, you know that I
| | 03:57 | named my Timeline view 3-Audio, and
we're about to link our Audio Editing
| | 04:04 | workspace to our Audio Editing Timeline view.
| | 04:07 | So let's go ahead and open up my Settings,
and I'm going to go down to my Workspaces.
| | 04:13 | There's my 3-Audio workspace.
| | 04:15 | I'm going to go ahead and open it.
And up at the top it says Link to Settings.
| | 04:21 | I'm going to Link to Named Settings,
and I'm going to call this link to other
| | 04:27 | settings called 3-Audio.
| | 04:30 | Notice that I can also link to a bin layout.
| | 04:33 | Now, I don't really have the space
to link to a Bin Layout, so I'm going
| | 04:37 | to leave this alone.
| | 04:39 | So, I'm going to click OK.
| | 04:42 | And you see that this automatically
populated with my Audio Timeline view.
| | 04:47 | So, now I'm going to go
back to Source Record editing.
| | 04:50 | You'll notice that my Timeline view
stayed as my Audio Editing Timeline view
| | 04:55 | because I haven't linked my Source
Record workspace to any particular Timeline.
| | 05:01 | Let's go ahead and do that now, so that
we can see a visual change when we switch
| | 05:05 | between our workspaces.
| | 05:06 | Again, I'm going to go to Settings and
I'm going to go to Source Record workspace.
| | 05:14 | Let's go ahead and map this to my
2-Edit Timeline view, and press OK.
| | 05:22 | Now, let's go back to our Audio Workspace.
| | 05:26 | So, I'll go to Workspaces >
3-Audio, and there we go.
| | 05:31 | This is getting really, really
powerful, and as you can see, it's
| | 05:34 | extremely customizable. It gets better:
| | 05:37 | we can map those to our keyboard.
| | 05:39 | So, let's go ahead and open up our
Command palette, Ctrl+3 or Command+3, and
| | 05:44 | we'll open up our keyboard, press K to jump to
my keyboard, and again, it's my edit keyboard.
| | 05:52 | I'll go to Workspaces.
| | 05:54 | I'm going to pull up Source Record,
and I'm going to pull up 3-Audio.
| | 05:59 | I'm going to map Source Record to Shift+
S via button-to-button reassignment, and
| | 06:09 | I'm going to map my audio to Shift+A.
I'm going to go ahead and close.
| | 06:18 | And now let's go ahead and try it out.
| | 06:20 | I'm going to just activate my Timeline
here, and I'm going to press Shift+S.
| | 06:27 | Here we go, in our Source Record editing
mode that's linked to my Edit Timeline
| | 06:31 | view, and I'll press Shift+A to go to
my audio view, and there you have it.
| | 06:35 | We're switching entire workspaces and
entire Timeline views with a press of
| | 06:40 | a button.
| | Collapse this transcript |
| Sorting and sifting clips| 00:00 | Let's step back into our bins for a
moment to talk about proper bin organization.
| | 00:05 | In this lesson, we'll talk about how
sorting and sifting clips can help you
| | 00:09 | isolate exactly what you're looking for
as you're putting your program together.
| | 00:12 | So I have a bin here and it has quite
a few clips in it, and I want to give a
| | 00:17 | little bit more definition to these clips.
| | 00:19 | The way I do that is by adding custom columns.
| | 00:23 | If you remember, there were three bin views:
Text view, Frame view, and Script view.
| | 00:28 | We're going to stay in Text view.
| | 00:31 | And let's go ahead and expand this over.
| | 00:34 | You'll notice that right now I'm in
Custom view, and Custom view, by default,
| | 00:38 | starts out just having the
clip name and nothing else.
| | 00:42 | If you remember, we could switch between
all of these various views that matched
| | 00:46 | different points in the post-production process.
| | 00:49 | Let's go back to Custom. And I'm going
to add a custom column, and the way I do
| | 00:56 | that is to just click right up here in
the heading right, next to name, and I'm
| | 01:01 | going to type a custom column.
| | 01:03 | The first one I'm going to
use is the Rating column.
| | 01:08 | Just type it in and press Enter.
| | 01:10 | And now I can put in a
rating for each one of my clips.
| | 01:14 | Ideally, you will go ahead and load
these clips and go through and play
| | 01:19 | them and see how much you like them and
then give them a rating from one to four stars.
| | 01:23 | I'm not going to do that right now, but
I do want to make sure that you know how
| | 01:27 | to do that, so I'm just
going to type in one star here.
| | 01:31 | And we'll go ahead and give this
a rating of two stars, and three, and four.
| | 01:39 | This is a little arbitrary. You're going
to go through and actually make your own
| | 01:42 | decisions based on how you like these clips.
| | 01:45 | However, there is a shortcut I want to show you.
| | 01:48 | If you hold down Alt, or Option on a Mac,
and you click in a cell, it's going to
| | 01:54 | show you everything that
you've previously populated.
| | 01:57 | So, that's a nice shortcut to
help you out as you go forward.
| | 02:00 | So, I have here clips that I've
already attached a rating and a
| | 02:05 | composition label to,
| | 02:06 | so what can we do with this information?
| | 02:09 | At its most basic level, you can
sort this information alphanumerically.
| | 02:14 | So, if I wanted to click on the
Ratings column and right-click and Sort on
| | 02:19 | Column, Ascending, it's going to rate
all of my clips from one star to four.
| | 02:25 | I like to have all of my best clips
at the top, so you can choose Sort on
| | 02:30 | Column, Descending and
that will sort that for you.
| | 02:33 | You can also sort within a sort.
| | 02:36 | So, if I Shift+Click over on
composition and then Sort on Column,
| | 02:41 | Descending, what it did was it grouped
together the like composition shots within my ratings.
| | 02:48 | And descending means reverse
alphabetical order, so you can see that that's
| | 02:52 | what it's done. But basically, I have
all of my four-star long shots grouped
| | 02:57 | together, all of my four-star close-ups
grouped together, and on down the line.
| | 03:02 | Now sorting is very useful, but I
really like to sift, and I want to show
| | 03:06 | you how to do that now.
| | 03:07 | So, I'm going to open up my Bin
Fast menu and choose Custom Sift.
| | 03:15 | And we have here just a database.
| | 03:17 | We're able to search for clips that
either contain, begin with, or match
| | 03:24 | exactly with certain text in a certain column.
| | 03:29 | So, let's go ahead and find all of our
best long shots, because I know that I
| | 03:35 | need a really good long shot to follow the
medium shot that I just edited in to the Timeline.
| | 03:39 | So, I'm just going to type in three
stars, because I consider anything three
| | 03:45 | stars and above good, and because
four stars also contains three stars, this
| | 03:51 | will pull up all of my
three- and four-star shots.
| | 03:54 | And so I want to have it in the Rating
column, and I want it to be my long shots
| | 04:02 | from the Composition column.
| | 04:05 | I'll apply, and you can see that it
filtered out all of the clips that did not
| | 04:11 | meet that criteria, and now I
only have three to choose from.
| | 04:14 | Well, I can get down deeper, and if I
wanted to find all of my three-star and
| | 04:22 | above long shots where it's from the
back, I can just type in some text there--
| | 04:29 | and I'm just going to go ahead and
change this to Name column though--apply, and
| | 04:33 | it filters it down even further.
| | 04:36 | So, this is a way for you to really burrow
down and see exactly what you want to work with.
| | 04:40 | I'm going to clear this out so I can show
you how to use both sets of this text fields.
| | 04:45 | Let's go ahead and find all of the best
long shots and best medium shots to go
| | 04:50 | after the close-up I just
edited into the Timeline.
| | 04:53 | So, I'm just going to type in three
stars. And you know what? I don't even need
| | 04:59 | to really change my column because it
can find it in any column and no other
| | 05:03 | column has stars, so I'm just going
to leave that unchecked for right now.
| | 05:07 | And I'll just type in LS,
and same thing down here, three stars and
| | 05:13 | above, because it contains three stars,
MS, and let's go ahead and
| | 05:18 | apply, and you'll notice that it
brought forth all of my three-star and above
| | 05:25 | long shots and medium shots, and I
have a little bit less material to sift
| | 05:29 | through as I'm finding a shot
that can come after my close-up.
| | 05:33 | So, as you can see, the bin is a
great organizational tool, and it can
| | 05:37 | certainly be your friend.
| | 05:39 | Be sure to organize your bin materials
well so that these powerful databases
| | 05:43 | can work for you in helping you find
exactly what you need, exactly when you need it.
| | 05:47 | Projects can get pretty large, with
literally hundreds of clips across dozens of
| | 05:52 | bins, so using Sort and
Sift are often a necessity.
| | Collapse this transcript |
| Using the Find tool| 00:00 | One of the most exciting
organizational tools within Media Composer is the
| | 00:04 | Find tool, which lets you search
through the text in all the clips and
| | 00:08 | sequences in your bins, and the
metadata in the Timeline and monitors, and
| | 00:13 | within your imported scripts.
| | 00:14 | Let's take a look at how it works.
| | 00:16 | So I'm going to enable my Project
window here, and then I'm going to open up
| | 00:20 | the Find tool by pressing
Ctrl+F, or Command+F on a Mac.
| | 00:24 | And we have three parts within Media
Composer that we can search--again, the
| | 00:27 | Clips and Sequences, Script
Text, and Timeline and monitors.
| | 00:31 | Let's start over here with Clips and Sequences.
| | 00:33 | So I want to search through all of the clips
and sequences in all of my bins in my project.
| | 00:39 | I want to find all of the
clips that have Kim in them,
| | 00:42 | so I'm going to just type in Kim, and
I can either come over here and press
| | 00:48 | Find or I can just press Enter.
| | 00:51 | I do want to make sure that my Bin
Index is lit up green, because that means
| | 00:55 | that it has analyzed all of the text
in all of the bins and it's ready to go.
| | 00:59 | So green light, I can go ahead and press Enter.
| | 01:04 | So, as you see, it found fifty-one clips,
and if you're following along with
| | 01:08 | exercise files, you'll probably have
fewer than that, because I have a few
| | 01:11 | more files than you.
| | 01:12 | So, it says, "Found: 51; after filtering: 51."
| | 01:16 | We do want to filter that down, because
this is still a lot of clips to sift through.
| | 01:20 | So I'm going to add some criteria
that I want it to search by, and let's find
| | 01:26 | all of the Kim and Dave shots.
| | 01:29 | So I'll just type in Dave and Enter.
| | 01:33 | So initially, I found 51, but
after filtering, we are down to 23.
| | 01:38 | Let's filter it down even further.
| | 01:40 | Let's go ahead and add a criteria, and
I'm going to find all of the suitcase
| | 01:45 | scenes that Kim and Dave did.
| | 01:47 | So I'm just going to type in suitcase.
| | 01:49 | It actually updates on the fly, so I
don't need even have to press Enter.
| | 01:54 | We're down to 13 here.
| | 01:56 | Let's go one further.
| | 01:57 | If I want to find all of the clips
where Kim and Dave set down their suitcases,
| | 02:02 | I'm just going to type in set
down, and we're down to four.
| | 02:07 | So, much more manageable, and if I
wanted to load any one of these clips, I just
| | 02:12 | have to double-click on it.
| | 02:15 | You'll notice that the clip comes
forward in the bin and it's highlighted, and
| | 02:19 | in the source monitor, we
see the clip loaded right here.
| | 02:24 | So it's ready to go.
| | 02:25 | As you can see, this is a really powerful tool.
| | 02:28 | We can search through all of the bins;
| | 02:29 | they don't have to be open;
| | 02:31 | it just knows exactly where those clips are.
| | 02:34 | I'm going to pop on over here to Script Text.
| | 02:38 | And I want to talk just a
little bit about scripts.
| | 02:41 | You can bring scripts into Media Composer.
| | 02:44 | Now, they can be narrative scripts,
they can be transcripts from documentary
| | 02:48 | interviews. And I happen to have
a transcript from Kim's interview.
| | 02:54 | I just went through and I
transcribed the interview before bringing it
| | 02:58 | into Media Composer.
| | 02:59 | And we'll talk about how to import
scripts in a future movie, but just realize
| | 03:03 | that that's here in Media Composer.
| | 03:06 | So let's go ahead and search through
that script, and it can be this script,
| | 03:11 | and if I have multiple scripts,
it will search across all of them.
| | 03:14 | Let's search for the moments
when Kim refers to vintage clothing.
| | 03:20 | So I'll just go ahead and type
in vintage clothing, hit Enter,
| | 03:26 | and as you see, it found six instances
where she said vintage clothing. And I
| | 03:31 | can just double-click here, and it
brings the script up and I can kind of see
| | 03:35 | the context of what she's
saying at that point in time.
| | 03:38 | So again, a very handy tool,
searching through scripts.
| | 03:42 | Let's just move on to Timeline and monitors.
| | 03:45 | And this searches through all of the
text in the monitors, as well as the
| | 03:50 | metadata text within my Timeline.
| | 03:53 | Now, I do want to make sure that
Timeline text is checked as well, so it
| | 03:56 | searches through that.
| | 03:57 | One last thing I need to do is to
actually select my Timeline so that it knows
| | 04:02 | to search through my
sequence and not my source clip.
| | 04:05 | I'll do that by pressing
Ctrl+0, or Command+0 on a Mac.
| | 04:09 | All right, and I'll come back into my Find
window and I'll type in dip and click on Find.
| | 04:16 | Great! So let's go ahead and
take a look at my Timeline.
| | 04:19 | I'm going to activate it by pressing
Ctrl+0 or Command+0, and as you see, the
| | 04:25 | position indicator went to this clip
right here, and if I zoom in--again, that's
| | 04:30 | mapped to my up arrow--
| | 04:33 | you can see that this is
the Swing dance Dave dip shot.
| | 04:37 | So it brought me to the exact right
place. And you can imagine that this is a
| | 04:44 | very helpful tool, especially when you have a
sequence that is a half-an-hour or an hour long.
| | 04:49 | So, I'm just going to bring my Find
tool back to the forefront by pressing
| | 04:53 | Ctrl+F or Command+F, and I'm
going to go ahead and close it out.
| | 04:59 | So, as you can see, the Find tool is
a tremendous organizational time-saver,
| | 05:03 | allowing you to search through the text
of your clips in your bins, as well as
| | 05:08 | the metadata in your Timeline
and monitors, and imported scripts.
| | Collapse this transcript |
| Using markers| 00:00 | Markers are digital Post-it notes which
allow you to give yourself reminders as
| | 00:05 | well as communicate your editorial
needs to other people involved in the
| | 00:08 | post-production process.
| | 00:10 | Let's take a look at how to
use these very useful tools.
| | 00:13 | I have a sequence here, and there
are a couple of things that I need to
| | 00:16 | change and a couple of needs that I
need to communicate with other people
| | 00:20 | involved in the edit.
| | 00:22 | Most of them have to do
with some color correction.
| | 00:26 | I have a couple of shots I want to swap out.
| | 00:28 | So I am just going to play through, and
when I get to a point where I'd like to
| | 00:32 | leave a note, I'm going to pause, and
we'll discuss how we can use our markers.
| | 00:38 | I'll go ahead and select my Timeline, and play.
| | 00:42 | (music playing)
(Female speaker: Swing dancing brings you together.)
| | 00:50 | All right, so right here we have kind of a
bright shot, and then it gets a little bit
| | 00:55 | dim, and then it goes back to being bright,
| | 00:57 | so we do need to match
that a little bit better.
| | 01:00 | So, I'm going to put a marker right here on V2,
so I want to make sure that V2 is selected.
| | 01:05 | I also actually need to map a marker
to my keyboard, which we know how to do.
| | 01:10 | I'm just going to go to Settings,
press K to jump to my keyboard, open up my
| | 01:15 | edit keyboard, and I'm going to open up my
Command palette by pressing Ctrl+3 or Command+3.
| | 01:20 | And if I click on the More tab, here
are all the different colors of markers I
| | 01:25 | have available to me.
| | 01:26 | I'm going to go ahead and just mark my red
marker to F5, a green to F6, and a blue to F7.
| | 01:35 | So I'm going to go ahead and click on
my Timeline to activate it, and I'm going
| | 01:39 | to put a red marker there, so I'll press F5.
| | 01:42 | And the Marker window comes
up, and I can leave a note.
| | 01:46 | Now, this is a color correction note,
so if I have a colorist that I'm
| | 01:50 | working with, I can leave a note
for them. Or if I'm doing my own color
| | 01:53 | correction, I can just come back and
every one of the red markers I know is
| | 01:58 | a color correction need.
| | 01:59 | So I'm just going to say, "Match this lighting."
| | 02:06 | Again, I could change the color of my
marker here as well, but we've already got
| | 02:10 | red, which represents color
correction. And I'll say OK, and let's go on.
| | 02:15 | (Female speaker:--brings you together. It brings
you to a simple time where the roles are defined.)
| | 02:22 | (Female speaker: One person follows, one person leads,
and there's only three things that matter, and that's
| | 02:26 | the music, the dance floor, and your partner. And you
just forget everything else.)
| | 02:33 | You know what? I actually had a
different shot in mind right here,
| | 02:37 | so I'd like to just swap this out
altogether, but I'd like to just leave myself
| | 02:41 | a note, because I don't have time to do
it right now, but I have time allotted
| | 02:44 | tomorrow to do that.
| | 02:45 | So, again, I'm just going to park on
this and make sure that V2 is selected,
| | 02:50 | and we're going to go ahead and press F6.
| | 02:54 | This will give me a green marker, and I
can say, "Swap out with darker dance footage."
| | 03:02 | That's the narrative stylistic
footage, instead of this one right here.
| | 03:06 | So I'm going to click OK and we'll keep going.
| | 03:09 | (Female speaker: My great grandmother owned a clothing
store in the '30s, '40s, and '50s, and since I was a little)
| | 03:17 | (girl, she started giving me those clothes.)
| | 03:20 | I have a note about the interview here.
| | 03:22 | I do have to deselect V2 in
order to place a marker on V1 here.
| | 03:27 | And I would actually like to cut this
out altogether and choose a different
| | 03:32 | portion of this interview where she talks a
little bit more in detail about this subject.
| | 03:37 | So I'm going to, again, put a green
marker here, and that was F6, and let's go
| | 03:44 | ahead and say, "Swap out with grandmother
story from 30s/40s/50s" and say OK,
| | 03:57 | and you'll notice that the
marker went down to the V1 track.
| | 04:01 | Now, I can put markers on my audio tracks too.
| | 04:04 | I just need to deselect video, and
whatever the highest most-selected track is
| | 04:08 | is where my marker is going to go.
| | 04:11 | So if I wanted to then
display my markers, I could.
| | 04:15 | I can just right-click on my
Record monitor and choose Markers.
| | 04:20 | Here they are, arranged by color and
time code, and if I double-click on any of
| | 04:25 | these, my position indicator
will snap right to that marker.
| | 04:30 | I can also print this if I wanted to.
| | 04:32 | Again, this could be a very long list.
| | 04:33 | It can be very helpful to
show this to other people.
| | 04:36 | So I can go to File and Print Markers,
or Ctrl+P if the Markers window is open.
| | 04:43 | And I can also export
markers from the File menu.
| | 04:46 | If I export markers, that exports it as
a text document that I can then email
| | 04:50 | to whoever I want to.
| | 04:54 | Also notice that in the Record monitor
I can see the marker, along with the text
| | 04:59 | that I have associated with it;
| | 05:01 | however, this is only
available if I'm parked on it.
| | 05:04 | When I play through it, you don't see it.
| | 05:07 | (Female speaker:--those clothes, so I
started collecting vintage clothing.)
| | 05:10 | So, you don't have to worry about
the markers messing up your show.
| | 05:13 | Now, because markers can be used for
various purposes, sometimes I'll only want
| | 05:17 | to show markers of a certain color.
| | 05:20 | To display markers of one particular
color, or to take away markers of certain
| | 05:24 | colors, I just go down to the Timeline
Fast menu, say Show Markers, and then I
| | 05:29 | can uncheck the colors
that I don't want to show.
| | 05:33 | So if I only want to look at my
editorial markers and take away my color-
| | 05:38 | correction markers, I would just
deselect red, and you don't see it anymore.
| | 05:42 | It is there though, so I can bring
that back up if I just select it.
| | 05:47 | So, as you can see, markers can
help you stay organized and communicate
| | 05:52 | with others.
| | Collapse this transcript |
| Using PhraseFind| 00:00 | The next two videos cover
organizational add-on features that are available for
| | 00:05 | you to purchase for your
Media Composer application.
| | 00:08 | We've already seen the power of the Find tool.
| | 00:11 | An additional plug-in called Phrase
Find increases your Find capabilities by
| | 00:15 | actually analyzing the dialogue of the
clips in your bins so that you can find
| | 00:20 | that exact sound bite you're hunting for.
| | 00:22 | So I'm going to open up the
Find tool, just like we did before.
| | 00:26 | I'll go ahead and click on my
Project window and I'll press Ctrl+F, or
| | 00:31 | Command+F on a Mac. And
everything should look familiar.
| | 00:35 | Again, we have our indexing indicators saying
that it's analyzed all of the text in my bins.
| | 00:41 | And then here it says it's analyzed all of
the spoken dialogue of the clips in my bins.
| | 00:47 | And then right to the right of that, we
actually can choose the language that
| | 00:50 | we're searching through.
| | 00:52 | Right now it's expecting the clips
in my bins to be in English, but if the
| | 00:57 | clips were in any other language,
| | 00:58 | this is where you would select that.
| | 01:00 | And we also have some text to the
right of that that probably won't be there,
| | 01:05 | but this is based on a search I
was doing in an earlier video.
| | 01:08 | So I'm going to come up here to my
text field and we're going to type in text,
| | 01:13 | just like we did for Find.
| | 01:15 | And what I'd like to do is find all of
the places that Kim talks about vintage
| | 01:20 | clothing, because that's
what we're editing right now.
| | 01:23 | So I'm going to type in vintage clothing.
| | 01:26 | And then instead of pressing Enter or
clicking on the Find button, I'm going to
| | 01:30 | come over to Phrase Find and click that.
| | 01:35 | It's going to take just a moment.
| | 01:37 | And you'll see that it found nineteen
instances of what it believes are the
| | 01:43 | words vintage clothing.
| | 01:45 | This is probably a lot higher than
the actual number of times she said it,
| | 01:50 | because I want to draw your
attention to this column right here.
| | 01:53 | This score column represents Media
Composer's confidence that it actually got it right.
| | 01:58 | So it's using some voice-recognition
software from Nexidia to analyze the
| | 02:04 | spoken word, and it's not 100% accurate.
| | 02:07 | But you can look at this score to
determine how accurate it thinks it is.
| | 02:12 | So we're going to start
with the first one here.
| | 02:14 | It has 77% confidence that it got it right.
| | 02:17 | Let's go ahead and double-click on it
to load it into the Source monitor, and
| | 02:22 | notice that it also brought it up,
highlighted the clip in the bin, and
| | 02:25 | brought the bin up.
| | 02:26 | And I'm going to play this and
see if this says vintage clothing.
| | 02:31 | (Female speaker:--vintage clothing. It's all part of the--)
| | 02:34 | Excellent, got it right.
| | 02:36 | Let's go on to the second one and see if
our 76% score is accurate. I'll press play.
| | 02:44 | (Female speaker: Vintage clothing is designed--)
| | 02:46 | Okay, so we're two for two.
| | 02:48 | And just for fun, let's go down to the bottom
clip and see what our score of 50% came up with.
| | 02:54 | (Female speaker: You did. Well they
did the same thing back then.)
| | 02:58 | Not accurate at all.
| | 03:00 | So you really do want to
pay attention to the score,
| | 03:03 | and the ones near the top of the bin
will probably contain your requested text.
| | 03:08 | So, as you can see, Phrase Find
is an incredibly powerful tool.
| | 03:12 | Also, while it is an extra $500 as of
this recording, you can see that it may be
| | 03:17 | well worth the purchase if
you work heavily on dialogue.
| | Collapse this transcript |
| Using ScriptSync| 00:00 | ScriptSync is one of the most
exciting features in Media Composer.
| | 00:04 | Like PhraseFind, it uses Nexidia
phonetic searching capabilities to analyze the
| | 00:09 | spoken word within the dialogue in your clips.
| | 00:12 | But it goes a step further, and it actually
syncs the spoken word to the written word.
| | 00:17 | In other words, you can sync your
master clips to your script, line by line.
| | 00:21 | Also like PhraseFind, it's a
plug-in available at an extra cost.
| | 00:25 | Let's take a look at how this works.
| | 00:27 | I'm in Microsoft Word.
| | 00:29 | It can be any word-processing program
that produces a plain text document, but
| | 00:34 | there are a couple of
choices I want to take you through.
| | 00:36 | I'll choose Save As > Other Formats,
and I need to choose Plain Text.
| | 00:43 | Notice that I've already provided you
a plain text document in your exercise
| | 00:47 | files, so I'm going to send this
to the Desktop for our purposes.
| | 00:51 | I'm going to click on Save.
| | 00:52 | I want to choose Other encoding, and
then I want to come up to US-ASCII, and I
| | 01:00 | want to Insert line breaks. Say OK.
| | 01:03 | If you get a warning, you can say Yes, and
here's our plain text document. All right! Great!
| | 01:12 | We're done with Word, and I'm going to go back
into Avid. And we want to bring the script in,
| | 01:18 | so I'm going to go to File > New Script
and navigate to my transcript and Open.
| | 01:25 | And here is my script, which is a
digital transcript of the interview with Kim.
| | 01:30 | So I'll go ahead and open up the
Interview bin, and here's our interview clip.
| | 01:36 | We don't want to load it
into the Source monitor;
| | 01:37 | we actually want to attach it to the script.
| | 01:40 | Before I do that, however, I have to tell Avid
what portion of the script I'm syncing it to.
| | 01:45 | Well, it happens to be the entire thing,
so I'm just going to drag my mouse over
| | 01:50 | the entirety of the script,
| | 01:53 | and then I just drag my master clip on
top, and it's now attached to the script.
| | 02:02 | It is not synced yet.
| | 02:03 | It does not know where in this
dialogue matches with the script.
| | 02:08 | But that's what we're going to do next.
| | 02:10 | So once I've attached to my master
clip to my script, I come up to the Script
| | 02:14 | menu, choose ScriptSync, and
here I have a couple of choices.
| | 02:19 | I choose the language that both
the master clip and the script is in.
| | 02:25 | I also choose the applicable audio tracks.
| | 02:28 | In this case, I have my audio on both A1 and A2.
| | 02:32 | In the middle are a lot of choices
for you to define where your dialogue is
| | 02:37 | versus where other things, like
the speaker or stage directions.
| | 02:42 | So I happen to have my speaker with a
colon defining every instance of that,
| | 02:48 | so I'm going to come over
and say Skip text before colon.
| | 02:52 | If you put capital letters,
that's what you would choose here.
| | 02:54 | So I'm going to come down here.
| | 02:56 | If I had already previously synced this
script, I could overwrite my marks or I
| | 03:01 | could sync between the first and
the last mark, not applicable here.
| | 03:04 | So let's go ahead and
press OK and see how it works.
| | 03:08 | It does take just a little bit,
but it's much faster than real time.
| | 03:11 | This is a six-and-a-half minute
interview and this is going to be done in
| | 03:14 | less than ten seconds.
| | 03:16 | So visually it might not have seemed like
much happened, but I assure you, it did.
| | 03:21 | If you take a look at our line here, you can
see script marks along every line of dialogue.
| | 03:29 | So let's go ahead and just
double-click on one of these marks.
| | 03:34 | You'll see that it loads the interview
into the Source monitor and it places an
| | 03:39 | in point and the position
indicator at the point of sync.
| | 03:43 | Let's go ahead and play to see how it worked.
| | 03:46 | (Female speaker: Swing dancing brings you together.
It brings you to a simple time.)
| | 03:51 | And that was the one I clicked on.
| | 03:54 | You can see it worked great.
| | 03:56 | Let's go ahead and try one more.
| | 03:58 | Let's double-click on this script mark.
| | 04:00 | (Female speaker: For many people who swing dance,
the vintage lifestyle, the vintage clothing--)
| | 04:09 | Again, worked great!
| | 04:10 | ScriptSync is a highly accurate application.
| | 04:13 | In my experience, it's over 90% accurate.
| | 04:17 | It's very powerful, and it's
well worth your looking into.
| | Collapse this transcript |
|
|
5. Intermediate Editing: Beyond the Rough CutTrimming with JKL| 00:00 | You already know how to trim and
you know how to use JKL navigation,
| | 00:04 | so in this movie we're going to put
it all together to introduce one of the
| | 00:07 | most powerful types of trim
in Media Composer, JKL trim.
| | 00:11 | JKL trim allows you to perform a trim
while playing the video at either real
| | 00:15 | time or at a variable speed.
| | 00:18 | I have my interview sequence here and I
have a couple of locators that I've put
| | 00:23 | in saying I need to fix a few things.
| | 00:26 | So let's go ahead and enter Trim mode.
| | 00:29 | If I want to enter Trim mode on these
tracks right here, I'm going to hold down
| | 00:33 | Alt or Option on a Mac and I can
apply my rollers inside the tracks.
| | 00:39 | Let's go ahead and play a loop
and see what we're looking at here.
| | 00:43 | I'll press spacebar.
| | 00:44 | (clip playing)
(Female speaker:--ing dancing brings you together.)
| | 00:51 | She doesn't quite say swing dancing.
| | 00:53 | It's cut off a little bit there.
| | 00:55 | So because I have filler on the other
side, this can be a Dual Roller Trim.
| | 01:01 | And I'm just going to stay in Trim mode,
place my fingers on J, K, and L, and
| | 01:07 | then I'm going to roll back with the J button.
| | 01:11 | This is going to trim to the left in real time.
| | 01:15 | When I'm done trimming, I'm going to press K.
| | 01:19 | Okay, looks like we've got the
beginning of that word added.
| | 01:22 | We added sixteen frames to the B side, and let's
go ahead and play it and see if it worked.
| | 01:29 | (music playing)
(Female speaker: Swing dancing brings you together.)
| | 01:36 | All right! Great!
| | 01:37 | Let's go into my next locator here.
| | 01:39 | I'm going to enter at rim mode on all
four tracks because we don't want our video
| | 01:46 | to Broll to go out of sync.
| | 01:48 | Let's go ahead and play a loop
to see what the problem is here.
| | 01:52 | (Female speaker:--store. In the '30s, '40s, and '50s,
as a little girl, she started giving me those clothes.)
| | 01:58 | (Female speaker:--store. In the '30s, '40s, and '50s,
as a little girl, she started giving me those clothes.)
| | 02:03 | So it looks like a couple of words
are cut off here, but it's not exactly
| | 02:07 | apparent which way we need to go.
| | 02:09 | So let's just zoom in.
| | 02:11 | Let's also enable our Audio Timeline.
| | 02:14 | As you remember, we made this in a prior movie.
| | 02:16 | We could just switch to 3-Audio, or again, I
like to use the keyboard, so that was Shift+3.
| | 02:23 | I'm going to zoom in a little
bit more and let's play through.
| | 02:28 | I want to change my watch
point from the video to the audio.
| | 02:31 | I'm just going to click on my audio rollers
and this way it will loop on either side.
| | 02:37 | I'm going to go ahead and press
spacebar, and then I'm going to press Q to
| | 02:42 | play just the A side.
| | 02:43 | (Female speaker: In the '30s, '40s, and '50s.
In the '30s, '40s, and '50s.)
| | 02:50 | All right! That seemed fine.
| | 02:51 | Let's go ahead and do the
same thing, but for the B side.
| | 02:54 | I'm going to press spacebar, and then I'm
going to press W to play just the B side.
| | 02:59 | (Female speaker: --little girl, she started giving me those clothes.
--little girl, she started giving me those clothes.)
| | 03:06 | So it looks to be a problem with the B side.
| | 03:08 | So we need to enable the B side, and
I'm going to roll back with J again,
| | 03:14 | but this time I'm going to go very
slowly, so I'm going to hold down K at
| | 03:19 | the same time that I press J. This will enable
me to go in slow motion or one quarter speed.
| | 03:25 | So I'm going to hold down K and roll
back with J until I think that I've
| | 03:29 | got that dialogue back.
| | 03:31 | (clip playing)
| | 03:37 | All right! I heard a little pause there.
| | 03:39 | I'm going to go ahead and
let go, and let's play through.
| | 03:43 | (Female speaker: In the '30s, '40s, and '50s, and since
I was a little girl she started--
| | 03:48 | Well, we got it back, but I
think we got a little bit too much.
| | 03:51 | We don't need her saying "Um" at the beginning.
| | 03:53 | So I'm going to go ahead and play
through and see if I can get a better idea of
| | 03:59 | where this can start.
| | 04:00 | (Female speaker: In the '30s, '40s, and '50s, and since
I was a little girl she started--
| | 04:07 | I think this right here is the word since.
| | 04:09 | So again, I'm going to hold
down K and then go forward with L.
| | 04:13 | (clip playing)
| | 04:16 | I actually hear it right there.
| | 04:18 | I'm going to let go right here, and let's
go ahead and play through. Press spacebar.
| | 04:24 | (Female speaker: In the '30s, '40s, and '50s, and since
I was a little girl, she started giving me those--)
| | 04:30 | We got it. So by going back and forth in slow
motion, using JKL, we were actually able to
| | 04:36 | play the edit as we were trimming.
| | 04:39 | This is the power of JKL.
| | 04:41 | We can play through as we're trimming and
this is why it's called dynamic trimming.
| | 04:46 | You actually see the footage, watch
the result as you see trim in either real
| | 04:51 | time or at a variable speed.
| | Collapse this transcript |
| Performing Slip edits| 00:00 | In this movie and the next, we'll cover two
more powerful trim methods, Slip and Slide.
| | 00:06 | First we'll explore Slip, which allows
you to trim to change your shot's content.
| | 00:11 | Slipping a shot means that you access
a shot's handles to change its content,
| | 00:16 | but you leave the shot parked
exactly where it is in the Timeline.
| | 00:19 | That is, it doesn't move
while you make the adjustment.
| | 00:23 | So I have a sequence here and I have a
locator downstream telling me that there
| | 00:28 | is a problem that I need to fix.
| | 00:30 | Let's go ahead and play
through and see what we think.
| | 00:34 | (music playing)
| | 00:39 | Obviously, we have a problem here.
| | 00:41 | We have him flipping up the
hat and the hat is already on.
| | 00:44 | But we like the timing.
| | 00:46 | We don't want to move this clip at all.
| | 00:48 | We just want to change its content, which
means that we need to access its handles.
| | 00:52 | So we're going to zoom in.
| | 00:54 | We could use our Scale bar down here,
but in a previous movie, I mapped my more
| | 00:59 | detail to my up arrow, so I'll
go ahead and zoom in with that.
| | 01:03 | And I'm going to enter Slip mode.
| | 01:06 | There's a couple of ways to do this.
| | 01:08 | I can either lasso the entire segment from
right to left and this gets me into Slip mode.
| | 01:14 | You know that you're in Slip because
you have a roller on the inside of the
| | 01:19 | beginning and end of your segment.
| | 01:21 | You also have a four-window display, and
we're going to go over exactly what each
| | 01:26 | one of these windows does
when we perform our Slip.
| | 01:29 | Before doing that, I want to show you
one more way to enter Slip, and I'm going
| | 01:33 | to get out of Slip by the same way
that I get out of Trim, which is to click
| | 01:36 | on the timecode track.
| | 01:38 | You can also just enter Trim mode
and then right-click on the segment and
| | 01:43 | choose Select Slip Trim.
| | 01:45 | So with those two methods at our
disposal, let's go ahead and perform the Slip.
| | 01:49 | We can use our Trim buttons.
| | 01:51 | We can use the equivalent trim
buttons on our keyboard: the M, comma,
| | 01:56 | period, and backslash.
| | 01:58 | We can drag the rollers. We can use JKL.
| | 02:02 | Any way that we know how
to trim, we can also Slip.
| | 02:06 | So I'm going to use JKL because it's
my favorite way to trim and I'm going to
| | 02:10 | hold down K, and I'm going to rock back
with J because it looks like we need to
| | 02:14 | access an earlier part of this clip.
| | 02:18 | So I'm going to hold
down K and rock back with J.
| | 02:21 | (music playing)
| | 02:31 | And I'm letting go there because I
think that the shot with him bringing up his
| | 02:37 | hat is going to match nicely
with this frame right here.
| | 02:40 | So as we are Slipping, you see that
the first and the fourth frames remain
| | 02:46 | static, because those are the frames on
either side of where my shot is going to lie,
| | 02:52 | and because I am not moving
this shot, they stay the same.
| | 02:57 | And my second and my third frames are
updating because I'm changing the shot's content.
| | 03:03 | This is now the first frame of my shot.
| | 03:05 | This is now the last.
| | 03:07 | I still have my K key pressed down.
| | 03:09 | Now I'm going to release.
| | 03:11 | You'll notice that I actually went to the
left by sixty-five frames. That is over two seconds.
| | 03:19 | And now I'm going to play through.
| | 03:22 | When I'm in a Slip, it does a pre-roll,
which is currently set at two seconds,
| | 03:26 | before the clip, and it does a post-roll,
which is at two seconds after the clip.
| | 03:31 | Let's go ahead and play through
and see if this matches better.
| | 03:34 | (music playing)
| | 03:41 | We're still really zoomed in, so I'm
going to press the down arrow a couple of
| | 03:45 | times to get myself zoomed out.
| | 03:46 | But I thought that that cut really worked.
| | 03:48 | It looks like we fixed that.
| | 03:50 | Let's go on to another sequence and
this is again, our interview sequence.
| | 03:58 | Again, we have a couple more locators
that indicate some places where some Slip
| | 04:02 | trims might be useful.
| | 04:04 | Let's go ahead and zoom in
and we'll play through here.
| | 04:08 | (Female speaker:--time where the roles are defined.)
| | 04:14 | We want to match that up a little bit
better, so we'll go ahead and enter Slip.
| | 04:19 | I'll just lasso from right to left.
| | 04:23 | And I think we'll probably have to
access a moment earlier in time, so earlier
| | 04:28 | means to the left, which means I'm
going to go back with J. Again, I think I'm
| | 04:33 | going to hold down K so I
don't miss it, and we'll go left.
| | 04:37 | (clip playing)
| | 04:46 | And I'm just tapping J one at a time as
I keep K depressed so that I can get it
| | 04:52 | just perfect, and it looks like
this is going to match up well.
| | 04:56 | I'm going to now release the K button,
and we have altered this shot by fifty-five frames.
| | 05:04 | Let's go ahead and play through.
| | 05:05 | (Female speaker: It brings you to a simple time
where the roles are defined.)
| | 05:11 | Not quite, I'm going to
go back a little bit more.
| | 05:13 | I'm going to press K while tapping J.
(clip playing)
| | 05:25 | I'm going to go back with L.
(clip playing)
| | 05:32 | Let's try that out, and
let's go ahead and play through.
| | 05:36 | (Female speaker: Brings you to a simple time
where the roles are defined. One person follows, one--)
| | 05:42 | I think that could work.
| | 05:43 | I think it probably needs a little bit
more tweaking, but it's good for now, and
| | 05:47 | you can get it exactly perfect in your sequence.
| | 05:50 | So as you can see, Slip is a great
way to be in tune with your sequence
| | 05:54 | right down to the frame as you
tweak a shot's content but maintain its
| | 05:58 | duration and position.
| | Collapse this transcript |
| Performing Slide edits| 00:00 | Another very useful trim method is
Slide, which allows you to change a shot's
| | 00:04 | position but not its content or duration.
| | 00:08 | It's a great tool for moving clips back and
forth within the larger structure of the sequence.
| | 00:14 | So we have a sequence loaded and
again, we have a couple of locators with
| | 00:18 | comments about the timing, about how
our video corresponds with our audio.
| | 00:23 | There are some things that don't quite match up.
| | 00:25 | Let's go ahead and watch it and
see how it can be made better.
| | 00:30 | (clip playing)
| | 00:39 | So a couple of things, I think it'd be
better if this shot here started right
| | 00:45 | as that horn came in.
| | 00:47 | So basically, this shot is going on
too long, and it'd be nice if this sort of
| | 00:51 | punched in right here when that horn
comes in. And let's go ahead and watch that
| | 00:57 | and tackle that first.
| | 00:58 | So I'm going to zoom in by pressing my up
arrow, and let's go ahead and play through here.
| | 01:06 | (clip playing)
| | 01:12 | Here's where the horn comes in,
and here's where the shots starts.
| | 01:17 | So we want to move that over, but we don't
want to affect any other clips in the Timeline.
| | 01:22 | So a Slide will be perfect for this.
| | 01:24 | I actually want to slide both
this shot and the one next to it over
| | 01:30 | together because they're synched up
perfectly, because he's putting on his
| | 01:34 | hat through that edit.
| | 01:37 | So we want to slide both of those shots
downstream and to do that, we're going
| | 01:43 | to enter Slide mode by pressing Alt and
Shift or Option and Shift on a Mac and
| | 01:51 | lassoing from right to left.
| | 01:53 | We know that we're in Slip because we
have the rollers on the outsides of our
| | 01:58 | edits, and again, this is going to
let me move my clips to the left.
| | 02:03 | Again, we can use our interface trim buttons.
| | 02:06 | We can use our keyboard trim buttons.
| | 02:08 | We can drag or we can use JKL.
| | 02:11 | So I'm going to JKL and I'm going to
stop as soon as I get to this point right
| | 02:17 | here in the waveform.
| | 02:19 | I don't even think I need to hold
down K; I'll just go back with J. And I
| | 02:26 | went a little bit too far, so I'm going to
nudge it forward by holding down both K and L.
| | 02:29 | All right, and let's go
ahead and play through this.
| | 02:35 | I'll press spacebar.
(clip playing)
| | 02:47 | I actually mis-guessed.
| | 02:48 | I think this is the beginning of the horn.
| | 02:50 | So again, I'm going to go forward
with KL to get it exactly perfect.
| | 02:57 | And because we're using JKL you can
actually hear it come in right there.
| | 03:01 | I'm going to release the K
key and let's play through.
| | 03:04 | (clip playing)
All right, looks good.
| | 03:13 | So let's survey what happened.
| | 03:15 | We moved these series of clips over to
the left by thirty frames, or by one second.
| | 03:22 | The A side clip became shorter
and the C side clip became longer.
| | 03:30 | So if this is our B, we have just
moved that down and shortened the duration
| | 03:36 | over on the A side and lengthened the
duration on the B. And if we zoom out, you
| | 03:41 | can see that no other clips were affected.
| | 03:43 | The duration of the
sequence has stayed the same.
| | 03:46 | Let's move on down to this edit
here and see what we have going on.
| | 03:51 | I think this is another audio queue
problem, and I'll go ahead and play through.
| | 03:56 | (clip playing)
| | 04:04 | So it would be nice if these two
dancers started dancing right here when the
| | 04:12 | music changed again.
| | 04:14 | Now, we don't want to actually move
this clip because it's synched perfectly
| | 04:19 | with the one right next to it.
| | 04:21 | So, the way I'm going to fix this is to
actually slide the clip to the left over
| | 04:26 | to the right so that it covers
up the beginning of this clip.
| | 04:30 | I'm going to zoom in by pressing the up arrow.
| | 04:33 | I'm going to enter slide using another method.
| | 04:37 | I'm going to enter Trim, right-click,
and Select Slide. And we want the end of
| | 04:45 | this clip to butt up right here,
| | 04:48 | so again, I'm going to just click
over here so that we have a better frame
| | 04:52 | of reference and I'm going to hold down K
and go forward with L, and I'll release.
| | 05:05 | Again, what we are looking for is for
this clip to start right here as soon as
| | 05:09 | this music change happens.
| | 05:11 | Let's see if we like this.
(clip playing)
| | 05:20 | All right, I really like that.
| | 05:21 | I think that the energy coming into
this clip is good, and it's always nice to
| | 05:26 | cut on the beat, so it looks like
we've achieved that with this Slide trim.
| | 05:30 | So as you can see, Slide is a great
tool for the fine-tuning process, and I'm
| | 05:34 | sure you'll see yourself using it
often as you continue to refine your edit.
| | Collapse this transcript |
| Performing Replace edits| 00:00 | Throughout the editing process, we've
been setting in and out points to bring
| | 00:04 | material from the source to the Timeline.
| | 00:07 | In this movie, we'll learn how to use
the Replace tool, where we can perform
| | 00:11 | edits without marking any in or out points.
| | 00:14 | So in my sequence here, I have a
couple of locators, and they are communicating
| | 00:18 | to me that I need to switch some shots around.
| | 00:22 | Specifically, we need to replace
this one with an extreme long shot.
| | 00:26 | Now, this is a very specific dance
sequence with very specific moves so I need
| | 00:31 | to match it up perfectly.
| | 00:32 | So, I'm going to open up my Broll
Dancing 2 bin, and Swing Dance All Medium shot
| | 00:41 | will correspond to Swing
Dance All Extreme Long Shot.
| | 00:45 | They do the same dance moves in each
one, so we just need to find the moment
| | 00:49 | where we can synch from
the source to this sequence.
| | 00:52 | All right, so if I scrub through here
to get a general idea, they're meeting,
| | 00:57 | you've got one turn, we've got two
turns, and then the start of a third.
| | 01:04 | So we want to find that same
moment up here in the source.
| | 01:09 | So, they're meeting, one turn and
two turns, and the start of a third,
| | 01:14 | so I think that about right here
is where we need to sync up so that
| | 01:18 | everything downstream will make sense.
And we're not going set in or out points.
| | 01:23 | We're basically saying this moment in
time right here in the source needs to
| | 01:28 | match up with this moment in
time right here in the sequence.
| | 01:33 | Everything is going to be front-timed and
back-timed accordingly so Avid will do the math.
| | 01:37 | We just need to say where this synch is
going to happen. And then we're going to
| | 01:41 | perform a Replace Edit.
| | 01:43 | The Replace Edit tool is found in the
Fast menu, in between the Source and Record
| | 01:48 | monitor, and it's this blue arrow here.
| | 01:50 | I'm simply going to press it, and let's
take a look and see if that worked and if
| | 01:57 | everything syncs correctly.
I will go ahead and play through this.
| | 02:00 | (clip playing)
| | 02:10 | So it matched really well with the
shot of the feed after it, and everything
| | 02:15 | after that will look okay,
except we have another locator here.
| | 02:18 | Let's go ahead and see what
the notes are for this one.
| | 02:22 | We want to replace this with a long shot.
| | 02:24 | So, this is the dip where she brings
him down and he goes to the ground, and we
| | 02:30 | see a close up of her legs, and then we
see him over on the right, dipping down.
| | 02:35 | So again, we want to
pick that moment to sync up.
| | 02:38 | So we need to get him right here as
he's coming down, and we want to load
| | 02:46 | the clip in the Source.
| | 02:47 | The one we're after is Swing Dance Dip
Long Shot. And let's go ahead and try to
| | 02:53 | find that moment where he is in about
that location, so we have here this moment
| | 03:03 | in the Source and this moment in the sequence.
| | 03:07 | He's down, he's going down.
| | 03:08 | Let's go ahead and perform the Replace Edit.
| | 03:11 | One thing we do want to do is just
deselect our Audio because this is a video-
| | 03:15 | only edit, and into the Fast menu.
This is a totally map-able key, so if you
| | 03:21 | find yourself using Replace Edit a lot,
go ahead and map the Replace Edit
| | 03:24 | button to your keyboard.
| | 03:26 | I'll go ahead and perform this, and let's go
ahead a play through and see how our sync is.
| | 03:33 | (clip playing)
| | 03:39 | So she lowers him over here, and
he continues to go down right there,
| | 03:45 | just like what we did before, except
now we've got a totally different shot.
| | 03:50 | So a Replace Edit is really nice when you
need to replace one camera angle of one
| | 03:54 | action with another camera angle of
the same action, or you can use it to
| | 03:58 | replace a sound bite.
| | 04:00 | For example, if someone was filmed in
more than one angle at the same time, you
| | 04:04 | can replace a long shot with a
medium shot quite easily by using Replace.
| | Collapse this transcript |
|
|
6. Basic Audio MixingReading audio levels and pan| 00:00 | Now that you've got a handle on
editing video, it's time to launch into some
| | 00:04 | basic audio editing.
| | 00:05 | Believe it or not, many editors
consider audio even more important than video,
| | 00:10 | because audio has the ability to reach
into the subconscious and affect parts of
| | 00:14 | the brain that viewing images
can't, so good audio is crucial.
| | 00:18 | In this movie, we'll explore audio levels
and pan and how to read via the Audio tool.
| | 00:24 | So let's take a moment to open up a
very important tool called the Audio tool.
| | 00:28 | It's in the Tools menu, and you can
also bring it up by pressing Ctrl+1 or
| | 00:33 | Command+1 on a Mac. And before going
into exactly what we see here, I want to
| | 00:38 | talk a little bit about levels.
| | 00:40 | Levels, unlike volume, are a constant
value of the power, or intensity of sound.
| | 00:48 | Now this measurement, which is measured
in decibels, is actually relative to a
| | 00:53 | reference audio level, which is typically set
at the threshold of perception of human hearing.
| | 00:58 | Therefore, normal sounds should peak
right around -20 to -14 on the digital
| | 01:05 | scale, and 0 to +6 on the analog scale.
| | 01:09 | So right around here, we want our
normal sounds, like the human voice, to peak,
| | 01:15 | loud sounds can peak higher, and
quieter sounds can peak lower.
| | 01:20 | In fact, you'll notice that the view
meters go from green to yellow right in
| | 01:24 | this area to show you that this is basically
where we should be peaking audio in normal sounds.
| | 01:31 | So I'm going to load up a couple of
audio clips, and let's take a look at
| | 01:34 | their level and pan.
| | 01:38 | Here's just a casual conversation clip with Kim.
| | 01:42 | I'm going to go ahead and press Play.
| | 01:45 | Keep your eye on where it's peaking
and also the arrangement between the
| | 01:50 | left and right pan.
| | 01:50 | (inaudible speech)
| | 01:59 | All right, so we were definitely peaking
too hot on the left channel and we were
| | 02:05 | peaking too low on the right.
| | 02:07 | Now, we do have the ability to solo
and mute our audio so, if you ever want
| | 02:13 | to hear anything by itself, I could
solo my A1 Track and play this, and let's
| | 02:23 | go ahead and solo A2. Oh!
| | 02:28 | We didn't mean to play our sequence there.
| | 02:30 | We need to make sure that our Source
monitor is selected and we've soloed our A2.
| | 02:35 | Let's go ahead and take a listen.
| | 02:37 | (inaudible speech)
| | 02:43 | So as you see, we definitely
have a level problem there.
| | 02:46 | It's much more noticeable
when you're playing it by itself.
| | 02:49 | So we have mis-panned audio, and we
have audio that's too hot coming out of
| | 02:55 | the left channel, audio that's too
low coming out of the right, and let's go
| | 02:58 | ahead to our next clip to analyze that one.
| | 03:01 | We'll go ahead and un-solo
so we're playing both A1/A2 again.
| | 03:05 | Okay, now we've got Kim's interview.
| | 03:09 | I'm now going to go ahead and play
and again, keep your eye on where it's
| | 03:13 | peaking and how the pan looks.
| | 03:15 | (Female speaker: For many people who swing dance,
the vintage lifestyle, the vintage clothing, it's all--)
| | 03:24 | Both our left and right channel are
too low, the right one's really low.
| | 03:28 | Again, if we solo A1 and play--
| | 03:37 | that one's close, but we definitely
need to get it back up into this region
| | 03:40 | here, and if we solo A2 and play--
| | 03:49 | much too low here, so we're going to
need to fix that and we will with the Audio
| | 03:53 | Mixer in the next movie.
| | 03:55 | Finally, I want to go ahead and play my
sequence so that you can see some of the
| | 03:58 | problems that exist here.
| | 04:00 | Before I do, I want to make sure that
you're aware that all of my odd tracks, A1
| | 04:07 | and A3, are panned to the left and all of
my even tracks, A2 and A4, are panned to
| | 04:14 | the right by default.
| | 04:16 | So, as you're looking at the Audio tool,
A1 and A3 will be coming out of the
| | 04:22 | left side and A2 and A4 will
come out of the right side.
| | 04:26 | Let's go ahead and take a look at this
and see what problems might exist, and
| | 04:32 | I'll go ahead and un-solo this
just to I don't forget about it later.
| | 04:37 | Let's go ahead and press play.
(music playing)
| | 04:49 | So, we definitely need some mixing.
| | 04:52 | We'll cover mixing in a future movie.
| | 04:54 | Basically, that means that we will be
able to hear the music and her voice
| | 04:59 | simultaneously by lowering the music
while she's speaking, but you've noticed
| | 05:04 | that the music was actually peaking at a very
good level, but not while someone's talking.
| | 05:10 | So before her interview starts,
that's probably good, but when she starts
| | 05:15 | talking, we're going to a) need to
raise her levels and b) need to go down on
| | 05:21 | the music's levels so
that we can hear everything.
| | 05:24 | So, as you can see, we have a few
things to consider when setting our audio
| | 05:27 | levels and pan within a sequence.
| | 05:29 | We'll use the Audio tool to make
sure that the audio levels fall within
| | 05:33 | acceptable limits, and we'll also need
to make sure that the audio is panned
| | 05:37 | evenly from left to right.
| | 05:38 | We'll take a look at how the Audio
Mixer can help us in the next movie.
| | Collapse this transcript |
| Using the audio mixer| 00:00 | As we said before, the human ear is
extremely sensitive to sound, especially
| | 00:05 | sound that's at the improper level or balance.
| | 00:08 | Therefore, in this movie, we'll take a
look at the Audio Mixer, which is a tool
| | 00:12 | that will allow us to change a clip's,
or a sequence's, audio level and pan.
| | 00:16 | We'll use it to make sure that our audio
falls within acceptable levels and that
| | 00:22 | it's evenly balanced from left to right.
| | 00:24 | In the last movie, we analyzed the
audio problems in our source and our
| | 00:30 | sequence, and so now we're going to bring up
the Audio Mixer to help correct those problems.
| | 00:35 | You can bring up the Audio Mixer by
coming up to Tools and choosing Audio
| | 00:39 | Mixer, but I recommend that you
actually go into the Audio Editing workspace,
| | 00:47 | because as you see, we have quite a
drastic resizing of windows, because these
| | 00:52 | tools are rather large.
| | 00:54 | Okay, so, we have our Audio
tool and our Audio Mixer open.
| | 00:58 | I'm also going to change over to the
Audio view in our Timeline that we set up
| | 01:03 | before. And now let's go ahead
and talk about the Audio Mixer.
| | 01:07 | The Audio Mixer is a place where you can
adjust the level and pan of your source
| | 01:13 | audio as well as your Timeline.
| | 01:15 | Now, if I select my source by simply clicking
on it then I'm set up to Edit my source audio.
| | 01:22 | If however, I click in my Timeline,
I'm set up to record my Timeline audio.
| | 01:28 | So I'm going to go back to my source,
and I want to show you the relationship
| | 01:32 | between the tools here in the Audio
Mixer and the tools here in my Source and in
| | 01:38 | my Source Track Selectors.
| | 01:40 | So the Track Selectors here in my
Timeline correspond to these Selectors right here.
| | 01:46 | So, if I click on A1, A1 is
deselected, and same thing with A2.
| | 01:52 | If you look at my Solo and Mute
buttons here in the Timeline, they correspond
| | 01:56 | with the Solo and Mute
buttons here in my Audio Mixer.
| | 02:02 | If I click in my Timeline, same thing applies.
| | 02:05 | I can solo and mute, and all of my
corresponding Solo and Mute buttons show up in my Timeline.
| | 02:14 | Okay, so let's go back to our source
here, and I want to talk about my level
| | 02:19 | sliders and my pan dials.
| | 02:23 | The level sliders are a way for you to raise
the level of your sound or lower it by decibels.
| | 02:29 | So, right here we're at 0 and if I'd
like to raise the level of my audio, I
| | 02:33 | would simply drag this up and if I
want to lower it, I drag it down.
| | 02:39 | Notice that these are moving in tandem.
| | 02:41 | That's because I have my tracks grouped.
| | 02:45 | If I un-group them, I'm able
to move them one at a time.
| | 02:51 | To return these back to 0, I just
Alt+Click or Option+Click on a Mac and
| | 02:57 | they return back to unity.
| | 02:59 | As you may remember from the last movie,
my odd tracks are panned to the left
| | 03:04 | and my even tracks are panned to the right.
| | 03:07 | To adjust this, I simply grab onto my
dial and I can make this be any value
| | 03:13 | between 100% left and 100% right.
| | 03:18 | Above the level slider is a pan dial
where you can pan your audio all the way
| | 03:23 | to the left or all the way to the
right, or in the middle you'll notice that
| | 03:29 | we have a mid setting,
| | 03:30 | so it's coming out equally
from the left and right speakers.
| | 03:33 | Normally, I would just have to
Alt+Click on my dial or Option+Click on a Mac
| | 03:39 | to automatically send that to the mid setting.
| | 03:42 | However, it's not quite working
today so I'll be dragging on my dials.
| | 03:46 | I'm going to go ahead and return this to 100%
left, and let's go ahead and repair our audio.
| | 03:53 | Now, I'm going to go ahead and play
through our clip, and we'll go ahead and look
| | 03:56 | in the Audio tool to analyze what's
wrong, and we'll fix it in the Audio Mixer.
| | 04:02 | So, I'll go ahead and Play.
| | 04:04 | (Female speaker:--where the roles are defined.
One person followed.)
| | 04:10 | All right, what I'm actually going to
do is first solo A1 and play, and now I'm
| | 04:18 | going to solo A2 and play. Okay.
| | 04:24 | So, what probably happened here is that
her mic, although it is low, was on A1, and
| | 04:32 | probably the onboard camera mic,
which is even lower, is on A2.
| | 04:37 | Now, when an audio channel was not
set up to be recorded, you often want
| | 04:41 | to eliminate that and then focus on the
audio channel that was set up to be recorded.
| | 04:46 | So what I'm going to do is just drag
this level slider all the way down to
| | 04:50 | infinity, and then we're going to focus
on A1, bringing the levels up, and then
| | 04:55 | evening the pan from left to right.
| | 04:57 | So, let's go ahead and play through.
| | 05:01 | I will mention that ideally what I
would do is mark an in and an out and then
| | 05:08 | press this button here, Audio Loop Play.
| | 05:11 | It would play through this loop, I would
make an adjustment, and it would update
| | 05:15 | each time it played through the loop.
| | 05:17 | I'm having a conflict with this
particular function with the recording
| | 05:21 | software that I'm using, so I'm not
going to be able to loop play, so I'm just
| | 05:25 | going to be able to play through it,
then we'll make an adjustment, then we'll
| | 05:28 | play through again.
| | 05:29 | It's a little bit more manual,
but we'll get the job done.
| | 05:32 | So, I'm going to remove my in and out
points by pressing G, and let's go ahead
| | 05:36 | and play through, and I'm just going to
bring up my levels quite a bit here, and
| | 05:47 | I'm going to play again.
| | 05:52 | So it's peaking in the normal region now.
Right here between -20 and -14 on the
| | 05:57 | digital scale is where we want the
human voice to peak, and maybe just a little
| | 06:02 | bit more, and let's go ahead and play this.
| | 06:11 | Now, there is a hum on this, and if we
were going into fixing the audio EQ,
| | 06:17 | we would remove that.
| | 06:18 | That's beyond the scope of this course.
| | 06:20 | We're just looking to get
her level and pan right.
| | 06:23 | So ignore that for now, and
we'll go on and adjust her pan now.
| | 06:27 | So because we eliminated the bad on
camera audio, what we want to do is
| | 06:32 | actually bring this to the middle.
| | 06:35 | So I can just drag my pan dial to the
middle position, and now watch the left
| | 06:42 | and right channels as I play through this clip.
| | 06:44 | (Female speaker:--follows, one person leads, and there's only three
things that matter, and that's the music, the dance floor, and your partner.)
| | 06:52 | This is looking pretty good.
| | 06:53 | Now, I'm going to maybe just
raise this just a tiny bit more.
| | 06:57 | If I want to put this at 8.5, I can
just click on this levels slider and just
| | 07:01 | type in 8.5 on my numeric keypad.
And let's go ahead and play through this.
| | 07:06 | I think this should be pretty good.
| | 07:07 | (Female speaker: And there's only three things that matter, and
that's the music, the dance floor, and your partner.
| | 07:14 | (Female speaker: And you just forget everything else.)
| | 07:16 | So, I like this for an
adjustment for my source audio.
| | 07:20 | Now, every time I edit this clip into
the Timeline, the adjustment will be made
| | 07:26 | and I don't have to make
it again in the Timeline.
| | 07:28 | However, let's go ahead a play this
part of the Timeline so that you can see
| | 07:33 | what's actually gone on.
| | 07:34 | Now remember, this was edited in the
Timeline before we made this adjustment.
| | 07:39 | I'm going to go ahead a press play.
| | 07:40 | (music playing)
| | 07:42 | And I'm actually going to solo that so
that we can hear it by itself, and I'll
| | 07:47 | press play with the spacebar.
| | 07:48 | (Female speaker:--brings you together.
Brings you to a simpler time.)
| | 07:52 | So again, we will have to do it again in
this instance, because this was edited before.
| | 07:56 | So this is a great case for you to fix
all of your audio before you edit and
| | 08:01 | then you wouldn't have to do this,
but we already know the adjustment so we
| | 08:04 | could probably do it pretty quickly here.
| | 08:06 | I'm going to go ahead and drop this down,
and let's go ahead and type in 8.5 here.
| | 08:12 | We want to center this pan here, and let's
go ahead and play through this right here.
| | 08:20 | (Female speaker: Brings you together. It brings--)
| | 08:23 | We've now eliminated the low audio.
| | 08:26 | We have raised our good audio,
except when we come over to this clip--
| | 08:31 | (Female speaker: One person--)
| | 08:34 | it's back to its raw state.
| | 08:36 | So as you can see, this is
clip-based editing in my Timeline.
| | 08:40 | If I'd like to apply this same
adjustment to all of the clips on this track,
| | 08:46 | all I have to do is come up to my Audio Mixer
Fast menu and choose Set Level On Track-Global.
| | 08:54 | I'll go ahead and click this.
| | 08:56 | Now when I come over here,
go ahead and watch this.
| | 09:03 | So our level is good.
| | 09:05 | So, we just need to do
the same thing for our pan.
| | 09:08 | Again, I come into my Fast menu and I'm
going to choose Set pan On Track-Global,
| | 09:14 | and let's go ahead and take a look here.
| | 09:16 | (Female speaker: One person follows, one person leads.)
| | 09:18 | All right, great, and the same thing here.
| | 09:24 | If I had actually placed in and out points,
so, for example, on each side of this--
| | 09:31 | let's say that somebody else was
downstream and I didn't want them to receive
| | 09:34 | the same adjustment--
| | 09:36 | I could define the area in the
Timeline that I would like to apply these
| | 09:41 | adjustments and now that I have in and out
points, if I come to my Fast menu, this
| | 09:46 | now says Set level On Track-In/
out and Set pan On Track-In/out.
| | 09:52 | So bottom line, it's a clip-based
adjustment unless you wanted to apply it
| | 09:56 | globally on the track or
between in and out points.
| | Collapse this transcript |
| Keyframing audio| 00:00 | Everything we learned in the previous
movie about adjusting audio level and pan
| | 00:04 | is a great resource for basic audio
adjustments, provided that you're either
| | 00:08 | changing the audio of a source clip or
of the segment in the Timeline that can
| | 00:13 | also be applied globally, or
in between in and out points.
| | 00:16 | What if, however, you need
change the audio within a segment?
| | 00:19 | Many times audio levels fluctuate
within the boundaries of a segment and one
| | 00:24 | adjustment for the entire
segment simply won't work.
| | 00:26 | Instead, you need to be able to ride
the levels up and down within the segment,
| | 00:31 | and to do this you'll need to keyframe the
audio, which is otherwise known a rubberbanding.
| | 00:36 | So we have made our adjustments in
the Timeline regarding Kim's audio.
| | 00:42 | I'm going to go ahead and solo that so that
we can verify that everything looks good there.
| | 00:49 | (Female speaker: Brings you together.
Brings you to a simple time.)
| | 00:52 | We're peaking properly, but when I
un-solo this and play it with the music
| | 00:57 | let's take a listen.
| | 00:59 | (music playing)
(Female speaker: Swing dancing brings you together.)
| | 01:02 | (music playing)
(It brings you to a simple time.)
| | 01:04 | Now, I'm going to move my monitor up to B2,
because obviously we have some Broll here.
| | 01:09 | I'd like the music to be at this level
while we see them dancing, but I need it
| | 01:14 | to dip down when she starts talking.
| | 01:16 | So what we learned before was segment-
based adjustment and that's not going to
| | 01:20 | work in this situation.
| | 01:21 | We actually need to dip it down
right here and mix our audio; therefore
| | 01:26 | we're going to add keyframes, and the
way we do that is to activate a setting.
| | 01:31 | I'm going to activate my Track Control
panel here by clicking on this little
| | 01:35 | arrow to the right of the time code.
| | 01:37 | I'm going to click on the
dropdown menu and choose Volume.
| | 01:41 | I'm going to do it again for A4, and this
is going to allow us to input keyframes
| | 01:47 | so that we can make that adjustment.
| | 01:49 | Again, if you're not able to do that,
make sure, in the Timeline Fast menu under
| | 01:54 | Audio Data, that you have Allow Per Track
Setting selected, and then you can work
| | 01:59 | within our Track Control panel.
| | 02:02 | To maximize our real estate, I'm just
going to close that back up, and what I
| | 02:06 | want to do is set a couple of keyframes.
| | 02:09 | I like our levels in the beginning.
| | 02:10 | I'm going to go ahead and play, and let's
watch our levels here in the Audio tool.
| | 02:14 | (clip playing)
(Female speaker: Swing dancing brings--)
| | 02:19 | All right, and we need to bring them down
significantly, starting about right here.
| | 02:25 | So I'm going to press the
apostrophe key, which is your Keyframe button.
| | 02:29 | I first need to select A3 and A4, and
I'll just de-select A1 and A2 because we're
| | 02:35 | not working on those tracks right now,
and I'll add a keyframe by pressing the
| | 02:39 | apostrophe key, and I'm going
to add another one right here.
| | 02:44 | The next thing you need to check is
that you have the Keyframe button enabled.
| | 02:49 | If I don't, I'm not able to adjust
these keyframes. But if this is enabled, I
| | 02:55 | can hover over a keyframe and it turns
into a little hand, and I can bring that down.
| | 03:01 | So let's go ahead and play this through
and we'll see how the audio mix sounds.
| | 03:04 | (clip playing)
(Female speaker: Swing dancing brings you together.)
| | 03:08 | (It brings you to a sim--)
| | 03:10 | So, I dropped it too low.
| | 03:12 | What I'm going to do to help myself
out is increase the size of my A3 and A4
| | 03:17 | tracks so that I can really see
how much I'm dropping this down by.
| | 03:22 | So first of all, I'm going to
de-select B1 and B2, and now I'm going to press
| | 03:26 | Ctrl+L or Command+L on a Mac
and when I make these really large, you
| | 03:31 | see this decibel lines.
| | 03:33 | So what I want to do is actually drop
it down above the next decibel line down,
| | 03:38 | so I'm going to drag up a little bit
and that's probably a little bit better,
| | 03:44 | maybe a little bit more, and
let's go ahead and try that out.
| | 03:48 | I'll go ahead and press play.
| | 03:49 | (music playing)
(Female speaker: Swing dancing brings you together.)
| | 03:53 | (It brings you to a simple time where--)
| | 03:55 | And just a little bit higher.
(--where the rules were defined. One person follows, one--)
| | 04:04 | All right, so that's sounding pretty good.
| | 04:07 | If you want to snap to
these decibel lines, you can.
| | 04:10 | If I hold down Ctrl or Command on
a Mac, you notice that these snap to
| | 04:16 | these decibel lines,
so that can be really helpful.
| | 04:18 | Again, I want to kind of go in between, so
I'm going to release here, and I think
| | 04:22 | that's going to be pretty good.
| | 04:24 | So if I wanted this change to occur
quicker, I just would need to drag this
| | 04:28 | to the left and right.
| | 04:29 | By default, though, I can't do that.
| | 04:31 | I have to hold down a modifier key,
which is the Alt button or Option on a Mac.
| | 04:38 | So this will allow me to drag
my keyframe to the left and right.
| | 04:41 | If I want to have that happen quicker,
I'm going to park it about right there.
| | 04:47 | And I think I moved it up a little bit
so, I'll reposition. And I'm just going
| | 04:52 | to increase the size of my track so
I can see it even better, and let's go
| | 04:56 | ahead and take a listen.
(clip playing)
| | 04:58 | (Female speaker: Swing dancing brings you together.
It brings you to a simple time where the roles are defined.)
| | 05:05 | Notice that everything is peaking normally here.
| | 05:08 | Audio is additive, so if you adjust A1
and A2 and then you adjust A3 and A4 and
| | 05:14 | each one is peaking correctly, it could
be that it will send it to above-normal
| | 05:19 | peaking levels when their all added together.
| | 05:22 | So, you'll always need to listen to
everything in conjunction with one another
| | 05:26 | to ensure that you're audio mix is good.
| | 05:28 | I want to show you one more
shortcut for keyframe adjustment.
| | 05:33 | I'm going to go ahead and zoom out.
And what I'd like to do is bring the audio
| | 05:37 | back up after she's done speaking.
| | 05:39 | So I'm going to go ahead and press the
apostrophe key here and again here. And
| | 05:45 | we know that the initial levels
are right at this decibel line,
| | 05:50 | so I'm going to Ctrl+Drag up, and
now we have a ramp-down and a ramp-up.
| | 05:57 | Now, if I wanted to change both of
these simultaneously, I could park here and
| | 06:02 | mark an in, park here and mark an out
and then when I adjusted one, you can see
| | 06:09 | that the entire ramp will adjust simultaneously,
| | 06:12 | so that can be really helpful when
you're designing a ramp like this, which is
| | 06:16 | really common when you
have music over narration.
| | 06:19 | If I want to delete an audio keyframe, I
just hover, I don't click, and I press Delete.
| | 06:25 | Notice that when I do that between an
in and an out point, all the keyframes
| | 06:29 | between my in and out points delete.
| | 06:32 | So if I wanted to delete all the rest
of these, I would just need to move my
| | 06:36 | in and out points out, hover, I don't
click, and I press Delete on the keyboard,
| | 06:42 | and they're all gone.
| | 06:43 | Now, I do want those adjustments, so
I'm just going to Ctrl+Z several
| | 06:48 | times and get that back.
| | 06:51 | So, as you can see, rubberbanding
audio is absolutely essential to building
| | 06:55 | a proper audio mix, because you can never
really rely on audio segments with uniform levels.
| | 07:00 | Building an intricate audio bed is so important,
| | 07:03 | so you'll certainly find
yourself using audio keyframes a lot.
| | Collapse this transcript |
| Recording audio adjustments on the fly| 00:00 | Adjusting audio via the Audio Mixer or
keyframing audio in the Timeline is a
| | 00:05 | great way to make sure you're level
and pan are within acceptable limits;
| | 00:09 | however, you may have noticed that both of
these strategies are mark-and-park approaches.
| | 00:13 | That is, you play the audio to
see how you'd like to adjust it,
| | 00:17 | you make the adjustment, and then you play it
again to see if what you did was acceptable.
| | 00:20 | Now there's a much more dynamic way
to do this, so in some cases you'll want
| | 00:25 | to record your audio adjustments on
the fly, and that's what we're going to
| | 00:28 | explore in this movie.
| | 00:29 | All right, so I have my Timeline and
all of the adjustments that I made in the
| | 00:34 | last movie have been taken away, but
basically, what I want to do is make sure
| | 00:40 | that I have the volume setting on.
| | 00:42 | Again, that is available via this
little dropdown menu in the Track Control
| | 00:46 | panel. And I want to increase the size
of my track so that I can see what I'm
| | 00:53 | doing. And if we come over to the Audio Mixer,
| | 00:57 | you see that our Audio
Mixer mode is in Clip mode.
| | 01:01 | This means that we're
making clip-based adjustments.
| | 01:04 | If I click on this, we toggle
to another mode called Auto mode.
| | 01:09 | If I click again, we go to Live mode.
| | 01:12 | We won't be discussing Live mode in this course.
| | 01:15 | So I'm going to click back to
Auto so that we can make some
| | 01:17 | automatic adjustments.
| | 01:19 | What I'm going to do is actually just
play my sequence, and then I'm going
| | 01:24 | to ride my level sliders as it plays, and it
will input keyframes for me automatically.
| | 01:30 | So I want to make sure that A3
and A4 adjust at the same time,
| | 01:36 | so I'm going to group them by
clicking on my Group buttons. And you'll
| | 01:40 | notice that I'm already down to just
below -16 decibels, and that's great for
| | 01:47 | this section right here--
| | 01:49 | it actually starts out being pretty
loud--but I'm going to need to drop that
| | 01:52 | even further when Kim starts talking.
| | 01:55 | So I'm going to go ahead and press
Record up here in the upper left, and then
| | 02:00 | I'm going to come over to my sliders
and slide it down right before she starts
| | 02:05 | talking, and then I'll slide it up
right after she stops talking. Okay.
| | 02:10 | So let's go ahead and try it.
| | 02:12 | I'm going to press Record.
| | 02:13 | (music playing)
| | 02:18 | (Female speaker: Swing dancing brings you together.
It brings you to a simple time where the roles are defined.)
| | 02:25 | (One person follows, one person leads, and there's
only three things that matter. That's the music,
| | 02:30 | (the dance floor, and your partner.
You just forget everything else.)
| | 02:33 | (music playing)
| | 02:39 | Okay. So, we've reached the end of our
recording and as you'll see, here are the
| | 02:45 | adjustments that I made.
| | 02:46 | It starts off with not very many keyframes.
| | 02:49 | If I want to adjust the amount of
keyframes that I have in my Timeline, I can
| | 02:53 | come up to my Fast menu and
choose this first option, Filter Volume
| | 02:58 | Automation On Track-Global.
| | 03:01 | Notice that when I do that, it puts a
whole lot more keyframes in there because,
| | 03:05 | if I zoom in and slide over, you can see
that I can adjust any of these further.
| | 03:14 | Now, I think this is way too many, so I'm going
to filter again, and it starts to take some away.
| | 03:20 | Again, it maintains the shape of how I
was adjusting. And let's go ahead a filter
| | 03:26 | once more. And it looks like on A3
we're good to go, as far as getting a few
| | 03:32 | number of keyframes that I can
then come in and adjust as I want.
| | 03:37 | I would then need to
filter my automation for A4.
| | 03:41 | It maintains the shape of my adjustment.
| | 03:43 | I'm able to come in and further tweak if I want.
| | 03:47 | All keyframe behaviors are the same, so
I can just hover a keyframe and press
| | 03:52 | Delete and away it goes.
| | 03:54 | I can move keyframes to the left and
right by Alt+Dragging or Option+Dragging on
| | 04:00 | a Mac. And if I want to remove all my
keyframes and record again, I can mark my
| | 04:05 | in point by pressing I, my out point by
pressing O, just hover over any of them,
| | 04:11 | and press Delete, and they all go away.
| | 04:14 | Also, if I re-recorded, it would
record over my previous keyframes.
| | 04:19 | So when used at the right times,
on-the-fly adjustments are a great way to be
| | 04:23 | more in touch with the audio as you
adjust it, since you can change audio as
| | 04:27 | you play.
| | Collapse this transcript |
|
|
7. Basic EffectsUsing Quick Transition effects| 00:00 | Probably the most common effect you'll
use while editing is something you see
| | 00:03 | all the time but may not always
be aware of it, the basic dissolve.
| | 00:08 | The dissolve, which is a gradual
transition from one image to another, is the most
| | 00:12 | classic way to show a
juxtaposition of time, space, or ideas.
| | 00:16 | We'll learn how to apply the dissolve
via the Quick Transition window in this movie.
| | 00:21 | All right, so we have our establishing
suitcase shots, and then we go into our
| | 00:27 | montage here. I'd like to have
the dissolve right at this shot.
| | 00:31 | So I'm going to park near this edit
point and I'm going to open the Quick
| | 00:35 | Transition window by
clicking on this button right here.
| | 00:40 | We have a dialog box that opens, and
right away I need to choose whether this is
| | 00:44 | going to be a video dissolve, an audio
dissolve, or both, and in this case I just
| | 00:50 | want this to be a video
dissolve so I'll deselect A1 and A2.
| | 00:54 | I can choose what type of dissolve or
fade I want to use, and I just want to use
| | 00:59 | the basic dissolve, so I'm going to choose that.
| | 01:02 | I can choose whether my dissolve is
centered on the cut, whether it ends on the
| | 01:07 | cut, begins on the cut, or I can create
a custom dissolve where I can just drag
| | 01:15 | where the cut starts and ends, and I
can actually also adjust the duration by
| | 01:21 | hovering over the edge
of it and dragging it out.
| | 01:24 | You'll see the duration update right
here in this box so, I can also change it,
| | 01:29 | and I would like to, so I'm going to
change this to 60 so it's a two-second
| | 01:35 | dissolve, and we'll go
ahead and start it on the cut.
| | 01:41 | So, as the suitcase comes into
view, it's going to slowly dissolve.
| | 01:45 | All right, so what do we have?
| | 01:47 | We have a video dissolve that starts on the cut.
| | 01:51 | It lasts two seconds, and we want to look
at this option right here, Target Drive.
| | 01:57 | This is only if I render it, and
you'll never need to render a quick
| | 02:03 | transition to see it play out,
| | 02:04 | so this option is really not
important right now because we are not going to
| | 02:08 | add and render this dissolve.
| | 02:10 | Rather, we're just going to add it.
| | 02:13 | I'll go ahead and Add, and you'll see
that the transition starts on the cut.
| | 02:19 | It's going to last two seconds, which
we'll go ahead and play through now.
| | 02:22 | (clip playing)
| | 02:26 | All right, looks good,
exactly how we want it.
| | 02:29 | We have the image of their feet and the
suitcases kind of persist over the first
| | 02:34 | two seconds of that shot. Looks really nice.
| | 02:37 | There's one more thing I'd like to
show you about the quick transition and
| | 02:40 | that's just how to apply
multiple transitions at once.
| | 02:43 | Let's say that I would like to have a
few transitions in between all of these
| | 02:50 | dance shots, just really quick ones.
| | 02:52 | I would just mark an in at the
beginning of the sequence and I'll mark an out
| | 02:58 | at the end.
| | 03:00 | We'll go back into the quick transition.
| | 03:03 | We want a video-only
dissolve that is centered on the cut.
| | 03:09 | We just want these to be
maybe about four frames long.
| | 03:14 | Again, it doesn't matter about the
Target Drive, because we're not rendering
| | 03:17 | them, but you'll see this new button.
| | 03:19 | It's Apply To All Transition Between In And out.
| | 03:22 | I'll go ahead and just check that.
| | 03:24 | If I had any existing transition
effects there, I could either skip them or overwrite,
| | 03:29 | but we don't have any, so it doesn't
matter. And again, I'm just going to add the
| | 03:34 | transition, not add and render.
| | 03:37 | I'll go ahead a press Add, and you'll
notice that every transition in between my
| | 03:42 | in and out points received a dissolve.
| | 03:46 | I could go through a see if I like
it, but I'll leave you to do that.
| | 03:50 | For now, just realize that the Quick
Transition tool is a great way for you
| | 03:54 | to quickly apply transitions and be
able to manipulate both their duration
| | 03:58 | and position, as well as the type of
transition, which includes most basic
| | 04:03 | dissolves and fades.
| | Collapse this transcript |
| Using the Transition Manipulation tool| 00:00 | Once you've added transitions to your
sequence, you'll often need to further
| | 00:03 | adjust their duration and position.
| | 00:06 | There's a quick way to do this, via the
Transition Manipulation tool, which is the
| | 00:10 | last of the buttons in the Smart tool that
we haven't talked about. Let's take a look.
| | 00:15 | All right, so we have our sixty-frame
dissolve at the beginning of this, and I have
| | 00:21 | some comments that we want to
try that with it ending on the cut.
| | 00:25 | Now, I could go back into my Quick
Transition display and then move it over,
| | 00:31 | but I'm going to show you a more
tactile way to do that, and that's via my
| | 00:36 | Transition Manipulation tool.
| | 00:38 | So I'm going to go ahead and select
it, and I'll zoom in so we can really see
| | 00:43 | this. And you'll notice that when I hover
over a transition my cursor turns into a hand.
| | 00:50 | So this allows me to just drag a
transition to the left or to the right.
| | 00:56 | I can create a custom transition by
having some of it before and some of it after.
| | 01:02 | You'll notice that as I drag,
I see these six frames here.
| | 01:06 | This is the first, middle, and last
frame of my A side, and this is my first,
| | 01:13 | middle, and last frame of my B side.
| | 01:17 | So, as you see as I drag, this updates
so that I can see exactly what portion of
| | 01:25 | the shots will be included in the transition.
| | 01:29 | Also, if I hover on the edge of the
transition, I can adjust its duration,
| | 01:34 | one side at a time.
| | 01:36 | So, if I bring this in over here
and on the right, if I bring this in, I
| | 01:41 | can customize exactly how long it is and
then if I drag, I can customize its position.
| | 01:47 | So, let's go ahead and start the
transition slightly before the cut,
| | 01:54 | let's drag it out so that it lasts a
little bit longer, and we see that we are
| | 02:00 | starting to get her foot come
into frame on this transition.
| | 02:04 | So, that's not a big deal.
| | 02:06 | It's just a reference point for us. But
occasionally you might drag it so that
| | 02:10 | you see the slate at the beginning of
the shot, which you know you don't want in
| | 02:14 | the transition, or you might
see something else you don't want.
| | 02:17 | So, definitely use this to your
advantage to be able to include the correct
| | 02:22 | media in the transition.
| | 02:24 | Let's go ahead and play through this.
| | 02:26 | This again is a play loop, so it will
play two seconds before the transition
| | 02:30 | and two seconds after.
| | 02:32 | It's really dynamic.
| | 02:33 | I'll play by pressing the spacebar.
(clip playing)
| | 02:40 | Okay and the transition corner display
will remain up as I continue to tweak.
| | 02:45 | If we make it a little bit longer,
you can go ahead and try one more time.
| | 02:49 | Let's play through it once more.
| | 02:51 | (clip playing)
| | 02:57 | All right, so as you can see, you can
quickly change your transition's duration
| | 03:02 | and position in a tactile way by
using the Transition Manipulation tool.
| | 03:06 | Yet another example of how you can
make key adjustments in numerous ways
| | 03:10 | in Media Composer.
| | Collapse this transcript |
| Using the Effects palette and the Effect Editor| 00:00 | In this movie, we will dive a little
deeper into effects by taking a look at
| | 00:04 | the Effect palette and Effect Editor, as well as
how to apply some basic effects to our sequence.
| | 00:10 | All right, so we have already applied
a transition via the Quick Transition
| | 00:14 | menu, and we have it right here, but we would
like to make some changes to this transition.
| | 00:20 | So to remove this transition, I just
come up to the Remove Effect button,
| | 00:25 | above the Timeline.
| | 00:26 | Again, you can map this if you like, and
I will go ahead and just press that to
| | 00:30 | get rid of my effect. And I instead want
to browse through Avid's other effects.
| | 00:35 | I find those in the Effect palette,
which is this third tab right here in the
| | 00:41 | Project window. And as you see, it's a
long list of effects, where on the left
| | 00:47 | side I have the categories of effects
and on the right side I have the effects
| | 00:52 | within those categories.
| | 00:54 | The Effect palette can also be a
floating window, which can be found in the
| | 00:58 | Tools menu > Effect palette, or
Ctrl+8 or Command+8 on a Mac, but I like to
| | 01:04 | work with it right here in the
Project window. And let's find another
| | 01:09 | transition that we can put here.
| | 01:11 | So in the Blend Category are quite a
few of those transitions that are really
| | 01:15 | useful, and I am specifically
going to choose Dip to Color.
| | 01:20 | To apply a transition from the Effect
palette, you just click and drag with your
| | 01:24 | mouse and then release
somewhere near the edit point.
| | 01:28 | If you go too far to the
left or right, it won't apply it;
| | 01:31 | it will go to the other transition
point. But we want to make sure that we
| | 01:34 | apply it to this one, and we will go
ahead a play through and see what the
| | 01:40 | default values look like.
| | 01:41 | (clip playing)
| | 01:46 | All right, so we have got a basic dip
to black, and it lasts about one second.
| | 01:53 | To see these parameters up close, let's
go ahead and open up the Effect Editor,
| | 01:57 | and I do that by clicking on the Effect
mode button right here in the Timeline.
| | 02:02 | Or I can bring it up via the
Tools menu > Effect Editor.
| | 02:07 | I am going to go ahead and just press this
right here, and let's take a look at what we here.
| | 02:15 | At the bottom, we see the
duration of this effect.
| | 02:18 | Here it is, one second long, and if I
want to change this, I just highlight this
| | 02:23 | and type in a new value.
| | 02:25 | Now, what I would like to try is to
really shorten this dip to color and instead
| | 02:31 | of it lasting an entire second, I
want it to last only five frames.
| | 02:35 | So I want it to just be a flash.
| | 02:36 | So, I am just going to type in 05,
Enter, and this is now a five-frame effect.
| | 02:44 | And if you look to the left of that, you
can see this button here where, again, we
| | 02:50 | can choose where this transition lies.
| | 02:54 | So, I want to keep it centered on the cut.
| | 02:56 | It's indicated by that check mark there,
so we are good to go there. And then we
| | 03:01 | will come up to the main parameter values.
| | 03:03 | For a dip to color I just have two
parameters that I can change: the Level and
| | 03:10 | the Background Color.
| | 03:11 | I am going to play through this effect
by coming over to this monitor here. And
| | 03:15 | it's no longer the Record Monitor;
| | 03:18 | it's now the Effect Preview Monitor,
because as you see as I come through the
| | 03:22 | effect, it just shows me this effect.
| | 03:26 | I am going to play through it,
so we can see what it looks like.
| | 03:29 | All right, so it's very quick, and
I'm going to actually come out into the
| | 03:35 | Timeline so that we can see it in the
context of our sequence, so that we can see
| | 03:39 | if this is the right length for us.
| | 03:40 | I will go ahead and just click in the
time code track, and we will play through.
| | 03:44 | (clip playing)
| | 03:48 | All right! So I think that is pretty good.
| | 03:52 | I might lengthen it to about eight
frames, so I am just going to make sure that
| | 03:55 | my effect is selected and open the
Effect Editor, and let's go ahead and just
| | 04:01 | change this to 08. Enter.
| | 04:06 | The next thing I want to do is
actually change the color that it flashes to.
| | 04:10 | So, right now it's going to black.
| | 04:13 | We just want to go to white, and we are
going to just click on the button to the
| | 04:18 | left of this little color well, and I am
going to choose white and OK. And let's
| | 04:26 | go ahead and just play
through this and see how it looks.
| | 04:28 | (clip playing)
| | 04:29 | So, that didn't give us much indication,
so again, we are going to have to go
| | 04:32 | back out to the Timeline and see if
our flash to white happens right on that
| | 04:36 | symbol and if we get the effect we are after.
| | 04:40 | (clip playing)
| | 04:44 | All right, pretty good.
| | 04:45 | We applied a dip to color, which was a
thirty-frame dip to black, and now it's an
| | 04:51 | eight-frame flash to white.
| | 04:53 | I want to show you how to apply a
Segment effect now, and we are going to come
| | 04:57 | to the Image category, and we are
going to apply something just very simple.
| | 05:02 | We want to put her flower on the
other side of this frame, so we just want
| | 05:08 | to basically flop it.
| | 05:10 | Well, we have a Flop effect.
| | 05:11 | We apply this in pretty much the
exact same way as a transition.
| | 05:15 | Just click and drag. But instead of
dragging on to an edit point, you just drag
| | 05:19 | onto the segment itself and release, and
you see that we got an immediate effect.
| | 05:26 | If I come into the Effect Editor,
notice that I don't have any parameters to
| | 05:30 | change, because a flop is what it is:
| | 05:33 | it just flopped the image. And up here we
have the indication within the Effect
| | 05:38 | Preview Monitor about what happens.
| | 05:40 | So, I will just play through so we can see this.
| | 05:42 | (clip playing)
| | 05:45 | Okay, so that looks fine for what we
want, and as you can seem the Effect palette
| | 05:49 | and Effect Editor are the gateway into
the world of effects in Media Composer.
| | 05:54 | In the next movie, we will expand on
this knowledge to show you how you can use
| | 05:57 | effects to change over
time by applying keyframes.
| | Collapse this transcript |
| Keyframing segment effects| 00:00 | As you remember from audio rubberbanding,
keyframes represent places within the
| | 00:04 | sequence where an audio change takes
place, and Media Composer automatically
| | 00:09 | interpolates that change
between the two keyframes.
| | 00:11 | We also use keyframes in visual effects and
this time they represent points of visual change.
| | 00:17 | Let's take a look.
| | 00:18 | Okay, so let's come to our first dance
shot. And we have kind of an extreme long
| | 00:26 | shot right here, and what I would like
to do is start out at this length but
| | 00:31 | then zoom in a little bit before we cut
to the next shot, which is a medium shot.
| | 00:36 | So we just want to come over to our
Effect palette, and we are going to go
| | 00:40 | to the Image category, and I am going to grab a
Resize and just drag it right on this effect.
| | 00:47 | Now notice that nothing happened to my image.
| | 00:50 | Media Composer is not going to guess how
much you would like to resize your shot.
| | 00:55 | You need to be the one to tell it
how much you are going to resize.
| | 00:58 | So we just come over to the Effect
Editor, and we see here under Scaling that we
| | 01:05 | have both X and Y Values.
| | 01:09 | So if I wanted to just uniformly resize
this shot, I would want to click Fixed
| | 01:15 | Aspect because we want both our X and Y
values to increase at the same rate, and
| | 01:20 | I could drag this to the
right, and you can see it zoom in.
| | 01:24 | Now that isn't what I want to do, so I
am going to return this back to a hundred
| | 01:28 | really quick, by just clicking on one of
my sliders and typing in 100 right on my
| | 01:34 | numeric keypad. And I will press Enter,
and we were back to where we started.
| | 01:40 | All right, so what we do want to do is
to start off zoomed out and then about
| | 01:45 | midway, we want to slowly zoom in and
then stay zoomed in for the duration.
| | 01:52 | Okay, so we need several points of change.
| | 01:55 | These are represented by
keyframes, which is the button right here.
| | 01:59 | So I'm going to add a keyframe at
the very beginning, and you can see it
| | 02:02 | right there, and we will go ahead and add
another one where we would like the zoom-in to stop.
| | 02:09 | So, I will click there, and we want it
to stay zoomed in until about right here,
| | 02:16 | about three quarters of the way through,
so I will make another keyframe, and we
| | 02:20 | need an end keyframe as well.
| | 02:23 | Okay, so we don't need to change
anything about the first keyframe, because we
| | 02:28 | would like to maintain this size.
| | 02:31 | If I click on the second keyframe
though, I can come back to my Effect Editor
| | 02:37 | and then perform the zoom-in.
| | 02:38 | Now, I'm working with HD footage, so
I have a lot of room to play with.
| | 02:43 | I can get up to about 250% without
there being much pixelation, but with the
| | 02:48 | footage that you have, it's
going to be down-res quite a bit.
| | 02:52 | So, if you put in the same values that I do,
you will probably notice a lot more pixelation.
| | 02:57 | So, let's go ahead and just zoom in until
we like the size. And I can also reposition.
| | 03:05 | You see here I have X and Y parameters,
And if we would like this to stay at
| | 03:12 | this rate from keyframe 2 to keyframe 3,
I could just log all of those numbers,
| | 03:19 | come down here, and put them
back in, but that's kind of a pain.
| | 03:23 | So instead, I am going to just copy
the keyframe parameters from keyframe 2
| | 03:29 | to keyframe 3, and to do that, I am
just going to press Ctrl+C or Command+C
| | 03:35 | on a Mac and I am just going to click
on my third keyframe and press Ctrl+V
| | 03:41 | or Command+V on a Mac.
| | 03:44 | Now, I am zooming in and
staying zoomed in from 2 to 3.
| | 03:49 | Let's go ahead and play through my
Effect Preview monitor to see how it looks.
| | 03:53 | (clip playing)
| | 03:57 | Okay, and then it zooms back out at the end.
| | 04:00 | You know, I actually don't
want it to do that at all;
| | 04:03 | I want it to maintain this size
throughout the duration. So we are going to need
| | 04:08 | to make a few adjustments.
| | 04:09 | So, what I am going to do is actually
just delete this last keyframe because we
| | 04:14 | don't want it to go back out to this value.
| | 04:16 | I am just going to click on the
keyframe and press Delete and it's gone, and
| | 04:21 | then I'm just going to Alt+Drag or
Option+Drag on a Mac so that I can just drag
| | 04:26 | my keyframe down to the end.
| | 04:28 | Now another way to do this is to use
your M, comma, period, and backslash keys.
| | 04:34 | If you click on a keyframe and then
press one of those keys, I am moving
| | 04:38 | one field to the left;
| | 04:39 | If I press comma, one field to the
right; if I press period, ten fields to the
| | 04:45 | left, if I press M; and ten fields to
the right if I press the backslash key.
| | 04:51 | So, I'm going to go back to the
end, and we have our three keyframes.
| | 04:57 | Again, we started zoomed out, we zoom
in, and we stay zoomed in, and let's make
| | 05:03 | sure that looks good with
the medium shot that follows.
| | 05:05 | I'm going to go ahead and just click
up here in my ruler in my timeline, and
| | 05:10 | we will play through.
| | 05:11 | (clip playing)
Okay, looks good.
| | 05:17 | As you can see, applying keyframes to
animate changes in time allows you to
| | 05:21 | become even more in tune with your sequence.
| | 05:24 | In a sense, this allows you to add
another eye to the editing process because of
| | 05:28 | the added things you can do.
| | Collapse this transcript |
| Nesting and auto-nesting| 00:00 | When working with effects, you will often
want to add more than one effect at a time.
| | 00:05 | The way that Media Composer works is
that when you apply one effect on top of
| | 00:09 | another, the second effect replaces the first.
| | 00:12 | So, if I have a flop and I want to also
add a color effect, and if I place it on
| | 00:19 | top, notice that the flop goes away and it's
ready for me to manipulate my color effect.
| | 00:24 | This isn't what we wanted;
| | 00:25 | we want both a flop and a color effect.
| | 00:28 | So, I'm going to apply my flop again,
and we have to do something called nesting
| | 00:34 | in order to apply more
than one effect at a time.
| | 00:37 | There are a couple of ways
to nest in Media Composer.
| | 00:40 | The first way is, if you just park on
the effect, and then you step in to the
| | 00:47 | effect using this arrow down here.
| | 00:50 | When I do that, the flop actually
goes away. Mind you, it's still there, we
| | 00:54 | just can't see it, and we are applying
another effect inside of the flop to the raw video.
| | 01:02 | So, I can grab my color effect and apply it,
| | 01:05 | go into the Effect Editor, and if we
want to desaturate this, I can bring my
| | 01:11 | Saturation down, and it could
be a black-and-white image.
| | 01:14 | But to see both of them in conjunction
with one another, I have to step back out.
| | 01:21 | So I click on the up arrow, step out,
and now I have both my flop and my color
| | 01:28 | effect at the same time.
| | 01:31 | Now, some people like to work this way. I don't.
| | 01:34 | I like to see all of my effects in
conjunction with one another as you build.
| | 01:38 | So I would like to undo that and
show you another way of nesting.
| | 01:42 | I am going to remove my effect, and I
will remove the color effect as well. And
| | 01:50 | let's go ahead and apply a flop again.
| | 01:54 | This time I am going to double-click on
the effect, and what happened is is that
| | 02:00 | we are now looking inside
the flop to the raw video.
| | 02:05 | Notice that we still have
the flop applied though.
| | 02:08 | So, now I will grab my color
effect and apply it to the raw video,
| | 02:12 | go into the Effect Editor, and you will
see that I have both a flop and a color
| | 02:18 | effect here in my Effect Editor.
| | 02:20 | I will go ahead a click on my
disclosure triangle and bring down my saturation,
| | 02:26 | and now I see both of these effects
applied at the same time. This is great.
| | 02:31 | I can keep going.
| | 02:32 | If I double-click on my color effect and I
come to Resize and drag this on the raw video,
| | 02:41 | now we're inside the flop, inside the
color effect, and now we have applied the
| | 02:46 | resize to the raw video.
| | 02:48 | Let's try to make this
flower fill the entire frame.
| | 02:53 | Click on my Resize and click on Fixed
Aspect, and let's go ahead and just bump
| | 03:01 | this up a little bit, and I will
drag it so that it's more centered.
| | 03:05 | I'm actually dragging in the opposite
direction because I am flopped and my
| | 03:09 | parameters aren't flopped, so it's a
little tricky, but now we see the flower
| | 03:16 | desaturated and flopped. Okay.
| | 03:21 | So, we have applied
three effects to one segment.
| | 03:25 | Usually this works just fine, but I want
to show you a scenario in which it doesn't.
| | 03:31 | If I double-click again, I get my raw
video. And I'm going to move my Effect
| | 03:37 | Editor out of the way a little bit so
that I can see my Effect categories.
| | 03:42 | I want to go into the Film
category and I want to apply a mask.
| | 03:47 | Now, a mask is going to put letter bars
at the top and the bottom of the image.
| | 03:52 | And I'm already in 16x9, so this is
more for demonstration purposes, but I am
| | 03:56 | going to grab a 16x9 mask
and apply it to my raw video.
| | 04:01 | Hmm, there is no mask here. Well, why is that?
| | 04:04 | Well, the reason is that because we
are inside the flop, inside the color
| | 04:10 | effect, inside the resize and we are
applying the mask to the raw video, the raw
| | 04:15 | video actually extends
far beyond where we can see.
| | 04:19 | I can zoom out by clicking on my reduce
size here, and my raw video really comes
| | 04:26 | out to this wireframe here,
so my mask is now invisible.
| | 04:31 | So, let's back out and solve this problem.
| | 04:34 | I'm going to click on my mask,
| | 04:36 | remove that effect, and I'm
going to back all the way out.
| | 04:40 | So I'm just going to double-click down
here on V1, and I am going to zoom back
| | 04:46 | in so that we can see the entire frame.
| | 04:48 | So, instead of climbing inside the
effect and applying the effect to the raw
| | 04:54 | video, what we are going to do is
actually apply it on top of everything so that
| | 05:00 | the mask goes on top of
all of these nested elements.
| | 05:05 | This is called an auto-nest, and the way
I do that is I find my 16x9 mask, I hold
| | 05:13 | down Alt or Option on a Mac, and
I drag on top, and there it is.
| | 05:20 | We have our mask, we have our color
effect, we have our resize, and we have
| | 05:26 | our flop all in one.
| | 05:28 | Now, to be honest, most of the time, it
works just fine to just grab an effect
| | 05:33 | and either Alt+Drag, or Option+Drag on
a Mac, one effect on top of another, on
| | 05:38 | top of another, and that's
actually usually the way I work.
| | 05:41 | However, because of ordering,
sometimes you do need to either climb inside or
| | 05:47 | put effects on top depending on the
way that you work, in order to make your
| | 05:52 | effect look the way that you want it to.
| | Collapse this transcript |
| Saving effect templates| 00:00 | Often you will want to save an effect
to use for later, on a different clip.
| | 00:04 | Media Composer makes this easy
through saving effect templates.
| | 00:08 | Okay, so we have a couple of effects
here that we might like to apply again to a
| | 00:13 | different clip, and the first is this flash to white.
| | 00:16 | I might like to apply it to the end
when we go back to the suitcase scene,
| | 00:22 | and so what I'm going to do is actually save
this out to a bin so that I can apply it later.
| | 00:27 | I am going to create a new bin, and I am
just going to call it Effect Templates,
| | 00:34 | and I'm just going to make that accessible,
and I'm going to park on my effect, and
| | 00:40 | open the Effect Editor.
| | 00:42 | And every single effect in Media
Composer has a little icon next to its title.
| | 00:48 | To save this effect template out, just
click on the icon, drag to your bin, and
| | 00:54 | you have it to use for another clip.
| | 00:56 | I like to rename this, so I'm just
going to call this Flash to White, and we can
| | 01:03 | close this and now this is as if I
was applying it from the Effect palette.
| | 01:08 | I just click and drag until I
go in between these two shots.
| | 01:13 | It lights up, and I'm going to
release, and we now have a flash to white.
| | 01:17 | I will take a look.
| | 01:19 | (clip playing)
| | 01:21 | All right, so we have applied it, and we can
apply it to as many transitions as we want.
| | 01:28 | Now, I am going to give you a special
little tip here to make this even easier.
| | 01:32 | When you are saving out a transition and you
think you are going to use it lots of times,
| | 01:40 | you can actually set up a new bin, call
it Quick Transitions, exactly spelled, and
| | 01:49 | instead of putting it just in a bin
called Effect Templates, I'm going to put it
| | 01:53 | in this bin and then close it out.
| | 01:55 | Now, when I park on any transition and
open up the Quick Transition dialog box,
| | 02:03 | when I click on the type of transition
I would like to add, you will see your
| | 02:08 | custom transition is at the bottom of the list.
| | 02:11 | So if I apply that, I can then come
in and alter my Duration, alter how it
| | 02:17 | starts or ends, and then
go ahead and just add it.
| | 02:20 | I don't want this right here,
so I'm going to cancel out.
| | 02:23 | But again, if you have a very common
transition that you use a lot, the Quick
| | 02:28 | Transition trick, by creating
a bin, for it is really great.
| | 02:32 | This works the same way with segment
effects, so if I just click on my segment
| | 02:37 | here, open up the Effect Editor,
| | 02:39 | I can save out any one of these effects.
| | 02:42 | So if I know that I'm going to have
several black-and-white shots, I can just
| | 02:47 | drag my color effect to my Effect Template bin.
| | 02:49 | I am going to go ahead and rename this
so it's a little bit more descriptive.
| | 02:53 | I'm just going to call it Black/White,
B/W, and again, I can apply this in my
| | 03:00 | sequence and I don't have to go into
my effect template and I don't have to
| | 03:05 | manipulate any parameters.
| | 03:07 | I think you will certainly find
yourself often saving out effect templates
| | 03:11 | because as a rule, shows tend to exhibit
similar look and feel throughout the entire piece.
| | 03:16 | Therefore, shots often need a similar
treatment applied in multiple locations.
| | 03:20 | So, I think effect
templates will serve you well.
| | Collapse this transcript |
| Building basic composites using vertical effects| 00:00 | So far we've covered how to use
effects to create a variety of
| | 00:03 | interesting results.
| | 00:05 | One of the most powerful ways to use
effects is to stack them on top of one
| | 00:08 | another, in what's called a composite.
| | 00:11 | A composite is created by combining
different effects that have an element of
| | 00:15 | transparency so that you can
vertically see through the various layers.
| | 00:19 | Let's take a look at what we're talking about.
| | 00:22 | First, I want to introduce you to this sequence.
| | 00:23 | I've added a couple more effects.
| | 00:25 | We start off black and white, and then
we slowly go to color, and then I'd like
| | 00:33 | to have some vertical compositing
elements right in this area, and then we go
| | 00:38 | back to black and white.
| | 00:40 | So right here I have two video
clips stacked on top of one another.
| | 00:45 | On V1, I have Kim and Dave just dancing
in this medium shot, and on V2, I have a
| | 00:54 | close-up of their feet. And the goal is
to see the feet and them dancing in the
| | 01:01 | medium shot simultaneously.
| | 01:03 | So I've already stacked it for you.
| | 01:05 | Now we just need to grab a vertical
effect, or an effect with an element of
| | 01:09 | transparency so that we can see through to V1.
| | 01:11 | So I'll just go to the Effect palette,
and the Blend category is an excellent
| | 01:18 | place to find some vertical effects.
| | 01:20 | I'm just going to grab the
Superimpose and drag it right on top of V2.
| | 01:27 | Now right away, we see both clips,
because the default value for a superimpose is
| | 01:34 | 50%. And let's go ahead and look in the
Effect Editor to see what this means.
| | 01:39 | So we have a default value of our level
being 50% uniformly throughout this segment.
| | 01:48 | What I'd like to do is actually start
off fully opaque, come up to 50%, and
| | 01:55 | then come back down.
| | 01:58 | So I'm going to apply a keyframe
here to begin, and we'd like to hold on our
| | 02:05 | transparency in the middle,
| | 02:06 | so I'll apply two keyframes
like so, and one at the end.
| | 02:11 | On the first keyframe--
activate my Effect palette here--
| | 02:15 | I want to see just the medium shot here,
| | 02:18 | so let's go ahead and drag our level
down to 0. And then I'd gradually like to
| | 02:25 | come up to about 50%, or maybe a little bit less.
| | 02:29 | Let's go ahead and
experiment here to see how we like it.
| | 02:34 | Yeah, I'd like to have it
right around 40%, 42%. There we go.
| | 02:42 | So again, we're going to copy
and paste our keyframe parameters.
| | 02:46 | So I'm just going to click on
keyframe 2, Ctrl+C or Command+C on a Mac.
| | 02:51 | Ctrl+V or Command+V, and we want to go
to the fourth keyframe, and we want to
| | 02:58 | be fully opaque again.
| | 02:59 | So I'm going to go back down to 0.
| | 03:03 | Let's just see how it looks by
playing it in the Effect Preview monitor.
| | 03:06 | (clip playing)
Okay, it looks pretty good.
| | 03:10 | I might change the position of a
couple of these keyframes so that
| | 03:13 | that lasts a little bit longer.
| | 03:15 | So I'm going to go ahead and just grab this.
| | 03:17 | I'm going to Alt+Drag or
Option+Drag on a Mac so that we get to this
| | 03:21 | transparency a little bit sooner, and
I'll Alt+Drag over here so that it will
| | 03:27 | last a little bit longer.
| | 03:28 | Now I'm going to come back out to the
sequence and play it in the context of its
| | 03:34 | adjacent shots to see if we like it.
| | 03:36 | Go ahead and press play.
| | 03:38 | (clip playing)
All right, I think that's what we're going for.
| | 03:46 | As you can see, the Superimpose effect
allows you to see more than one video
| | 03:49 | track at a time, and it's a great tool
for juxtaposing like or unlike images to
| | 03:55 | communicate a relationship or idea between images.
| | 03:57 | In the next movies, we'll take a look
at some more complex vertical effects, as
| | 04:02 | well as combining more than two
video layers to create a composite.
| | Collapse this transcript |
| Using the picture-in-picture (PIP) effect| 00:00 | One of the most common vertical effects is
called a picture-in-picture effect, or PIP.
| | 00:05 | A PIP is an effect that produces
multiple images on screen simultaneously by way
| | 00:10 | of a split-screen vignette of other
transposition, either with fully opaque
| | 00:14 | images or a combination of
opaque and transparent images.
| | 00:18 | You've probably seen this in
action a lot in television and movies.
| | 00:21 | Let's take a look at how a PIP works.
| | 00:25 | So I've got my sequence here, and on
downstream from the transposition I have a
| | 00:31 | couple of clips stacked on
top of one another right here.
| | 00:34 | On V2 I have a medium shot of Kim dipping
Dave down, and on V1 I have the long shot,
| | 00:42 | so we see the entire action.
| | 00:44 | So what I want to do is actually put
both of these shots in boxes within my
| | 00:50 | frame, and I want to add a red border
around it, because we kind of have some red
| | 00:56 | highlights in this dance sequence,
and I'd think that'd look really good.
| | 00:59 | So I'm going to come to my Effect
palette and in the Blend category I'm going to
| | 01:03 | apply a Picture-in-Picture effect
to V2. And I would apply one to V1;
| | 01:10 | however, what we're going to do is
actually kind of steal some of the parameters
| | 01:14 | for the adjustments that we
make on V2 and apply it to V1,
| | 01:17 | so we'll hold off on that for just a second.
| | 01:20 | So as you see, I have two images here.
| | 01:23 | We can see both of them.
| | 01:25 | By default, Media Composer gives the
picture-in-picture a 50% scaling and it
| | 01:30 | centers it right in the middle of the image.
| | 01:33 | That's not what we want,
| | 01:34 | so let's go ahead into the Effect
Editor, and as you see here, we have
| | 01:39 | several parameters.
| | 01:40 | We have a Border, the Foreground, the
Scaling, the Position, and Crop, but we're
| | 01:47 | only going to be working with
Border, Scaling, and Position,
| | 01:50 | so I'm going to simplify it for
myself and have just those open.
| | 01:54 | I'm also going to come over into the
Effect Preview monitor, and I want to apply
| | 01:59 | a keyframe at the beginning and at the end.
| | 02:02 | You don't always need to do this, but I
like to do it because it's really useful
| | 02:06 | to have both a beginning and
end keyframe most of the time.
| | 02:09 | So we want to effect both of
these keyframes simultaneously,
| | 02:12 | so I'm going to click on the last
keyframe and press Ctrl+A or Command+A on a
| | 02:17 | Mac. And then I'm going to come into
the Effect Editor, and let's go ahead and
| | 02:23 | scale this down just a little bit.
| | 02:25 | My Fixed Aspect box is checked, so both
X and Y are going to be affected at the
| | 02:30 | same time, and I could either just drag here--
| | 02:34 | it's very sensitive so if I wanted
to do this with a little bit finer
| | 02:38 | adjustment, I could hold down Shift
and it responds a little bit better.
| | 02:43 | So let's have it be a little bit less
than 50%, and we can also manipulate my
| | 02:51 | position parameters, so I can grab my X
and grab my Y and maybe bring that up
| | 02:58 | into the upper right-hand corner.
| | 03:01 | Next, I can add a border, and to be able
to see my border, I have to add a width.
| | 03:05 | So I'm going to click on Width, and I
think I want to have a width of about 5.
| | 03:08 | When I do that, you see a border, but I
want it to be red, so let's go ahead and
| | 03:16 | just click on the button to the left
of the color well and select red and OK.
| | 03:23 | So this is my basic effect, I think.
| | 03:26 | Let's go ahead and save this out, and
we'll be able to borrow some of these
| | 03:31 | parameters and apply it
to the clip right below it.
| | 03:35 | So I can either click and drag on the
effect and drag it to a bin, so I would
| | 03:41 | actually need to come over to Bins and
create a new bin and I can call it Effect
| | 03:45 | Template and we can drag it in there
and I can use it for later, but you also
| | 03:50 | have the option of just
dragging it straight onto the clip.
| | 03:54 | So I can click and drag with my mouse
and release on V1. And you actually want to
| | 04:00 | make sure that V1 is selected, so I'm
going to click on V1. And you'll see here
| | 04:06 | that it's positioned
directly behind the other clip,
| | 04:10 | so I can't actually see it
until I adjust my position.
| | 04:16 | I'm going to, instead of working in the
Effect Editor, I'm just going to make
| | 04:21 | sure that V1 is selected, and then I
can just drag right here within the
| | 04:26 | Effect Preview monitor.
| | 04:27 | So let's just make sure that we have
the first keyframe selected, and I'm going
| | 04:33 | to make sure that the last keyframe is
selected as well, by pressing Ctrl+A or
| | 04:37 | Command+A. And let's go ahead and just
drag this over to the lower left, and now
| | 04:47 | we can see both frames with the same
effect applied to each, with the exception
| | 04:52 | of the position, and let's play through.
(clip playing)
| | 05:00 | Okay, and you know what? We have several
more camera angles of this exact same action.
| | 05:05 | So if you're following along with the
exercise files, feel free to add a couple
| | 05:09 | more video tracks and play around
with your own effect composite design.
| | Collapse this transcript |
| Using the Color effect| 00:00 | Changing a clip's color, brightness,
and style are universal effects in editing,
| | 00:05 | either for correcting images that need
adjustments or by adding a specific style or a look.
| | 00:10 | Most of these adjustments can be done
via Avid's powerful Color Correction tool,
| | 00:15 | which we'll cover in a later chapter;
| | 00:17 | however, one effect that can offer
some great basic adjustments is the Color
| | 00:21 | effect and in this lesson we'll
take a look at the Color Effect.
| | 00:24 | So the Color Effect is found in the
Effect palettes, in the Image Category,
| | 00:30 | right here near the top.
| | 00:32 | I'm going to go ahead and just drag it
onto my clip here, and basically I'm just
| | 00:36 | going to do some testing, because I'd
like to change my color style within this
| | 00:41 | effect composite, because as you see,
I've done a little bit more work.
| | 00:45 | I now have three picture-in-picture
effects, and I've changed the sizes a little
| | 00:49 | bit, and I'd like to give
them all the same color style.
| | 00:53 | So I'm using this clip as kind
of a testing ground for that.
| | 00:57 | I'm going to open up the Effect Editor,
and as you see here, I have six parameter
| | 01:02 | categories in the Color effect.
| | 01:03 | I'll just briefly show them to you.
| | 01:06 | We have Luma Adjust, where we can
adjust brightness and contrast;
| | 01:09 | Luma Range, where I adjust my white
point and black point; Luma Clip;
| | 01:15 | we have Chroma Adjust, where we can
adjust hue and saturation; Color Style, where
| | 01:20 | we can add some posterization and
solarization; and Color Gain, where we can add
| | 01:26 | or subtract various color channels.
| | 01:29 | I'm going to close all of these up, and
I encourage you to go in and play with
| | 01:33 | these as much as possible to see all
of the various color effects that you can
| | 01:37 | apply, but we're going to go ahead
and perform some targeted adjustments.
| | 01:42 | First of all, what I'd like to do
is make this really graphic-looking.
| | 01:46 | So we're going to increase the
contrast and the saturation and then add some
| | 01:52 | posterization as well.
| | 01:54 | I'm going to open up Luma Range and to
increase contrast, I can crunch my blacks
| | 02:01 | and whites, which means I'm going to
decrease the white point and increase the
| | 02:07 | black point. And then I'm going to
come into Chroma Adjust and bump up my
| | 02:12 | saturation. And just so you know, all of
the effects in the Color effect, from the
| | 02:17 | top to the bottom, they're applied in order.
| | 02:20 | So I first crunched my blacks and whites,
then I've upped my saturation, and now
| | 02:25 | I'm coming in to add some style, as far
as the posterization. And I'm going to
| | 02:30 | bump that up, and it's still a little
dark, so I'm going to make sure I bring in
| | 02:36 | some brightness here.
| | 02:38 | So I think that's the
basic effect that I'm after.
| | 02:42 | I want to save this out so that I
can use it again on a different clip.
| | 02:46 | I'll come over to Bins, create a new bin, and
I'm just going to call this Color Templates.
| | 02:54 | And again, we just click and drag the
icon to the left of the Color effect name
| | 02:59 | into my bin, and I'm going to call this graphic.
| | 03:07 | So now I'm going to apply this to
my picture-in-picture composite.
| | 03:15 | Again, because we've saved it out, we don't
actually need to go back into my Effect palette.
| | 03:20 | Rather, I can just double-click and I
see my raw video underneath within the
| | 03:25 | nest, and I'll just click and
drag and do the same thing for V2.
| | 03:31 | Click and drag with my mouse and
release on V2, and again on V3. And to close the
| | 03:38 | entire nest, I'm just
going to double-click on V1.
| | 03:44 | That's pretty good.
| | 03:45 | That's what I'm after. And if I want to
apply this to multiple clips after this,
| | 03:50 | I can do that by Shift+Clicking on
multiple clips and then all I have to do is
| | 03:57 | double-click on the clip in the bin.
| | 04:00 | So I'll double-click on my graphic template.
| | 04:02 | You'll see it's automatically applied to
these next two clips, and we've used the
| | 04:08 | Color effect to create this stylization.
| | 04:11 | Again, I do encourage you to go into
the Color effect and play around with all
| | 04:15 | of the parameters in here.
| | 04:16 | There are lots and lots to choose from
and lots of different effects that you
| | 04:20 | can create using this simple effect.
| | Collapse this transcript |
| Creating basic motion effects| 00:00 | Changing the timing of a clip or
segment is a very common thing you need to do,
| | 00:04 | and Media Composer can do
this is a number or ways.
| | 00:08 | If you simply want to speed up or slow
down a clip without the need for a clip
| | 00:12 | to change speed within the clip, you
can use the Motion Effect Editor. And if
| | 00:17 | you'd like to make a freeze frame
out of a clip, which means the clip has
| | 00:19 | absolutely no motion and
is merely a static image,
| | 00:22 | you can use the Freeze Frame creation tool.
| | 00:24 | Both of these tools produce new clips
with new media and for this reason, they're
| | 00:29 | called source-based adjustments.
| | 00:31 | Let's take a look at how they work.
| | 00:34 | I have a couple of clips here that I
would like to change the speed for, and
| | 00:40 | they're fairly short, so
we can quickly apple these.
| | 00:44 | Now to use the Motion Effect Editor, I'm
going to need to map it to my interface
| | 00:48 | or keyboard, and just so you can see
it, I'm going to map it to a button
| | 00:52 | underneath my source monitor. So I'm
going to press Ctrl+3 or Command+3 on a Mac
| | 00:56 | to bring up the Command palette, and
under the FX tab, we see the Motion Effect
| | 01:02 | Editor. And I want to make sure that
Button to Button Reassignment is selected,
| | 01:06 | and I'll just go ahead and grab that
and put it on the user interface, right
| | 01:11 | underneath the Source monitor.
| | 01:13 | So I'm just going to go ahead and click
on that now with my clip loaded in the
| | 01:17 | Source monitor and we get the
Motion Effect editor dialog box.
| | 01:23 | Now we have the Duration in frames
and the Rate in frames per second (FPS).
| | 01:28 | That's all tied in to the number
that you input in this box here.
| | 01:33 | So by default, it gives you a value of
50% speed, and if I wanted my clip to
| | 01:38 | go half speed, I would keep it like this,
but let's try something a little bit slower.
| | 01:43 | Let's try 30%.
| | 01:44 | Notice that these values
change based on what I put in here.
| | 01:48 | I'll go ahead and just do that
one more time so you can see.
| | 01:51 | I'll go to 35% and
everything changes accordingly.
| | 01:56 | So this clip which was 694 frames is
now going to be 1983 frames and while it
| | 02:05 | was 30 FPS, in real time
it's now going to be 10.5 FPS.
| | 02:09 | We have some other choices here that
we'll discuss in just a second, but I do
| | 02:13 | want to come down to Render method.
| | 02:17 | Without going in to too much detail, I
will just tell you that the best render
| | 02:21 | method to choose, most of the
time, is Interpolated Field.
| | 02:24 | It's going to product a much smoother
result than if you choose Duplicated or Both.
| | 02:29 | VTR is also nice, but I
usually choose Interpolated.
| | 02:33 | This is going to produce new media, so
you need to choose the target drive, and
| | 02:39 | I'll go ahead and send it to my Data
drive, and I'm going to Create and Render.
| | 02:44 | I'm going to send it to my Motion 1
bin and say OK, and it takes just a
| | 02:52 | little bit to create.
| | 02:54 | So we now have a new clip in our bin.
| | 02:57 | This is the icon for a motion effect,
and we also get an indication of exactly
| | 03:02 | how fast it's traveling.
| | 03:05 | So it's automatically
loaded into the source monitor.
| | 03:07 | I'll go ahead and just play through this
so you can see how a 35%-speed clip looks.
| | 03:12 | So you get the idea, and you can go
ahead and just cut this into your sequence
| | 03:26 | just like any other clip.
| | 03:27 | I'm going to load my original back
in, and let's go ahead and open up the
| | 03:33 | Motion Effect Editor once more. And this time
I'm going to type in a speed greater than 100%.
| | 03:40 | Let's go ahead and make this really fast,
| | 03:41 | so I'm going to do 250%. And in addition
to this, I'm going to make it go in reverse.
| | 03:49 | So to make a clip go in reverse, you just
type a minus in front of it, and I'll go
| | 03:56 | ahead and Create and Render.
| | 03:58 | Let's send it to our Data drive.
| | 04:00 | We've got Interpolated selected, so
that's good, and Create and Render.
| | 04:04 | Again, it does take a little bit of time.
| | 04:06 | We're going to go ahead and
choose the correct bin. OK.
| | 04:11 | Now we have another clip and we get
the indication of the frames per second, and this minus
| | 04:17 | indicates that it's in reverse motion.
| | 04:19 | I'll go ahead and play this through.
| | 04:21 | It automatically is loaded in the
Source monitor, and there's an indication of a
| | 04:25 | 250% speed clip in reverse.
| | 04:30 | Finally, there's one more thing to
show and again, we'll go ahead and open the
| | 04:34 | Motion Effect Editor, and it's
this button right here, Strobe Motion.
| | 04:38 | I'm going to go ahead and choose
something a little bit more reasonable, maybe
| | 04:43 | 150%, and I'll leave that in forward motion,
and I'll go ahead and click on Strobe Motion.
| | 04:50 | This is going to produce an
Update every X number of frames.
| | 04:54 | So it starts of with 5 frames.
| | 04:56 | To show you a more drastic result,
I'll ahead and change this to 15.
| | 05:01 | So every half a second we're going to
get a frame which is going to produce a
| | 05:05 | Strobe Motion effect.
| | 05:07 | We have Interpolated selected.
| | 05:09 | We send this to our Data drive, Create
and Render, send it to our bin, and OK.
| | 05:17 | Let's go ahead and check this one out.
| | 05:20 | I'll go ahead and press play, and that
is a Strobe Motion of a clip updating
| | 05:25 | every half a second.
| | 05:26 | So if you have a need for that,
that's how you make it.
| | 05:29 | So Motion Effect Editor, you can go
forward or backward at a constant speed, and
| | 05:35 | you also have the ability to add strobe motion.
| | 05:37 | I do want to quickly show you
how to create a freeze frame.
| | 05:39 | I'm going to load the original clip back in
the bin, and let's go to Clip > Freeze Frame.
| | 05:47 | The very first thing you need to
do is choose the render method.
| | 05:51 | This is a little counterintuitive, but
you need to come down to the last menu
| | 05:55 | option, and again, you do not want to
create a duplicated field render method.
| | 06:00 | I'm really not clear why
this is the default option.
| | 06:02 | You want to choose Using Interpolated.
| | 06:04 | It's going to produce a much smoother
result. And you just simply come back into
| | 06:09 | the menu and choose how long
do you want your freeze frame.
| | 06:12 | I'm going to choose 5 seconds
and send it to my Data drive.
| | 06:17 | It's going to be this frame.
| | 06:18 | I probably should have chose a more
interesting one, but just to demonstrate
| | 06:22 | this effect I'm going to hit OK, go
to my Motion 1 bin, and here is my 5-
| | 06:29 | second freeze frame.
| | 06:30 | As you can see, there's absolutely no motion,
and I can edit that right into my sequence.
| | 06:35 | For basic speed manipulation for source
clips, both the Motion Effect Editor and
| | 06:39 | the Freeze Frame creation tool are great
ways to give yourself options in regard
| | 06:43 | to the speed and look of a clip.
| | 06:46 | If however, you'd like to vary the
motion within the clip, the speed and
| | 06:49 | direction of a shot, you should use
the Timewarp effect, which is what we'll
| | 06:53 | cover in the next movie.
| | Collapse this transcript |
| Using Timewarp| 00:00 | Imagine that you'd like to start with
a shot in real time, then speed it up
| | 00:04 | significantly, then slow it down all
the way to a stop, or freeze frame, and
| | 00:08 | then go and reverse.
| | 00:10 | Well, the Motion Effect Editor and
Freeze Frame creation tool from the last
| | 00:13 | movie can only produce non-variable
motion, but Media Composer's Timewarp effect
| | 00:18 | allows you to vary the speed however you like.
| | 00:21 | So in this lesson we'll take a look
at the basic functions of the Timewarp
| | 00:24 | effect so that you can produce some
interesting variable-motion shots.
| | 00:29 | So we have our dancers here and we
want them to go through their dance
| | 00:33 | at variable motions,
| | 00:34 | so we're going to go ahead and go into
the Effect palette and in the Timewarp
| | 00:39 | category we're going to
apple the Timewarp effect.
| | 00:41 | I'm going to click on the Effect mode
button to open up the Effect Editor, and as
| | 00:48 | you see here, I have a Speed
graph and a Position graph.
| | 00:53 | Now yours may open looking like this,
with everything compact, so if you need
| | 00:59 | to open those, just click on each of these
graphs and you've got everything you need.
| | 01:04 | Now one thing I do recommend is to use
these scale bars to make sure you get the
| | 01:09 | entire graph in your view.
| | 01:12 | So I'm going to just reposition these
so that I can see the entirety of my
| | 01:17 | Position graph. That's going to help me
out a lot. And you can do the same thing
| | 01:22 | here if you plan to go at super-high
speeds, but for now this looks okay.
| | 01:27 | So I'm going to work in my Position
graph to create my variable motion, and
| | 01:33 | then I'm going to look in the Position
graph to make sure I have enough frames
| | 01:37 | to get the job done.
| | 01:39 | So I have 100% speed here.
| | 01:41 | I'm going to apply several keyframes.
| | 01:44 | Let's say from about the beginning of
the clip to a quarter of the way in,
| | 01:50 | I want to increase my speed, and then
about halfway through I'd like to drop it
| | 01:55 | to a freeze frame, which will hold for a
little while, and then at the very end I
| | 02:01 | want to go in reverse motion.
| | 02:02 | So here's planning it out.
| | 02:05 | Let's actually do it now.
| | 02:06 | I'm going to click on my second
keyframe here, and I can either drag it up or I
| | 02:12 | can come in here and type
a value, let's say 300%.
| | 02:16 | I'll type 300 and Enter, and
let's go on to my next keyframe.
| | 02:23 | I can use my fast-forward button here.
And here we want to go to a freeze frame,
| | 02:28 | so I'm just going to type in 0 and
again on this one type 0, and then on my last
| | 02:34 | keyframe let's go ahead to -150.
| | 02:38 | So that'll go in reverse
motion one-a-half speed.
| | 02:42 | So we're increasing speed, we are
staying still, then we're going in reverse.
| | 02:47 | Now by default I'm in Spline, which
means I have a nice S curve in between
| | 02:53 | each of my keyframes.
| | 02:55 | If I right-click on a keyframe, I have
other options that I can choose from.
| | 02:59 | If I choose Shelf that means that I'm
going from one value to another without
| | 03:05 | any ease-in or ease-out.
| | 03:07 | I can also choose Linear, and I can
choose Bezier, and this gives me direction
| | 03:13 | handles on each one of my keyframes so
that I can customize my ease-in and ease-out.
| | 03:18 | Let's leave it on Spline, and I want to
come down here into the timeline and take
| | 03:23 | a look at this right here.
| | 03:26 | I have a blue-dot effect, which
means that I need to render it.
| | 03:30 | Most Timewarp effects are green dot
which don't need to be rendered, but I'm
| | 03:33 | going in reverse motion here so
I am going to need to render it.
| | 03:37 | So let's take at a look
at our Render Method menu.
| | 03:40 | Again, we do want to choose something
that produces a nice smooth result, so I
| | 03:44 | would recommend Blended Interpolated.
| | 03:46 | I'll go ahead and choose that.
And now we'll go ahead and render this out.
| | 03:51 | Click on the Render Effect button.
| | 03:54 | I'll send it to my Data
drive, and we'll press OK.
| | 03:57 | It takes just a little bit of time,
and then we'll go ahead and play it out.
| | 04:02 | Notice that my blue dot goes away
because it's rendered, and I'll close this,
| | 04:08 | and let's play through.
| | 04:09 | Speeds up, here's our
freeze frame, and backwards.
| | 04:19 | Exactly what we wanted.
| | 04:20 | Not a very practical example, but it gets
the idea across about how to use the tool.
| | 04:25 | So I'm going to open up my Effect Editor
again, and I want to draw your attention
| | 04:29 | over here to the Position graph.
| | 04:31 | Notice that my line went out
the right side of the graph.
| | 04:34 | This means I have enough frames to work with.
| | 04:37 | If, however, I go in super-fast motion
and burn through all of my frames, this
| | 04:42 | line is going to go out the top, which
is going to tell me, hey, you don't
| | 04:45 | have enough frames,
| | 04:46 | you're going to result in a freeze frame here.
| | 04:48 | You might want to do something about that.
| | 04:50 | So let's just simulate that.
| | 04:52 | I'm going to come over and click on
these keyframes and press Delete and as
| | 04:57 | they're highlighted, I can
just keep pressing Delete.
| | 05:00 | So I'm going from 100% to 300%.
| | 05:03 | Let's use our Scale bar and
access some really high speeds here.
| | 05:08 | I'm going to just send this up to over 1200%.
| | 05:13 | Notice that my line is now going out the top.
| | 05:16 | So it's saying, hey, you don't have
enough frames. But let's go ahead and try this.
| | 05:21 | Notice that I do have a blue-dot effect,
because I'm going at a super-high speed.
| | 05:25 | So again I want to make sure that I'm
rendering with Blended Interpolated Render
| | 05:30 | Method, and we'll go ahead and render this out.
| | 05:35 | Send it to my Data drive.
| | 05:37 | Again, we've produced two
kind of extreme examples.
| | 05:40 | Most of the time you don't
need to render Timewarp effects.
| | 05:44 | Close this out, and let's play through.
| | 05:47 | This should go pretty fast.
And there's our freeze frame.
| | 05:57 | So that's the basics of the Timewarp Editor.
| | 06:01 | Feel free to poke around in it
yourself and try some variable motion, but in
| | 06:05 | general just remember, you construct
your variable motion in the Speed graph
| | 06:10 | and you just monitor it in the Position
to make sure you have enough frames to
| | 06:13 | do what you want.
| | Collapse this transcript |
|
|
8. Basic Rendering and System PerformanceUnderstanding system performance| 00:00 | Working with effects allows you to add
a lot of interesting elements to your
| | 00:03 | sequence, but it also takes a
toll on your editing system.
| | 00:07 | Keep in mind, every time you play back
an effect, which is actually something
| | 00:10 | that isn't really there--like a resize,
a reposition, a retiming, and so on--
| | 00:16 | Media Composer is actually working overtime
to try to play those effects back in real time.
| | 00:20 | If you notice your system is struggling,
there are several things you can do to
| | 00:24 | help it along so that you can
maximize the playback of real time effects.
| | 00:28 | Before trying to solve performance
problems, it's important that you understand
| | 00:31 | how Media Composer
retrieves the media from the drives.
| | 00:35 | Avid retrieves media from the drives
very quickly, much faster than real time.
| | 00:39 | When you hit the Play button, Avid
loads the clip or sequence, finds the media,
| | 00:43 | and quickly fills a buffer full of
video frames that comprise the media.
| | 00:47 | This buffer, historically called the
spring buffer, is a ten-second container that
| | 00:51 | holds the media that's ready to be played.
| | 00:54 | If you're playing just a few
streams of video, the spring buffer stays
| | 00:57 | filled the whole time.
| | 00:58 | That is, Avid is always able to
fill the buffer faster than real time,
| | 01:01 | and playback it smooth.
| | 01:03 | If you're playing many strings of video, the
spring buffer can't always stay totally full;
| | 01:07 | it's only partially full, and while
you're not dropping frames yet, Avid gives
| | 01:11 | you a warning that you might drop frames soon.
| | 01:14 | This is displayed as solid, yellow
or blue dashed lines in the time code
| | 01:18 | track in the Timeline.
| | 01:20 | If you're playing back too many streams,
the spring buffer empties completely,
| | 01:24 | and this results in dropped frames, or
red warning bars in the time code track.
| | 01:29 | This simply means you're not
achieving real-time playback.
| | 01:32 | So, with this explanation, there are a
couple of options in Media Composer that
| | 01:36 | can help you playback your media in real time.
| | 01:39 | We have here a pretty complex sequence.
| | 01:43 | There's not much to it.
| | 01:44 | There's just a lot of picture-in-pictures
with all of them popping on, one after another.
| | 01:51 | I'm going to play through it so that
we can see exactly what warnings we get
| | 01:56 | and if we drop any frames.
| | 01:58 | So let's go ahead and just press Play.
| | 02:00 | I'll press the spacebar. All right!
| | 02:08 | You probably noticed that we dropped
frames at the end, and let's go ahead and
| | 02:13 | scroll down so we can take a look
at our time code track. All right!
| | 02:18 | So up to here, we didn't drop any frames.
| | 02:20 | We were okay. But we're receiving some warnings.
| | 02:23 | These yellow bars in the time code track
indicate that my computer processor is being taxed.
| | 02:28 | If these were blue lines, that would
mean that my drives were being taxed.
| | 02:32 | So that can help you
diagnose what the problem might be.
| | 02:35 | Then, starting right here, we've just
started dropping frames, Avid couldn't
| | 02:39 | handle it, and by the end, we really
weren't getting any playback at all.
| | 02:43 | Keep in mind, these results do vary
depending on what system you're on, so if
| | 02:47 | you're following along, you may
receive completely different results.
| | 02:51 | So let's take a look at a couple of
options to help you out, in case you need to
| | 02:54 | playback your media in real
time, which is usually desirable.
| | 02:57 | If you come down to this menu
right here, the Video Quality menu, and
| | 03:02 | right-click, you'll see
that you have three options:
| | 03:05 | Full Quality, Draft
Quality, and Best Performance.
| | 03:08 | In Full Quality, the frames are
being sent through your system at full
| | 03:12 | resolution, but at Draft Quality,
| | 03:14 | you can send the frames through
your system at one-quarter resolution.
| | 03:19 | Now, when you're dealing with HD media,
you really can't tell the difference,
| | 03:22 | so I highly recommend that
you work in Draft Quality.
| | 03:26 | Full Quality should only be
for screenings and output.
| | 03:31 | So let's go ahead and play this
back and see how it goes. All right!
| | 03:42 | So that went much better.
| | 03:44 | We're looking down here in the time
code track, and we see that we started to
| | 03:49 | get a little bit bogged down, about right
here. We're getting these yellow warning
| | 03:53 | bars saying that my computer
processor is being taxed, and oh!
| | 03:57 | At the end, we dropped frames.
| | 03:59 | So you can actually go down one
more step, to Best Performance.
| | 04:03 | This is sending frames to your
system at one-sixteenth resolution.
| | 04:07 | You will notice a degradation in
quality here, but again, if real-time playback
| | 04:11 | is the goal, sometimes
the drop in quality is okay.
| | 04:15 | Let's go ahead and play this back. All right!
| | 04:22 | So we were able to play
all of that back just fine.
| | 04:26 | We had a couple of warning bars near
here the end, but we had no red lines,
| | 04:31 | which means that we are able to
play back in real time, and the spring buffer
| | 04:35 | just emptied a little bit
near the end, but not completely.
| | 04:39 | In the ruler above the timeline, we see
the performance from the last-played example.
| | 04:45 | So this is the current example, and this
is the last-played example. All right!
| | 04:50 | So this can really help you out.
| | 04:52 | The Video Quality menu is a tremendous
way for you to be able to play back the
| | 04:56 | maximum number of real-time streams, and
depending on what you're doing, you can
| | 05:00 | just switch back and forth. And like I
said, I highly recommend working in Draft
| | 05:04 | Quality most of the time, except when
you're doing heavy compositing--then Best
| | 05:08 | Performance can really help you out.
| | 05:10 | I also want to show you the Format tab.
| | 05:14 | The Format tab will allow you to switch
from the HD flavor to an SD flavor, and
| | 05:20 | this can often help you out as well.
| | 05:22 | So instead of playing in a 1080i59 94
project, and we switch to something of a
| | 05:29 | like frame rate, like a 30i NTSC,
| | 05:31 | I'll go ahead and switch over, and we'll go
ahead and play it through in Draft Quality.
| | 05:38 | I'm going to press my spacebar. All right!
| | 05:46 | We played through just fine, and we had no
warning bars down here in the time code track.
| | 05:51 | So that was our best option as
far as not taxing the system.
| | 05:55 | There are a couple of other methods,
but these are the main ones that will help
| | 05:59 | you out in making sure that you
can play back your media in real time.
| | 06:03 | Again, your Video Quality menu, and
switching to a different format of media,
| | 06:09 | will really help you out if
you have a lot of tracks to play.
| | Collapse this transcript |
| Rendering intelligently| 00:00 | If there are many effects in one
location, especially multiple effects
| | 00:04 | stacked within a composite, it's possible you
may need to render portions of your sequence.
| | 00:08 | Rendering effects simply means that
you are creating, or rendering, video files
| | 00:13 | of the effect's result.
| | 00:14 | In this movie, we'll take a look at
when and how to render effects, so that you
| | 00:18 | can play back any amount of video streams.
| | 00:21 | So here we are, again, with our big
stacked composite, and as we saw in the
| | 00:27 | previous movie, we start
dropping frames downstream here.
| | 00:31 | I've also added a Timewarp effect, and
I've made it go really, really fast, so
| | 00:36 | it turns into a blue-dot effect.
| | 00:39 | So we really do have to render two
locations for this to play back in real time.
| | 00:44 | Now, let's talk about when
we would want to do this.
| | 00:46 | If you export a sequence, the effects
are automatically going to render when it
| | 00:51 | creates the video file,
| | 00:52 | so you don't need to render the
effects when you just export a QuickTime.
| | 00:56 | However, if you're going to tape,
you're going to need to render your effects,
| | 00:59 | because you need to play back at full quality.
| | 01:02 | So you'll need to render all blue-dot effects.
| | 01:04 | I have one right here. And if I wanted
to render, I'm just going to select the
| | 01:09 | effect, and then come to my Render
Effect button above the Timeline, and I
| | 01:16 | choose which drive to send
it to, and I'll click OK.
| | 01:24 | This renders my motion effect, like so.
| | 01:29 | So blue-dot effects always need to
render when you're going back out to tape or
| | 01:33 | when you just need to screen it.
| | 01:35 | Now, the other instance in which you
would need to render is when your sequence
| | 01:38 | is not playing back in real time.
| | 01:41 | So if I play this out, let's go ahead
and get some diagnosis bars down here in
| | 01:45 | my time code track to see
exactly what's going on.
| | 01:49 | Ideally, we would be switching to full
quality if we were going out to tape, but
| | 01:52 | I'm just going to demo
this in Draft Quality for now.
| | 01:55 | So I'm going to go ahead and play
this through by pressing spacebar.
| | 02:08 | So we had some feedback that our drives
were being taxed right around here, and
| | 02:13 | then we just started dropping frames.
| | 02:15 | So from here on, we were having trouble,
and we're going to need to render that
| | 02:19 | in order for that to play back in real time.
| | 02:21 | So one of the most common errors when
people are rendering effects is they
| | 02:26 | simply put an in point at the beginning
of the sequence, put an out point at the
| | 02:31 | end of the sequence, then come
up to Clip and Render In/out.
| | 02:37 | This is a terrible idea.
| | 02:39 | This wastes time and it wastes drive space.
| | 02:42 | Let's talk about why.
| | 02:43 | I'm going to go ahead and clear my in
and out and I want to talk about Avid's
| | 02:47 | top-down rendering method.
| | 02:50 | When Avid renders V8, it also
renders V7, V6, V5, V4, V3, V2, and V1.
| | 02:56 | So when I render this effect, it's
actually rendering the composite result of
| | 03:01 | everything below it.
| | 03:03 | Same thing for V7. When I render V7, it
renders V7 and below. Same thing for 6,
| | 03:08 | same thing for 5, and so on.
| | 03:10 | So if I render all of my effects in
the sequence, it is extremely redundant,
| | 03:16 | it's wasting space, and it's wasting your time;
| | 03:19 | therefore, we're going to use the
diagnosis bars in the time code track to
| | 03:23 | render intelligently.
| | 03:25 | To do this, I'm just going to add a
video track, Ctrl+Y or Command+Y, and I'm
| | 03:31 | going to come into my Effect palette,
and I'm going to go to the Image category,
| | 03:37 | and I'm going to apply a mask.
| | 03:38 | Now, where am I going to apply this mask?
| | 03:41 | The mask is just an effect that I can render
so that I can render everything on V9 and below.
| | 03:48 | Therefore, I'm going to apply my mask
from this point in the timeline on over.
| | 03:55 | So I'm going to monitor V9.
| | 03:57 | What I want to do is at
this point, slightly before,
| | 04:01 | I'm going to apply an edit on V9.
| | 04:03 | Let me just deselect V8 through V1 by
Shift+Dragging through my tracks. And I'll
| | 04:09 | add an edit, and I will drag my mask
effect over on this portion of V9, and this
| | 04:19 | is the only effect I'm going to render.
| | 04:22 | I'm going to ignore everything else
because all of the tracks on V9 and below
| | 04:26 | are going to be rendered
when I render this mask.
| | 04:28 | So remember how many frames were
dropped and then when we render this,
| | 04:34 | Render Effect > Data drive.
| | 04:38 | It's going to take just a little bit of
time. And we'll go ahead and play through
| | 04:42 | this, and let's see if we solved our problem.
| | 04:45 | I'm going to go ahead and
press the spacebar to play.
| | 04:55 | As you see, everything played back in
real time, and we have absolutely no
| | 05:01 | warning bars in our time code track, which
means that there's no problem in the spring buffer,
| | 05:06 | everything is filling up just fine,
and Avid is playing back in real time.
| | 05:10 | So I definitely encourage you to
diagnose the areas in your sequence that need
| | 05:15 | rendering, and if you're just editing,
you of course have the Video Quality menu
| | 05:21 | and the Format tab that you can change.
| | 05:23 | But if you do need to render, make
sure to render intelligently by diagnosing
| | 05:28 | where the problem is occurring and
then finding a targeted way to render that
| | 05:33 | portion of the timeline.
| | Collapse this transcript |
|
|
9. Basic Color CorrectionAnalyzing footage for problems| 00:00 | One of the most important tools
you have at your disposal when
| | 00:03 | color correcting are your eyes. Why is this?
| | 00:05 | Well, videoscopes, which measure video
signal in very specific units, do you no
| | 00:11 | good, unless they know what part of the
image is supposed to be certain values.
| | 00:16 | You need your eyes and your brain to
say what parts of the image are supposed
| | 00:20 | to be white, which parts are supposed
to be black, is it generally bright or
| | 00:24 | dark, is there a color cast, and so on.
| | 00:27 | So in this movie, we'll talk about all
of the questions you need to ask yourself
| | 00:31 | before you even approach a videoscope.
| | 00:34 | First of all, you need to ask yourself what
part of the image is supposed to be white.
| | 00:39 | As we look at our image here, it
looks like we have some hangers in the
| | 00:43 | background that can serve as our
reference white point, and they are
| | 00:48 | definitely not white,
| | 00:49 | so we're going to have to raise
our whites to the proper value.
| | 00:53 | Secondly, you need to ask yourself
what in the image is supposed to be black.
| | 00:58 | So we have a black dress here and some
shadows in her hair and back here in the
| | 01:03 | closet. And again, they are most
decidedly not black; they're way too high,
| | 01:08 | so we're going to need to lower our blacks.
| | 01:11 | Third, is the image too dark or too bright?
| | 01:14 | Well, we definitely have inaccurate
blacks and whites, so once we correct
| | 01:18 | those, we'll have a better idea on how we
need to brighten or darken the image from there.
| | 01:23 | Fourth, is the image flat?
| | 01:26 | Yes, we definitely have a flat image here.
| | 01:29 | We're going to open up the tonal range
by setting our blacks and whites, and that
| | 01:32 | should help out a lot.
Fifth, is there a colorcast?
| | 01:37 | It looks like there is a
colorcast, especially in the highlights,
| | 01:40 | weighted towards yellow.
| | 01:41 | So we'll probably need to cool those down.
| | 01:43 | We'll be able to take specific
measurements for those, so that we can be
| | 01:46 | really accurate there.
| | 01:48 | Finally, how is the saturation
level, especially in the flesh tones?
| | 01:52 | Well, our flesh tones are really washed
out here, and so we'll probably need to
| | 01:56 | bump up the saturation, as well as warm
those up, so that they are more accurate.
| | 02:01 | The human eye is extremely sensitive to flesh
tones, so we'll definitely need to fix that.
| | 02:06 | She looks really pale now, so we'll need to
warm her up, as well as bump up her saturation.
| | 02:12 | So as you see, even before we start
looking how the video signal measures
| | 02:16 | these images, we already have a pretty good
idea of where we want to go in correcting them.
| | 02:20 | Let's keep all this in mind as we start
taking a look at the videoscopes, as we
| | 02:24 | gather even more information about our shots.
| | Collapse this transcript |
| Using the Y-Waveform monitor to set whites and blacks| 00:00 | The first of the videoscopes that
we'll take a look at is the Y Waveform
| | 00:04 | monitor, which allows us to see and measure
the luma, or light and dark values, of an image.
| | 00:10 | It's very important to know and
correctly set your luma values because the human
| | 00:14 | eye is extremely sensitive
to accurate whites and blacks.
| | 00:17 | Having a dingy white or a muddy black is
not only unappealing to the eye, but it
| | 00:23 | also throws off the rest of the
values in your image. All right!
| | 00:26 | Let's take a look at our luma values.
| | 00:30 | Let's go ahead and open up
our Color Correction tool.
| | 00:33 | We can do that by pressing on this
button in the timeline, which looks like
| | 00:37 | three monitors, or we can come up to
Windows > Workspaces > Color Correction.
| | 00:43 | Let's go top to bottom here.
| | 00:45 | We have our three monitors, and in the middle
monitor is the image that we are correcting.
| | 00:51 | We can populate anything
in each of these monitors.
| | 00:55 | So if you click on this pulldown menu,
you can put in the previous shot in the
| | 01:00 | sequence, the next, two before, two
after, or any one of the videoscopes.
| | 01:06 | So we've got Y Waveform selected and if
you wanted to, you could also populate
| | 01:11 | something over here.
| | 01:13 | We're not going to do that right now,
because we're going to focus on one thing
| | 01:15 | at a time. And in the middle here,
we have our Color Correction tool.
| | 01:20 | There's a lot going on and a lot of
controls, many of which we'll go through.
| | 01:24 | Just so you know, we also have a
Curves tab, but this is a little bit more
| | 01:29 | complex, so in this course,
we're going to focus in the HSL tab.
| | 01:33 | Finally, at the bottom, we have our sequence.
| | 01:36 | Right now, we only have one shot in
our sequence, but if we had an entire
| | 01:40 | sequence, it would all be here.
| | 01:41 | But we would just be parked on the
shot that we were correcting. All right!
| | 01:45 | So we have our Y Waveform monitor fired
up, and we have everything else in place.
| | 01:51 | We're ready to look at our luma values.
| | 01:54 | Also, due to the resolution that we're
recording in, you can't really see these
| | 01:58 | numbers, but I have a reference
image that I'd like to look at.
| | 02:02 | Here at the bottom, we have
video black at 16 and at the top,
| | 02:07 | we have video white at 235.
| | 02:10 | So the goal is to set values in our
image that are supposed to be black down at
| | 02:16 | 16 and values in our image that
are supposed to be white at 235.
| | 02:22 | Everything in between are our midtones,
so we can weight them more towards
| | 02:26 | white or we can weight them more towards black.
| | 02:30 | Over here on the right side are
just the percentages of luminance.
| | 02:33 | So we have 0% luminance, which
corresponds to black, and a 100% luminance, which
| | 02:38 | corresponds to white.
| | 02:39 | So with that, let's go back into
Avid and take a look at our image.
| | 02:44 | We want to make sure that the black
values in our image come down to 16.
| | 02:50 | We also want to make sure that the
white values in our image come up to 235.
| | 02:56 | Now, let's go ahead and identify what those
black values are and find them in the waveform.
| | 03:02 | We first have to know how to read
this waveform. And basically, we're just
| | 03:06 | looking at the image from left to right,
and it corresponds with the luma values
| | 03:11 | from left to right in this monitor here.
| | 03:14 | So the values over here that are
peaking at 235 correspond with these values
| | 03:20 | here, which is where the light is
glinting off of the coat rack here. And our
| | 03:25 | dark values, which pretty much hover all
across, represents the dark values here
| | 03:32 | in her dress, as well as the
shadows behind these clothes.
| | 03:36 | They're all resting around here, but really
they should be resting down here, around 16.
| | 03:41 | So those are the first two questions;
| | 03:44 | Where in the image is black, and how far
do I have to bring it down, and where in
| | 03:48 | the image is white, and how
far do I have to bring it up?
| | 03:51 | So we're going to start with Setup.
| | 03:54 | Setup controls our black point.
| | 03:56 | If we adjust Setup to the left, we are
bringing down our blacks, and notice that
| | 04:03 | our waveform adjusts accordingly.
| | 04:05 | So if we bring this down, you can
notice that the waveform will approach 16 and
| | 04:12 | if I want finer adjustments, I just
hold down Shift while I drag to the left
| | 04:18 | and we get really fine adjustments here, because
they are quite pronounced if you don't do this.
| | 04:25 | So now we have our blacks right here
along 16 and we're already looking better.
| | 04:33 | The way that we can see where we came
from is by clicking on this monitor here
| | 04:38 | called Dual Split. And we can either
look at it half and half or what I like to
| | 04:44 | do is drag this all the way over, so that we
can toggle the before and after. All right!
| | 04:52 | So Setup controls our black point.
| | 04:54 | We've brought our blacks
down to where they should be.
| | 04:56 | Now we have to look at our whites.
| | 04:58 | We have a white hanger back here, and
again, we have the light glinting off
| | 05:04 | of the coat rack here.
| | 05:06 | One thing about light glinting
off of metal or water or glass:
| | 05:12 | these are called specular highlights,
and you want to make sure that you don't
| | 05:16 | measure those at white.
| | 05:17 | They're actually brighter than white.
| | 05:20 | So you want to pick something in your
image that is actually white, which will go
| | 05:24 | with this coat hanger, and use that. All right!
| | 05:28 | So we want to make sure that
this goes above 235 if possible.
| | 05:32 | So we're going to use our Gain, which
is going to control our white point, and
| | 05:36 | we'll bring that up.
| | 05:40 | So it's looking pretty good.
| | 05:42 | Again, it's okay that our specular
highlights are peaking above 235.
| | 05:47 | But notice that our blacks got brought back up.
| | 05:49 | So you kind of have to go back and forth.
| | 05:51 | It's a little bit of a dance.
| | 05:53 | I'm going to bring that
back down to 16. Oh, too far!
| | 05:57 | Notice that when you go too far, you
get an indication in the waveform that it
| | 06:02 | becomes white and you've gone below 16.
| | 06:05 | This is a problem because these
produce illegal luma levels, and they'll be
| | 06:09 | refused if you try to broadcast it.
| | 06:11 | So let's go back up, and that looks pretty good.
| | 06:14 | A little bit higher with our Gain.
And I'm just moving my controls just a little
| | 06:21 | bit to get this exactly right. All right!
| | 06:26 | Let's do a before-and-after.
| | 06:28 | Before and after. Like I said, fixing
luma can fix the image drastically, and
| | 06:34 | we're already much closer in
getting this to look the way it should.
| | 06:37 | The last control I want to talk about is Gamma.
| | 06:40 | This controls the midtones.
| | 06:41 | So if I generally want to lighten the
image or generally darken the image, I can
| | 06:46 | do so with this slider.
| | 06:48 | So if I want to lighten it up just a
little bit, I go to the right with my Gamma.
| | 06:53 | And just keep in mind, you want to keep
your blacks at 16, so you might have to
| | 06:58 | adjust that, like so. All right!
| | 07:01 | So as you go forward tweaking your
Gain, Gamma, and Setup values, make sure
| | 07:07 | that you continually monitor that with
the Y Waveform and you will produce a
| | 07:11 | really nice result in getting your
luma values where they should be.
| | Collapse this transcript |
| Using the RGB Parade to correct color casts| 00:00 | As you remember from reading the Y
Waveform, the true value of video black is 16
| | 00:05 | and the true value of video white is 235.
| | 00:09 | Black and white should have no
colorcast because black is the absence of color
| | 00:14 | and white is all colors together;
| | 00:16 | therefore, black and white are true
neutral colors and should read at 16 and 235
| | 00:22 | across all three color
channels of red, green, and blue.
| | 00:26 | Let's take a look at how we
can measure this. All right!
| | 00:30 | So we have our corrected image, as far
as setting our blacks and whites, and now
| | 00:36 | we're ready to correct colorcast.
| | 00:38 | We do that by switching to the RGB
Parade, and we measure this graph by looking
| | 00:45 | at the three color channels as we read the
image across from left to right three times.
| | 00:50 | So in reading this full image, we come
back over to our red, green, and blue,
| | 00:57 | and we need to make sure that our black values
are aligned and our white values are aligned.
| | 01:03 | And as we see here, we can immediately
tell that there's a pretty strong red
| | 01:08 | colorcast in both our blacks and our
whites and so we'll probably need to change
| | 01:14 | the values within our Shadow Chroma
wheel and our Highlight Chroma wheel.
| | 01:19 | So let's take it one step at a time and find
out exactly what our blacks are measuring at.
| | 01:24 | To determine this, we come
over to our color swatches here.
| | 01:29 | And if I hover my mouse in
this box, I get an eyedropper.
| | 01:32 | And if I click down and then bring it
up to my image, you'll see the numbers
| | 01:38 | change in the red, green, and
blue channels within that box.
| | 01:43 | So I'm just going to release, and
we'll take a look at these values.
| | 01:48 | We have Red 46, Green 21 and Blue 15.
| | 01:53 | Now again, we want these to
all be measuring at around 16.
| | 01:57 | We'd really like to have
them within 10 of one another.
| | 02:01 | So it looks like we need to
bring the red values down.
| | 02:05 | We can isolate this by coming over to our
Shadow Chroma wheel and drag away from red.
| | 02:11 | So we're going to decrease the amount
of red in our shadows and increase the
| | 02:16 | amount of blue and cyan.
| | 02:19 | So we're just going to
grab this cross and drag down.
| | 02:23 | And as you see, my waveform updated
and I'm now in much more alignment.
| | 02:29 | In fact, I might have gone a little bit too far.
| | 02:31 | Let's go ahead and take a measurement.
| | 02:33 | To do that, I'm just going to click and drag
with my mouse up to my monitor and release.
| | 02:41 | Yep! And now we have Red 235, Green 26, and Blue 35.
| | 02:45 | So we have a little bit too much blue.
| | 02:48 | Let's go ahead and tweak back a little bit.
| | 02:51 | We might not be able to get it exactly
perfect, but as you go through and tweak
| | 02:56 | this, I encourage you to
get it as close as possible.
| | 02:58 | This does look pretty close though.
| | 03:00 | We're in alignment.
This is much better.
| | 03:02 | Again, we'll take a
measurement, click, drag, and release.
| | 03:07 | And 25, 29, and 30.
| | 03:10 | So we're still riding a
little bit high above 16.
| | 03:14 | We might need to go back into my Y Waveform
and bring our black values down a little bit.
| | 03:19 | Let's just toggle over
there real quick to read those.
| | 03:22 | Yeah, we're a little bit high, so I'm
going to go back down with Setup a little
| | 03:26 | bit and back to RGB, and let's take
another measurement. 26, 26, 26. All right!
| | 03:37 | So we're within 10.
| | 03:38 | Again, we might want to go in and tweak
a little bit, but this is really great.
| | 03:42 | We've removed the colorcast.
| | 03:43 | Everything is in alignment
across the bottom in our blacks.
| | 03:46 | Now we need to do the same thing for our whites.
| | 03:49 | So let's go ahead and take a measurement.
| | 03:52 | We don't have anything exactly pure
white, like a white sheet of paper, so we're
| | 03:56 | going to have to rely on this hanger here.
| | 03:59 | And we'll probably not be all the way
up at 235, so we're going to try to do
| | 04:04 | something called approach white.
| | 04:06 | So if it's right around 200 or so as
long, as all three color channels are
| | 04:12 | aligned, that'll be just fine.
| | 04:14 | So let's take a measurement, go ahead
and click with my eyedropper and release,
| | 04:19 | right there on the hanger.
| | 04:21 | And we've got Red 247, Green 181, Blue 151.
| | 04:26 | Again, we're way too high in the red.
| | 04:28 | Let's drag toward blue and green in our
highlights. And you saw the red come down.
| | 04:34 | We're getting in more alignment.
| | 04:36 | So let's take another measurement.
| | 04:38 | 227, 187, 157, so we're getting closer.
| | 04:45 | I'm going to probably need to tweak with
my Midtone Chroma wheel as well because
| | 04:49 | these values are falling
into the midtones as well.
| | 04:52 | So sometimes you need to have your
Midtone Chroma wheel accompany either the
| | 04:56 | highlight or shadow.
| | 04:57 | Let's bring this down and
you can see things adjust.
| | 05:01 | Let's take another
measurement. 223, 188, and 165.
| | 05:06 | We still need a little bit more blue
across the board, so I'm going to go
| | 05:10 | ahead and keep tweaking.
| | 05:12 | And again, you can get this exactly perfect.
| | 05:15 | We may not have the capability of
getting it aligned exactly right, but this is
| | 05:19 | looking a lot better, and this
measurement is a lot better.
| | 05:24 | We've got 213, 204, 189.
| | 05:27 | So we'll need to get a little bit more
blue in there, but as you can see, let's
| | 05:31 | take a look at our before and we'll
bring that over so we can toggle, and after,
| | 05:37 | so we're looking much, much better.
| | 05:40 | In the next movie, we'll take a look
at how to bring out her flesh tones by
| | 05:45 | looking at the vectorscope and
manipulating our hue and saturation.
| | Collapse this transcript |
| Using the Vectorscope to improve skin tones| 00:00 | Besides blacks and whites, the human
eye is very perceptive to skin tones.
| | 00:04 | By using the vectorscope, you can
adjust chroma hues and saturation as well as
| | 00:09 | correct the hues of skin tones.
| | 00:11 | We'll take a look at using the
vectorscope in this movie. All right!
| | 00:15 | So we have set our accurate blacks and whites.
| | 00:18 | We've removed our colorcast.
| | 00:19 | Let's head on over to the vectorscope.
| | 00:22 | I will click here and pull
down and choose Vectorscope.
| | 00:27 | And because of the resolution I'm
recording at, we can't really see these values,
| | 00:32 | so I want to draw your attention to
what they say, and then we'll come right
| | 00:36 | back in here and look at
Kim's vectorscope.
| | 00:38 | All right! So the vectorscope represents the hues
that go around the color wheel, starting
| | 00:45 | with red, then magenta, blue,
cyan, green, and yellow.
| | 00:52 | So keep that in mind as we are
looking at Kim's vectorscope.
| | 00:56 | If this was just a blank image with a
little green dot in the middle, this would
| | 01:02 | be a desaturated or a black-and-white image.
| | 01:05 | So as you go out from the
center, the saturation increases.
| | 01:10 | So this measures hue by where this green
trace is lying within these colors, and
| | 01:17 | then it also measures saturation.
| | 01:19 | So the further out it goes,
the more saturated it is.
| | 01:23 | You want to make sure that the trace
does not go beyond the edge of the circle,
| | 01:26 | because that represents illegal chroma values;
| | 01:29 | you want to keep everything inside.
| | 01:31 | You also have an invisible line that
runs right in between yellow and red.
| | 01:37 | And this is called the I line, and it
represents the line upon which all flesh
| | 01:42 | tones should reside.
| | 01:44 | So Kim's flesh tones are right here,
and they're the correct hue, but they're
| | 01:50 | really not saturated enough.
| | 01:52 | Flesh tones in general should extend
about one third the way out from the
| | 01:57 | center of the circle.
| | 01:58 | So we want to bring her flesh tones
out in saturation, and just looking at
| | 02:04 | this for her other hues,
| | 02:06 | we have the red out here, which she has
a lot of red on, so no surprise there.
| | 02:11 | And we also have some low levels of
saturation in the green-cyan-blue region right here.
| | 02:18 | So there's the green and the blue that
probably represent those values. All right!
| | 02:23 | So in general we want to use
this to correct our flesh tones.
| | 02:27 | Again, I don't think we're going
to need to make any hue adjustments;
| | 02:30 | we just want to increase the saturation.
| | 02:33 | You won't see any saturation
sliders here in the Hue Offsets tab.
| | 02:37 | We need to switch to Controls,
and here's our Saturation.
| | 02:41 | We can click and drag, or we can hold
down Shift to get a finer control, and I'm
| | 02:47 | actually just going to drag out.
| | 02:50 | And we're increasing the saturation of
the red obviously, but we're looking at
| | 02:55 | the flesh tones here, and it's about one
third of the way out from the circle, and
| | 03:00 | then she's really looking nice here.
| | 03:02 | She's not so pale, and her tones are
really warming up, maybe just a little bit
| | 03:06 | more and back a little bit.
| | 03:11 | Okay, so I like that.
| | 03:13 | I think that's a really nice corrected image.
| | 03:16 | I want to show you the before-and-after.
| | 03:18 | But before I do, I want to do
one more thing to our image.
| | 03:21 | I'm going to load the Y Waveform.
| | 03:25 | And if you notice here, we have a
couple of peaking values right here, which
| | 03:30 | represent the specular highlights, or
the light on this coat rack here, the
| | 03:34 | light on the metal.
| | 03:36 | In the beginning I told you that you
could have values that went above white if
| | 03:40 | it was a specular highlight, which is
light on metal, light on glass, light on
| | 03:44 | water, something where we have some glinting,
| | 03:47 | but we do need to bring that back down
within legal levels for our correction.
| | 03:52 | So we just need to click on this box here.
| | 03:55 | It's going to clip all of our blacks
that are below 16 at 16, and it's going to
| | 04:00 | clip all of our whites
that are above 235 at 235.
| | 04:04 | So when I click on this box, go ahead
and watch this right here, and you see that
| | 04:10 | it got brought down within
legal levels. All right!
| | 04:13 | This image is now good to go.
| | 04:15 | This is the before and this is the after.
| | 04:18 | I think it looks really nice.
| | 04:20 | And I'm going to save this out to its own bin.
| | 04:25 | Now before doing that, I'm going to
show you the before-and-after from where we
| | 04:28 | came from right after fixing our colorcast.
| | 04:32 | So this is what the image looked like
before we added our saturation, and this is
| | 04:38 | what the image looked like
after we added some saturation.
| | 04:41 | As you can see, it really warms her up
and it makes a big difference. All right!
| | 04:46 | So back into Color Correction, and I'm
going to create a new bin and I'm going to
| | 04:54 | call this CC Template for color-
correction template, and I'm just going to grab
| | 04:59 | the Create FX Template icon
here and drop it in my bin.
| | 05:03 | And it's already aptly named
Kim CC for Kim color correction.
| | 05:08 | I can now apply this to all the shots of
Kim so that she's corrected across the board.
| | 05:14 | So over the last three movies, we took
you through the color-correction process
| | 05:18 | of setting your whites and blacks,
removing your colorcasts, and adjusting your
| | 05:22 | hue and saturation in regard to flesh tones.
| | 05:25 | In the next movie, we'll take a look
at how you can actually do all of this
| | 05:29 | automatically with some
automatic color-correction techniques.
| | Collapse this transcript |
| Using auto color correction| 00:00 | There are also some automatic functions
in Media Composer's Color Correction tool.
| | 00:04 | These shortcuts can be very handy, but
it's important that you use all of the
| | 00:09 | knowledge of manually correcting
so that you don't use the auto color
| | 00:12 | correction incorrectly.
| | 00:14 | Okay, so we have our raw image totally
uncorrected, and this time we're going to
| | 00:19 | use the automatic functions.
| | 00:21 | So as you remember, the first thing
that we do is set our blacks and whites
| | 00:25 | using the Y Waveform monitor.
| | 00:27 | So I've got the Y Waveform monitor
pulled up, and I want to come down to these
| | 00:32 | buttons here where we see
Auto Black and Auto White.
| | 00:36 | So first I'm going to set Auto Black and
you can see that all of my black values
| | 00:41 | are brought down near 16.
| | 00:44 | And now I'm going to set Auto White
where the brightest parts of my image
| | 00:49 | are brought up to 235.
| | 00:51 | Now you can imagine that for this to
work, the darkest parts and the lightest
| | 00:55 | parts of the image actually
have to be black and white.
| | 00:59 | And there's actually a
function that does this all in one.
| | 01:02 | I'm going to press Ctrl+Z or
Command+Z on a Mac twice to undo both of those
| | 01:08 | functions, because I want to look at
this button here, which is Auto Contrast.
| | 01:13 | This is going to simultaneously
set my blacks and whites in one move.
| | 01:18 | So I'll click on this button and you
can see that the darkest parts of my image
| | 01:22 | were brought down and the
lightest parts were brought up.
| | 01:26 | Now we still have a colorcast, so I'm
going to move on to the RGB Parade just
| | 01:31 | like we did with manual corrections.
| | 01:34 | And as you can see, the red channel of our
black values is high, just as with our highlights.
| | 01:40 | So what Avid is going to do is it's
going to analyze the balance between the
| | 01:45 | blacks in all three color channels and
the whites in all three color channels
| | 01:49 | and try to bring those into alignment.
| | 01:52 | And it does this via the Auto Balance
tool, which is this first button right here.
| | 01:56 | So I'll go ahead and click on Auto Balance.
| | 01:59 | And when I do so, watch my
crosshairs in all three chroma wheels.
| | 02:06 | And it brought my blacks in alignment,
and it brought my whites in alignment. And
| | 02:10 | it's really hard to see the blue trace
right here, but we have the whitest part
| | 02:15 | right up here at 235 in all
three channels. All right!
| | 02:20 | So this did a pretty good job of
correcting my image with automatic corrections.
| | 02:25 | If I use my Dual Split button, you can
see the before and after. Pretty good!
| | 02:32 | And one thing it didn't
do was touch my saturation.
| | 02:34 | So if I want to bump up her
saturation just a little bit after I perform my
| | 02:39 | automatic corrections, remember, you
have that control in the Controls tab right
| | 02:45 | here, and I'll just go ahead
and warm her up just a little bit.
| | 02:50 | Look at my vectorscope
when I do that. All right!
| | 02:55 | So this is the automatic
correction that Avid was able to give me.
| | 02:59 | I have the manual correction that
we did in the previous three movies.
| | 03:04 | I'm just going to load this and then
go back and forth so that we can see
| | 03:08 | exactly what the difference is
between a manual correction and an
| | 03:12 | automatic correction.
| | 03:13 | So I'll just load this, and
here's my manual correction.
| | 03:17 | I'm just going to load my automatic
correction and edit it right side by side.
| | 03:23 | I'm just overriding by pressing B.
Look in the Record monitor here.
| | 03:28 | Here is the manual correction and
here's the automatic correction.
| | 03:32 | I think you'll agree that the
manual correction does look better.
| | 03:36 | We're able to remove more of the
colorcast, and I just think it looks
| | 03:40 | brighter, but we did do a pretty good
job of getting most of the way on the
| | 03:44 | automatic correction.
| | 03:45 | So my advice would be that if you use
the automatic correction, do it to perform
| | 03:50 | a baseline adjustment and then tweak
the results further until you get the
| | 03:54 | results that you could
with the manual correction.
| | 03:58 | Now I'd like to show you how to
do these all within one button.
| | 04:02 | If I come to my Settings tab and I go
into Correction and then I go into the
| | 04:09 | AutoCorrect tab, I can have Media
Composer first correct my HSL Auto Contrast, so
| | 04:18 | we're working in the HSL tab and we
want to first set our whites and blacks, so
| | 04:23 | Auto Contrast will do that for me.
| | 04:25 | And then I want to come
in and do HSL Auto Balance.
| | 04:30 | So these are the two things that we did,
minus the Saturation change, when we just
| | 04:34 | performed our automatic color correction.
| | 04:37 | So I'm going to say OK.
| | 04:38 | We've now programmed the color-
correction effect to do this.
| | 04:42 | And then if I come into my Effect
palette, you'll notice in the Image category
| | 04:49 | that I have something
called a Color Correction effect.
| | 04:54 | And that's what this is.
| | 04:56 | So let's go ahead and
take off our correction here.
| | 05:00 | I'll Remove Effect, and then I'm
simply going to drag this effect onto the
| | 05:07 | segment and release.
| | 05:10 | And you can see that all of my
automatic corrections were done for me.
| | 05:15 | So automatic color correction really
does put a shortcut in the entire color-
| | 05:20 | correction process, and assigning those
values via the color correction effect
| | 05:25 | even puts more of a shortcut on it.
| | 05:28 | But again, I would recommend that you
use this as your baseline and then go in
| | 05:32 | and tweak it so that you can
really get stunning results.
| | Collapse this transcript |
|
|
10. Creating Titles with Avid MarqueeFormatting and enhancing text using Avid Marquee| 00:00 | Making sharp-looking titles is
an absolute must in video editing.
| | 00:04 | Whether it's a full-page graphic, a
lower third, or an animated title sequence,
| | 00:08 | Avid Marquee is a great
solution for title creation.
| | 00:11 | Marquee is an application within Media
Composer, and it's the more advanced of
| | 00:15 | the two title tools.
| | 00:17 | Both applications can be accessed via
the Tools menu > Title Tool Application.
| | 00:23 | And as you see here, I get a dialog box
asking me if I want to use Marquee or Title tool.
| | 00:28 | There is also a Persist check box if I
want Media Composer to open the same
| | 00:31 | Title tool each time.
| | 00:33 | So I'm going to choose Marquee.
| | 00:36 | And as you see, Marquee
opens and it's a new application.
| | 00:40 | It's on top of Media Composer.
Media Composer is in the background.
| | 00:42 | I'm going to go ahead and just maximize
this so we get the maximum on a real estate.
| | 00:47 | And you see here that we see Kim.
| | 00:49 | This is the frame in our
sequence that we're parked on.
| | 00:53 | This is just a reference video frame.
| | 00:55 | It's not going to be part of the title, but
it allows us to create the title on top of it.
| | 00:59 | If you'd rather not look at it, you
can click on this background key and
| | 01:03 | you'll just see black.
| | 01:04 | I'll also recommend that you put on
your Safe Title/Safe Action lines.
| | 01:08 | The Safe Action line is this outside
line, and it guarantees that all action
| | 01:14 | within this line will play
on standard television sets.
| | 01:18 | And within the Safe Title line is
where you should make all of your titles.
| | 01:22 | Let's come over here to
the Marquee tool palette.
| | 01:26 | We have two that we want to touch on
right away: the Edit tool and the Text tool.
| | 01:31 | The Edit tool allows you to
reposition and rescale text and objects.
| | 01:35 | We don't have anything to rescale or
reposition yet, so let's move on to the Text tool.
| | 01:40 | The Text tool allows me to type my text.
| | 01:42 | If I just click in my video frame and
type, the bounding box will expand as I
| | 01:48 | type, and then I can go back to
my Edit tool and move it around.
| | 01:52 | Notice that when I increase the size
of my bounding box, nothing happens to
| | 01:57 | the size of my text;
| | 01:59 | however, if I hold down Alt while
increasing the size of bounding box, my text
| | 02:05 | increases size as well.
| | 02:07 | If I hold down Shift+Alt or
Shift+Option on a Mac, my proportions are constrained.
| | 02:15 | Also notice that when I move my text
around with my Edit tool, it snaps to
| | 02:19 | my Safe Title lines.
| | 02:21 | This is really convenient.
| | 02:24 | Up here at the top I have a toolbar and I
can choose a font. I'll just choose Arial.
| | 02:33 | And notice that this made my text wrap.
| | 02:35 | You can always just increase the
size of your bounding box if you don't
| | 02:38 | want that to happen.
| | 02:40 | To the right of that is another way
that I can change the size of my text.
| | 02:44 | I can either type in a value or there
is a value shuttle to the right of that
| | 02:48 | where I can dynamically
change the size of my text.
| | 02:52 | If I want to move back to the
default value, I can click on my Reset
| | 02:56 | button right there.
| | 02:57 | Let's go ahead and just increase it slightly
and make my bounding box big enough for that.
| | 03:04 | Coming over here, I can
change the value of my kerning.
| | 03:07 | Kerning is the space in between my letters.
| | 03:10 | So again, I have a value shuttle that
I can make things closer together or
| | 03:16 | further apart, and let's go ahead and
just increase the size just slightly.
| | 03:21 | And again, I'm going to have to
increase the size of bounding box to be able to
| | 03:24 | fit that in, and I'll go down a little bit.
| | 03:28 | To the right of that, I have a color well.
| | 03:30 | I have a couple of ways
that I can choose colors.
| | 03:32 | If I click on this button to the right of
the color well, I have my color swatches.
| | 03:38 | I also have a color spectrum
where I have a lot more choices.
| | 03:41 | And if I click on color picker, that
opens the Mac or Windows colors picker
| | 03:47 | where I have control of not only my hue, but
also my saturation, brightness, and opacity.
| | 03:55 | So I'll just click OK there, and I want to
show you one more tool, and that's the eyedropper.
| | 04:00 | If I come down to my eyedropper and
then click, I'm able to choose any
| | 04:06 | color within my frame.
| | 04:08 | So if we want to match the red in her
hair here, the flower, I can choose that.
| | 04:13 | Obviously, we're going to need a way to
separate that from the background, but
| | 04:17 | fortunately, there are ways to do that.
| | 04:20 | We also have the ability to left-
justify, center-justify, right-justify our
| | 04:25 | text, or justify it
evenly across the bounding box.
| | 04:29 | I'll go ahead and leave that left
justified and come over here to the Quick
| | 04:35 | Title Properties window.
| | 04:37 | Coming over here to my Quick Title
Properties window, I have another base color,
| | 04:42 | which you can see matches this one over here.
| | 04:45 | And because I really can't see my text
here, I'm going to come back to something
| | 04:49 | a little bit more readable.
| | 04:51 | I'll go ahead and choose this light pink.
| | 04:53 | And then to the right of
that I have an Opacity control.
| | 04:56 | I can make it more transparent or fully
opaque, and I'll leave it fully opaque for now.
| | 05:03 | All of these controls are fully animatable,
| | 05:05 | so if you were producing animated
titles, you could bring something from
| | 05:10 | transparent to opaque back
to transparent quite easily.
| | 05:14 | But in the context of this
movie, these are the basics.
| | 05:17 | We have the ability to create and move
titles, change the way they look, and
| | 05:22 | we're getting the first introduction
to the Quick Title Properties window.
| | 05:25 | We're going to continue with the Quick
Title Properties window in the following
| | 05:28 | movie when we explore shapes and Gradient.
| | Collapse this transcript |
| Using Marquee to apply shapes and gradients| 00:00 | In this movie, we'll explore two common Avid
Marquee tools: Gradient and Object Creation.
| | 00:07 | All right! Let's take a look at our title here.
| | 00:09 | It's very simple, and in this movie, let's
work on making it a little bit more snazzy.
| | 00:15 | If you're following along with the
exercise files and you want to pull up the
| | 00:18 | title at this point in time, just go
to File > Open and then navigate to kim1.
| | 00:25 | So I'm going to come over to my Enable gradient.
| | 00:29 | We're going to skip over lighting.
| | 00:30 | This is beyond the scope of this course.
| | 00:32 | So let's go and check Enable gradient, and
let's take a look at what happened here.
| | 00:38 | In each letter, it proceeds
from black to my light-pink color.
| | 00:42 | So it has produced a local letter-based
gradient all the way across the board.
| | 00:48 | Now rarely do you actually want it to
look like this, so there are a couple
| | 00:52 | of gradient controls that you can adjust in
order to make this look a little bit better.
| | 00:56 | First, I'd like to choose
the color of my own gradient,
| | 00:59 | so I'm going to uncheck the Tint box here.
| | 01:03 | And now I'm going to select my gradient
colors by right-clicking here in the triangle.
| | 01:10 | So let's again choose our light-pink
color and right now, it's going to white.
| | 01:18 | If I want to try something else, I can right-
click in this triangle and choose a different color.
| | 01:23 | Again, the gradient is still local.
We'll be able to change that by changing our
| | 01:28 | Mapping from Local to Container.
| | 01:32 | Notice that the container is the bounding box.
| | 01:34 | So as I increase the size of the
bounding box, the gradient changes.
| | 01:40 | Another way I can change my gradient is to
move this stop to the left and to the right.
| | 01:47 | And it's basically saying where
one color is shifting into the other.
| | 01:52 | Another way I can change the way my
gradient looks is by changing it from a
| | 01:56 | vertical gradient to a horizontal gradient.
| | 01:59 | And you can see that now it goes
from white to pink from top to bottom.
| | 02:05 | And I can also choose a radial gradient
so it goes from red in the middle out to
| | 02:10 | white on the outside.
| | 02:11 | Let's go ahead and choose a horizontal gradient.
| | 02:15 | So we're going from a very light pink to
a darker red, and I think it still needs
| | 02:22 | a little bit of definition from the background,
| | 02:25 | so that's where some objects can help us out.
| | 02:27 | We have two object-creation tools here:
the Rectangle tool and the Ellipse tool.
| | 02:33 | The Rectangle tool allows you to draw
a rectangle, and I'll go ahead and just
| | 02:38 | draw it right over my title here.
| | 02:41 | I can't see my title, so I'm going
need to send that to the background.
| | 02:44 | I do that via the Object menu up
here, and I'll just Send to Back.
| | 02:50 | If I had multiple layers, I could send it
back one layer at a time with Send Backward.
| | 02:54 | I'll Send to Back and use my Edit tool
to resize here, and let's actually make it
| | 03:01 | go across the entire frame.
| | 03:08 | Okay, a little tweaking there.
| | 03:10 | Now let's go ahead and change
the color of my object as well.
| | 03:14 | I could come in and change my base color.
| | 03:17 | I could come into the Enable gradient and make
sure that I get the color that I like in here.
| | 03:24 | Again, I'm going to uncheck Tint, and
let's go ahead and choose some colors here
| | 03:31 | that might help me stand
out from the background.
| | 03:34 | I'll choose the light pink over here
on the left and a very, very light gray
| | 03:40 | over here on the right.
| | 03:41 | What I'm going to do is
actually add some opacity to this.
| | 03:44 | I'm going to right-click again, and I'm
going to choose my color picker, and I'm
| | 03:49 | going to bring my opacity way down
so that it fades into the background.
| | 03:54 | I'll say OK, and we're getting a
nice band across the bottom here.
| | 03:59 | I really think that my letters could use a
little bit more definition from my object,
| | 04:04 | so let's come on down here to our drop shadow.
| | 04:07 | I'm going to enable the drop shadow and
you can see that by default it gives it
| | 04:12 | a 50%-opaque shadow.
| | 04:14 | I like my shadows a little bit
crisper, so I'm going to choose 75%.
| | 04:19 | And I can then just drag this shadow
and dynamically change it, or you can just
| | 04:25 | type the values in here.
| | 04:26 | I think I'm going to just change this
to 0.5 and -0.5, and we're starting to get
| | 04:35 | some better definition here.
| | 04:37 | I think I'm going to go back into
my object and make this a little
| | 04:39 | bit transparent too.
| | 04:41 | So again, I'm just going to right-
click, color picker, and then dial down
| | 04:47 | my opacity and say OK.
| | 04:50 | And we've got a nice semi-transparent
band across the bottom, and we have our
| | 04:55 | title right here and it's really readable.
| | 04:58 | Okay, so our title is coming along.
| | 05:00 | I'm probably going to adjust a few
more parameters, and I'm going to add her
| | 05:04 | title, Swing Dancer, underneath it.
| | 05:06 | If you're following along with
the exercise files, feel free to
| | 05:09 | experiment yourself.
| | 05:11 | And in the next movie, we'll talk
about how to create Avid title templates to
| | 05:15 | make this job just a little bit easier.
| | Collapse this transcript |
| Using title templates| 00:00 | It's great to get creative and build
your own titles, but if you prefer, marquee
| | 00:04 | has several styles available as templates.
| | 00:07 | You can use these templates and
then modify them as you want to create
| | 00:10 | attractive graphic and lower third titles.
| | 00:13 | All right, so I finished
building my lower third here.
| | 00:16 | I've added her title and another shape
and made a few of other adjustments and
| | 00:22 | that's great, but if I wanted to have a
starting place, I could've used one of
| | 00:26 | Avid's title templates.
| | 00:29 | So to demonstrate that, I'm just going
to choose a new title, and I'm going to
| | 00:33 | come down here to the Styles library and
I'm going to choose Templates and then
| | 00:38 | Avid Templates and Lower Thirds.
| | 00:42 | Now, I can load each one of these
separately by double-clicking, and it gives me
| | 00:47 | one of the templates.
| | 00:48 | I have to press Undo, so Ctrl+Z or
Command+Z, if I want to try out another one,
| | 00:55 | because if I just double-click another
one, they load on top of one another, and
| | 00:59 | that's not what we want.
| | 01:01 | So, I'll kind of go through--
actually, that one looks nice.
| | 01:04 | Let's go ahead and modify this one.
| | 01:06 | Now I'm going to go ahead and enable my
Safe Title, Safe Action lines here and
| | 01:11 | as you see by default, it falls within
my safe title boundaries, which is nice.
| | 01:15 | I'm just going to move it over a little bit.
| | 01:17 | I want to show you another way
you can move things in Marquee.
| | 01:21 | If I select, with my Edit tool, one of
the objects, I can come down to the
| | 01:26 | Transform Properties box
and I can move over like so.
| | 01:31 | So, I can sort of nudge this over to
my right side and same thing here, just
| | 01:38 | quickly kind of get that aligned. Okay.
| | 01:41 | So let's go ahead and
manipulate this a little bit.
| | 01:44 | I want to match my color scheme a
little bit better, so I'm just going to click
| | 01:48 | on my rectangle, and then as you see,
my Enable Gradient box is checked and it
| | 01:54 | already has some
gradient colors in there for me.
| | 01:56 | So, I'm going to change the purple
color to more of a red so that it matches
| | 02:02 | a little bit better.
| | 02:03 | Again, I'll right-click, and let's go
ahead and get this dark pink. And notice
| | 02:09 | that it actually has three color stops,
so I'm going to right-click here. And
| | 02:14 | we'll make this one more of a dark red,
and I kind of like how it goes opaque.
| | 02:21 | It is still a little bit blue though,
so let's change this to a dark gray. And
| | 02:28 | then again, we can move our color stops
back and forth to see where these colors
| | 02:34 | change, and it's starting to look pretty good.
| | 02:38 | I want to make this maybe fully transparent,
| | 02:41 | so again, I can come, right-click,
come to color picker, and move my
| | 02:47 | transparency to the left, and we're
really seeing through that object now,
| | 02:53 | down to the raw video.
| | 02:55 | So again, I can just come in here.
| | 02:57 | We already have some styles applied
to this, including the drop shadow.
| | 03:01 | Okay, so now I'm going to select my
Text tool and come in here and just retype
| | 03:06 | her name, and then I'll go
ahead and retype her name here too.
| | 03:14 | We're just going to put her
title instead of her location.
| | 03:17 | Okay, so that's looking pretty good.
| | 03:22 | I can make a couple of other
adjustments, but as you see, we were able to get
| | 03:26 | to this point a lot quicker by using
one of Avid's templates, and you can
| | 03:31 | explore those on your own.
| | 03:32 | There are lots of nice choices.
| | 03:34 | There's lots of different types of
Avid templates, so feel free to explore
| | 03:38 | through all of these menus and then
customize a way to quickly create your
| | 03:42 | own title creations.
| | Collapse this transcript |
| Bringing the title into Media Composer| 00:00 | All right, it's time to work
with our title in Media Composer.
| | 00:03 | In this movie, we'll take a look at
how to properly save the title and how to
| | 00:07 | add it to our sequence.
| | 00:09 | All right, so I'm back to the title I
created, and I want to add this to my
| | 00:12 | sequence in Media Composer.
| | 00:15 | To do that, I'm going to come up to File >
Save to Bin, and I'm going to name this.
| | 00:20 | I'll just name this Kim2 and press OK.
| | 00:25 | It's going to ask me what bin I
would like my titles to go into.
| | 00:30 | I've created a Titles bin.
| | 00:31 | I recommend that you do this too.
| | 00:33 | Also, there will need to be some
media created for this, so you'll need to
| | 00:36 | choose the appropriate drive.
| | 00:38 | I'll choose my Data drive and
I'm going to go ahead and save.
| | 00:41 | All right, so the title goes into my Titles
bin and it also loads in the Source monitor.
| | 00:48 | There's two whole minutes of title here,
| | 00:51 | so I'm definitely not going to need all
of that, but I will need about three to
| | 00:55 | four seconds. And it's going to go on
top of my video, and I'm going to put
| | 00:59 | titles on their own track, on V3.
| | 01:02 | So, I'll press Ctrl+Y or Command+Y on a
Mac, and then we're going to patch our
| | 01:08 | source video up to our timeline video,
| | 01:11 | so V1 to V3. I'm clicking and
dragging with my mouse, and I'm just going to
| | 01:16 | deselect all other tracks, so it's clean.
And what I want to do is actually put
| | 01:22 | an in and an out point around the
area that I want my title to fall.
| | 01:26 | So, I'm going do this on the fly.
| | 01:28 | I'm going to go ahead and press play
and then mark an in with an I and an out
| | 01:32 | with an O where I want my title to go.
| | 01:35 | (Female speaker: And there's only three things that matter,
and that's the music, the dance floor, and your partner--)
| | 01:40 | All right, so I have here
about 2 1/2 seconds for my title.
| | 01:44 | I might make it a little bit longer, so
I'll just extend my out point slightly,
| | 01:49 | and now about almost three seconds.
| | 01:52 | Now I'm going to bring my position
indicator in from the far left, because
| | 01:55 | I'm probably going to want to put a title fade,
so I'm going to need a handle to achieve that.
| | 02:00 | So I have two minutes to play with here,
so I'm just going to park right here
| | 02:04 | and mark an in, and this is an overwrite,
so I'll press B. And let's play through
| | 02:09 | this and see how we like it.
| | 02:10 | (Female speaker: And there's only three things that matter,
and that's the music, the dance floor, and your partner--)
| | 02:15 | (and you just forget every--)
| | 02:17 | All right, so I think that looks nice.
| | 02:19 | It does just pop on and pop off though,
| | 02:22 | so I'd like to add a title fade.
| | 02:24 | To do that, I'm just going to park on
the title, come up to the Timeline Fast
| | 02:28 | menu and then choose this button right
here, the E with the little fade off of the
| | 02:33 | side of it. And when I press on this,
this is going to ask me how I'd like my
| | 02:38 | fade-up and fade-down to go.
| | 02:40 | And I recommend a value of eight
frames. And I'll press OK, and let's play
| | 02:46 | through this and see how we like it.
| | 02:48 | (Female speaker: And there's only three things that matter,
and that's the music, the dance floor, and your partner--)
| | 02:53 | (and you just forget--)
| | 02:54 | All right, that looks really nice.
| | 02:56 | So, in Media Composer, if I wanted to
change this further without bringing it
| | 03:01 | into Marquee--I just want to
show you the tools for that--
| | 03:04 | I can just park on my title and then go
to the Effect Editor, and we have several
| | 03:09 | very basic parameters that we can choose.
| | 03:12 | I can adjust the size--and I'll just
bring that back down to 100, because I don't
| | 03:17 | want to change my size--
| | 03:19 | I can change the position, I can crop it,
| | 03:22 | I can change the foreground or opacity.
| | 03:24 | All this is available to me, and if I
want a few more choices, I can click
| | 03:29 | on the Promote to 3D in the lower right,
and I actually have a whole host of options.
| | 03:34 | I'm going to close this because I
don't need to change anything for right now.
| | 03:38 | So because Marquee and Media Composer
are interconnected so well, saving and
| | 03:43 | editing titles is a pretty
straightforward process.
| | 03:45 | Occasionally, you'll need to go back
the other way, from Media Composer to
| | 03:48 | Marquee, to make adjustments to the title.
| | 03:51 | We'll explore how to do that in the next movie.
| | Collapse this transcript |
| Revising the title| 00:00 | Editing, as with writing, is all about revision.
| | 00:03 | Effects and titles need revision too,
| | 00:05 | so in this movie we'll take a look
at how to bring the title back into
| | 00:08 | Marquee so we can work on it some more.
| | 00:10 | All right, so my title is in my sequence,
but my producer gave me some feedback
| | 00:15 | that we need to change
the font and the gradient.
| | 00:18 | So I'm just going to click on the
Effect Editor if I'm parked on it right here
| | 00:23 | in the sequence, and then I'm
going to click on Edit Title.
| | 00:27 | This is going to reopen Marquee, and
here's my title, and I can work on it
| | 00:33 | a little bit further.
| | 00:34 | All right, so the font for
the show is actually Cambria,
| | 00:39 | so we need to change it from Arial to
Cambria. And we'll switch this one as well.
| | 00:48 | I'm just typing in Cam so it'll snap
me right to the Cambria within a list
| | 00:54 | of choices. And my producer wasn't
too thrilled about this gradient, so I'm
| | 01:00 | going to disable the gradient, and let's go
ahead and darken this color just a little bit.
| | 01:05 | I'll go ahead into my base color
and choose this darker pink here.
| | 01:10 | We'll go ahead and also disable the
gradient here and leave that white.
| | 01:18 | We still have our line that goes from
pink to white with a red shadow, and we'll
| | 01:25 | just lengthen this just slightly, and
we'll see how this one works out, as far as
| | 01:30 | working in our sequence.
| | 01:32 | So I'm going to go ahead and close Marquee.
| | 01:35 | I'll just click on the red X in the
corner. And I'm going to go ahead and
| | 01:40 | save this to my bin by clicking on
Save to Bin, and I'm going to close my
| | 01:45 | Effect Editor here.
| | 01:47 | You'll notice that my title is now
loaded in the Source monitor and it's also
| | 01:53 | replaced in my sequence. So I
automatically have the revision plugged right into
| | 01:59 | my sequence, and let's go ahead
and play to see how we like it.
| | 02:02 | (Female speaker: Things that matter, and that's the music,
the dance floor, and your partner, and you just forget every--)
| | 02:07 | All right, so we'll take that to the
producer and see what the comments are, and
| | 02:11 | if there's more suggestions for revision,
it's really easy to go right back into
| | 02:15 | Marquee and make those adjustments.
| | Collapse this transcript |
| Creating rolling and crawling titles| 00:00 | One of the most common types of titles
is a roll, which you're probably familiar
| | 00:04 | with as the type of title used in movie credits.
| | 00:06 | Another common type of title is a crawl,
which is used in tickers that are used
| | 00:11 | on sports and news stations.
| | 00:13 | In this movie, we'll take a look at how
to create a roll and then you can use
| | 00:16 | that information to create a crawl, if you'd like.
| | 00:19 | All right, so I am back in Marquee, and
we will go ahead and maximize our real
| | 00:23 | estate here. And we don't need to see
the background image because we are
| | 00:28 | creating roll which is going to play over black,
| | 00:31 | so I'm going to disregard my background.
And to create either a roll or a crawl,
| | 00:37 | you just click down here on the R or the
C. So I'm going to click on the R, and then
| | 00:42 | I'm going to go into the text tool, and
I can either begin typing text for my
| | 00:47 | roll or I can import text.
| | 00:50 | So I happen to have all of the
information that I need on a plain text document.
| | 00:56 | I'm going to go to File > Import > Text,
and I'm going to import my roll text.
| | 01:03 | This is in the additional files, if you
are following along with the exercise
| | 01:08 | files. And I'll go ahead and click
Open. And you can see that all of the
| | 01:12 | text came in, and I have this scroll bar
along the right so that I can see everything.
| | 01:18 | We just want to center-justify everything,
so I'm just going to press Ctrl+A or
| | 01:25 | Command+A on a Mac to select everything,
and press Center Justify. And I'll also
| | 01:33 | change this to Cambria, because that
is the font for the show, and I'll just
| | 01:37 | type in C-A-M for Cambria, and there we go.
| | 01:41 | All right, so it's very, very simple,
but that's all we need, so I'm going
| | 01:47 | to save this back to Media Composer.
File > Save to Bin, and I'll just call
| | 01:52 | this credits and OK.
| | 01:55 | It does render for just a little bit,
and I'm going to minimize Marquee, because
| | 02:00 | I have this dialog box where
I have to make a few choices.
| | 02:03 | So I'll name it credits.
| | 02:04 | I'll have it go to my Titles bin, and
the media will go to my Data drive, and the
| | 02:10 | DNXHD 145 resolution is just fine.
| | 02:12 | So, I'm going to click Save, and it might
not seem that much has happened, but if
| | 02:17 | you'll look here in my
Titles bin, there is my credits.
| | 02:20 | It's also loaded in my Source monitor.
Now you can't really tell that, but if I
| | 02:25 | scroll through, you can
see the entire rolling title.
| | 02:29 | So I'm just going to mark the entire
title. I'll press T to mark an in and
| | 02:34 | out at the beginning and end.
then I'm going to come down to the end of
| | 02:38 | sequence, where the credits go, and I'm just
going to overwrite this on V3, so I'll press B.
| | 02:44 | Now, this entire title is going to take
two whole minutes to go through all of
| | 02:49 | those names--way too long.
| | 02:51 | So the way to get your at the length
that you want is to actually trim it down.
| | 02:55 | I'm just going to lasso the end of my
title and drag it in significantly, and
| | 03:03 | let's go ahead and see how long that is.
| | 03:05 | I'm going to press T and
check up in my center duration.
| | 03:08 | I'm still at 30 seconds.
| | 03:09 | I'd like to get down to
probably less than half of that.
| | 03:13 | All right and now we are at twelve seconds.
| | 03:21 | I think that should be pretty good.
| | 03:22 | So I'm going to render this.
| | 03:23 | It is a blue-dot effect, so if play
through it, I won't be able to see anything.
| | 03:27 | So, I'm going to have to render
it to see how I like that speed.
| | 03:31 | So, I'm going to come over to Render
Effect and choose my data drive, and I'll
| | 03:36 | press OK. An, by the way, I'm just
going to render this for a short time
| | 03:41 | before I stop it, because all want to
do is check the speed, and then I'll
| | 03:46 | either ditch it or continue.
| | 03:48 | So I'm going to press OK, and
then I'm going to press Ctrl+Period or
| | 03:53 | Command+Period on a Mac when I'm
about a quarter of the way through, and I'm
| | 03:57 | going to choose to keep the partial render.
| | 04:00 | So, if you notice here, I have a red
line throughout most of it, but we've
| | 04:05 | rendered the first part, so
let's just check the timing.
| | 04:08 | I'm going to go ahead and press play.
| | 04:09 | All right, so I think that timing is just fine.
| | 04:16 | If I wanted to quicken it even more, I
would just go ahead and trim it in further.
| | 04:22 | If I want to slow it down, I would trim it out.
| | 04:24 | But in this case, I'm just going to
render it. So we're going to go ahead and
| | 04:28 | Render Effect, send it to my Data drive,
and our media is being created so that
| | 04:34 | we can see our roll in the real time.
| | 04:36 | All right, notice that my red line
disappeared. So I'm just going to extend my
| | 04:43 | music so that it rolls under my credits.
| | 04:46 | I'm going to go ahead and delete my
transition by removing effect, and let's go
| | 04:51 | ahead and roll this out
and let's see how this looks.
| | 04:55 | (clip playing)
| | 05:04 | All right, it looks good.
| | 05:05 | So as you can see, rolls are a way for
you to get a lot of information across in
| | 05:10 | a short amount of time, and so are crawls.
| | Collapse this transcript |
| Using AutoTitler| 00:00 | One of the most powerful tools in
Marquee is called Auto Titler, which allows
| | 00:04 | you to create multiple titles of the
same template based on the information in a
| | 00:08 | simple text document.
| | 00:10 | Let's take a look at how it works.
| | 00:12 | All right, so here is the title that
I've created from scratch, and what I'd like
| | 00:17 | to do is use this template for about
seven or eight other people in the same show.
| | 00:23 | So what I'm going to do is use
the Auto Titler to achieve that.
| | 00:26 | Before going in to Auto Titler, I'd
like to first show you how an Avid template
| | 00:31 | looks in regard to its text boxes,
which is a really important part of this.
| | 00:36 | So, I'm just going to go to File > New
Title, and then I'm going to go into
| | 00:40 | Templates and then Avid Templates,
Lower Thirds and I'm just going to load one
| | 00:45 | of these and as you see
here, we have two text boxes.
| | 00:49 | I'm going to open up these layers so you
can see what each of this corresponds to.
| | 00:54 | So I'll click on Name, and you can see that
this corresponds to something called Text Box 1.
| | 01:00 | I'll click on Location and
this corresponds to Text Box 2.
| | 01:03 | It's really important that these are named
just like this or Auto Titler won't work.
| | 01:09 | So, just keep that in mind as
we go back to our own template.
| | 01:12 | So I'll go back to our template, and
I'm going to open up the Layers and I'll
| | 01:19 | click on the name here. And you can
see that it's just called Text Box, so I
| | 01:23 | have to call this Text Box 1. And here, we'll
just go ahead and rename this to Text Box 2.
| | 01:34 | And one more thing we have to do.
Because there are quite a few names that are
| | 01:38 | longer than Kim's, we need to
make room for them to be created.
| | 01:42 | So I'm just going to extend the
bounding box and then right-justify that. And
| | 01:49 | pretty much everybody is a swing dancer,
but I'll just extend the bounding box,
| | 01:52 | just for safe measure and right-justify that.
| | 01:57 | Okay, so now we are set to go
ahead and get our text document.
| | 02:02 | Let's go ahead into Microsoft Word, and
I want to show you what each of those
| | 02:07 | text boxes corresponds to.
| | 02:09 | So the very first line that you
type corresponds to Text Box 1.
| | 02:13 | So I'll just type Kim's name and one
carriage return and then her title, then
| | 02:21 | I'll press Enter twice, and we'll go on
to the next name, and one return and the
| | 02:29 | title, which corresponds to Text Box
2, and two returns, and keep going.
| | 02:36 | So, this is a great way for you to
really quickly enter in some data, maybe
| | 02:40 | perform a spellcheck on it, hand it
off to others, make sure everything
| | 02:43 | looks good. And I actually have a finished
text document, so let's go ahead and get that.
| | 02:49 | Everything looks good here.
| | 02:50 | We have Text Box 1, Text Box 2, it
corresponds correctly and so now, we're going to
| | 02:55 | go up to File > Auto Titler.
| | 02:57 | I'm going to go to my Desktop, into the
Exercise Files, into Additional Files, and
| | 03:05 | then in the Credits folder, I
have my autotitler document.
| | 03:10 | I'm going to go ahead and press Open.
| | 03:12 | We're going to start on number 1 here. Press OK.
| | 03:15 | The titles are automatically being
created, fitting into my template.
| | 03:19 | All right, wonderful, all
possible titles are created.
| | 03:22 | You can access them from the Windows menu.
| | 03:24 | So you can't really see much here,
because these are giant high-definition titles.
| | 03:29 | I'm going have to scroll down a little bit
and scroll over so that you can see them.
| | 03:34 | So I can pull each of these up from
the Windows menu, check them out, make
| | 03:40 | sure they look good.
| | 03:41 | I think they look great.
| | 03:43 | And then when you're done, you just
send them to Avid in the same way that you
| | 03:49 | send any title to Avid.
| | 03:51 | You go to File, and this time, since
there are multiple titles, we're just going
| | 03:55 | to press Save All to Bin.
| | 03:58 | This does take just a little bit of time,
| | 04:00 | so I encourage you to go through this
yourself. But basically, that's all there is to it.
| | 04:04 | We just created eight titles with just the
click of a button, using the Auto Titler.
| | Collapse this transcript |
|
|
11. Capturing and ImportingImporting files| 00:00 | When inputting media into Avid, one
option for working with file-based media is
| | 00:05 | to import your media.
| | 00:07 | Now, importing involves bringing in
movie files, graphics, animations,
| | 00:12 | photographs, and the like, and then
taking that file's native type and
| | 00:17 | transcoding it to Avid's
native file type, which is MXF.
| | 00:21 | Now, there are quite a few options
that you'll need to consider when you do
| | 00:25 | this, and we will go through
all of those in this movie.
| | 00:28 | Now, before we actually do an import,
I want to show you where Avid's
| | 00:32 | native file types are kept.
| | 00:35 | If I go to my Data drive, which is my D
drive, I am going to see a folder called
| | 00:42 | Avid Media Files at the root
directory of my media drive.
| | 00:47 | Inside there, I have an MXF folder.
| | 00:51 | Inside there, I have a numbered folder, and
then inside there, I have all of my MXF files.
| | 00:58 | Again, these are the files that are
created whenever I import any media, capture
| | 01:03 | any media, or create any
media, like when I render a file.
| | 01:08 | In a future movie, we will talk about a
different way that Avid accesses media,
| | 01:12 | called AMA, but for the time being, just
think about the Avid Media Files folder
| | 01:17 | as the central repository
for all of our native media.
| | 01:21 | Okay, so we know where it's kept.
| | 01:24 | Now let's talk about format.
| | 01:25 | Now, we have a Format tab
that we haven't touched much.
| | 01:28 | I am going to click on that. And we
have here a lot of different information
| | 01:33 | about the format of the media in my project.
| | 01:37 | Now, earlier in the course I
recommended that you find out what format your
| | 01:41 | media was shot in and then
set up your project accordingly.
| | 01:44 | We are still not going to go into much
more detail than that, but I do want to
| | 01:49 | address a couple more things about this format.
| | 01:51 | So depending on what I have
chosen here as my project type and my
| | 01:56 | raster dimension, that's going to
affect the media type that I have in
| | 02:01 | my Media Creation settings.
| | 02:03 | I can find my Media Creation
settings under Tools > Media Creation, and that
| | 02:09 | corresponds to Ctrl+5 or Command+5 on a Mac.
| | 02:14 | Now again, depending on my project
type, I have different resolutions
| | 02:19 | available for import.
| | 02:21 | I am going to leave this on DNxHD 145,
but you can see that we have a few options.
| | 02:27 | 1:1 is totally uncompressed,
| | 02:29 | so it's going to produce very large files.
| | 02:32 | Everything else is going to
have an element of compression.
| | 02:34 | Below that, we chose where
our media is going to go.
| | 02:38 | So I want my media to go to my Data
drive and when it does that, it's going to
| | 02:44 | go inside that Avid Media Files folder.
| | 02:47 | So I am all set here.
| | 02:48 | I can go ahead and apply to all, and
Apply to All, so that all media I create is
| | 02:54 | the same resolution and goes to the same place.
| | 02:56 | I am going to go ahead and click OK.
| | 02:58 | Next, I am going to talk about
the available settings for import.
| | 03:02 | You need an open bin to perform an import,
and you can just right-click and chose Import.
| | 03:09 | Here at the bottom should look familiar.
| | 03:10 | We can choose the video resolution.
| | 03:12 | Here is everything that we previously saw in
Media Creation settings, as well as the drive.
| | 03:18 | But the real important
button is the Options button.
| | 03:21 | I am going to go ahead and click on
Options. And we aren't going to discuss
| | 03:25 | everything here, but I want to discuss a
few important things within the Image tab.
| | 03:30 | If I know that my image is sized in the
exact same resolution as my video, which
| | 03:38 | as you see here, is 1920x1080, then
I am going to chose option number one.
| | 03:45 | Under Video Mapping, I recommend that
you choose 601 SD or 709 HD for the video
| | 03:50 | colorspace, unless you know that it
was created in the RGB colorspace.
| | 03:55 | Again, this is beyond the scope of the
course, but by and large, most of the
| | 03:58 | time you can choose this last option here.
| | 04:01 | Here's where we choose how long our
still-frame duration is going to last.
| | 04:06 | So this is going to be a thirty-second
photograph that we are going to bring in.
| | 04:10 | I am going to go ahead and leave this
one ordered for current format, and we
| | 04:14 | don't have an alpha channel,
so I am going to ignore this.
| | 04:16 | I am going to go ahead and
click OK, so we set our settings.
| | 04:20 | I am first going to bring in native1.
| | 04:23 | I am going to go ahead and click Open,
and I will go ahead and load this
| | 04:29 | into the Source monitor.
| | 04:30 | It looks really good.
| | 04:32 | Again, I have thirty seconds of the still image.
| | 04:34 | Now, this looks like it was sized
for current format, 1920x1080.
| | 04:39 | Let's just verify that.
| | 04:41 | So I have clicked on this and we
see that yes, it is 1920x1080.
| | 04:46 | So it was in fact sized for the current format.
| | 04:50 | Now, right next to it, we have a vertical
image, which is also 1920x1080, but the wrong way.
| | 04:58 | So let's see what happens when we
bring that image in using the first option.
| | 05:04 | Import, and we are going to make sure
that our first option, Image size for
| | 05:08 | current format, is chosen, and I am going
to click OK, and we're going to navigate
| | 05:12 | to our vertical image, and Open.
| | 05:16 | Let's go ahead and load this one up. Oh!
| | 05:19 | Doesn't look very good.
| | 05:21 | Now what Avid has done is it
stretched and squeezed and made it fit.
| | 05:27 | So that's what happens when you
chose option number one when something is
| | 05:31 | not sized correctly.
| | 05:33 | So we obviously want to bring
this in a little bit differently.
| | 05:36 | I am going to go ahead and right-click,
Import, and we'll go ahead and chose it
| | 05:41 | again. But now we will go to Options
and I am going to choose option number
| | 05:45 | four, Resize Image to Fit Format Raster.
| | 05:49 | Options two and three do have their
time and place, but for the purposes of this
| | 05:53 | course, usually it's either sized
correctly or you need Avid to resize it and
| | 05:59 | then keep the shape, which
is what option number four does.
| | 06:02 | I am not going to touch anything else, but I am
going to click OK, and let's go ahead and open.
| | 06:10 | Let's load this one.
| | 06:12 | So it looks a lot better.
| | 06:13 | Our shape was maintained,
and we can work with this.
| | 06:17 | Now, in a future movie, we'll
actually talk about how to link to photos
| | 06:21 | instead of import them.
| | 06:23 | But if you do import them, you do
need to know the difference between the
| | 06:27 | various import options.
| | 06:29 | So once you figure out your import
format, your destination drive, and several
| | 06:34 | important import settings, you're good to go.
| | 06:37 | Keep in mind, this process works not
only for photographs, but also countless
| | 06:41 | varieties of movies, graphics,
and animation file types.
| | Collapse this transcript |
| Linking to files using AMA| 00:00 | A more and more popular way to input
your media into Media Composer is the AMA
| | 00:05 | workflow, which is Avid Media Access.
| | 00:09 | Now, this allows you to quickly and
easily link to files without importing,
| | 00:13 | transcoding, or copying.
| | 00:15 | You just get instant access to
your files and you can start editing.
| | 00:19 | Now, Avid natively supports many, many
popular codecs, which if we go to their
| | 00:25 | web page, are listed down here at the bottom.
| | 00:28 | You're going to install the plug-ins
that you want to work with separately from
| | 00:32 | when you install Avid Media Composer.
| | 00:35 | This enables Avid and the
third-party camera manufacturers to update the
| | 00:39 | plug-ins outside of the Media Composer release.
| | 00:42 | So as you can see as of this recording
here, are all of the camera manufacturers
| | 00:47 | that Avid is working closely with,
and I should mention that the QuickTime
| | 00:51 | codecs are automatically included
with an installation of Media Composer.
| | 00:56 | So if you're just linking to QuickTime,
no need to install separate plug-ins,
| | 01:00 | but if you are going to work with
any of these plug-ins, you just need to
| | 01:03 | download it and install
it and you're ready to go.
| | 01:06 | So to get started with AMA, you
can just open a bin and I'm going to
| | 01:11 | right-click, and I'm going to
choose Link to AMA file or files.
| | 01:15 | If I click on this and head on into the
Exercise Files/Additional Files/Import,
| | 01:24 | here is a movie file. And it is
a QuickTime, so I'm good to go.
| | 01:29 | I don't need to install a separate plug-in.
| | 01:30 | I'm going to click Open and
it's brought in automatically.
| | 01:35 | Now, note the icon type.
| | 01:37 | It looks kind of like a master clip,
but there is a little bit of a difference.
| | 01:41 | And I'm just going to load this
into the Source and press play.
| | 01:46 | (Female speaker: Swing dancing brings you together.
It brings you to a simple time.)
| | 01:51 | Okay. So there's our interview, and it's
automatically brought in and we can get
| | 01:55 | started editing with it right away.
| | 01:57 | I don't have to just bring in one file though;
| | 01:59 | I can bring in as many as I want.
| | 02:02 | If I right-click and link to AMA,
and I have a whole folder full of AMA
| | 02:09 | files on my Data drive, and AMA
Media, and my Broll, and here is the
| | 02:15 | complicated camera hierarchy.
| | 02:16 | I just need to get through it. And I'm just
going to highlight all of them and press Open.
| | 02:25 | So that very, very quickly brought in
dozens of media files, all of which I can
| | 02:31 | load into the Source monitor, play
through, and get started editing with.
| | 02:36 | Now, if I come into Choose Columns and
I choose Source Path and choose OK, you
| | 02:46 | can see that it's simply
pointing to all of these media files.
| | 02:52 | So they're automatically brought into my bin.
| | 02:54 | I'm just pointing to them.
So this brings up another point.
| | 02:58 | As you can see with AMA, the weight has
been eliminated, and you can get started
| | 03:02 | editing faster, easier, and more efficiently.
| | 03:06 | The one downside to editing with AMA is
that because the files aren't stored in
| | 03:11 | the managed-media location, the Avid
Media Files folder, you have to perform good
| | 03:16 | media management at the
operating system level yourself.
| | 03:20 | So to help yourself out, I recommend
setting up a folder on the root directory
| | 03:24 | of your media drive, right beside your
Avid Media Files folder, and just call it
| | 03:29 | the AMA Media folder.
| | 03:31 | Then inside of that folder, you
can put all of your AMA files.
| | Collapse this transcript |
| Linking to hi-res stills| 00:00 | When working with high-resolution
graphics and photographs, it's often nice to
| | 00:04 | be able to keep the files at their
native resolution rather than converting them
| | 00:08 | to the video resolution that's set
within your media creation settings.
| | 00:12 | You can do this by using the Avid Pan
and Zoom plug-in. Let's take a look.
| | 00:17 | Okay, so I have this image
here and natively, it's about 4000
| | 00:22 | pixels x 2000 pixels.
| | 00:25 | But I just imported it into my project
and as you may remember, the format for
| | 00:31 | my project is 1920x1080.
| | 00:32 | So I cut the resolution by more than half.
| | 00:39 | If my goal is to start zoomed in on
Dave and then proceed to be zoomed in on
| | 00:46 | Kim and then zoom out, then if I apply a
Resize effect, which I have right here,
| | 00:51 | you will notice that my image is
really pixelated and it doesn't look good.
| | 00:56 | Therefore, I am going to use the Avid
Pan and Zoom effect to be able to link to
| | 01:02 | my high-resolution photograph and
not convert it to the video resolution.
| | 01:07 | Okay, so I just have this in my sequence as a
reference, so that you can see how it looks.
| | 01:12 | The first thing that you need to do
when working with the Avid Pan and Zoom
| | 01:15 | effect is to just put a
placeholder in your sequence.
| | 01:20 | So you can put it on top of another
video segment, or you can just place an
| | 01:25 | Add edit and put it right over visual
filler, which is what I am going to do right now.
| | 01:29 | Okay, so I am just going to go to my
Effects tab and apply the Avid Pan and Zoom
| | 01:34 | effect. And obviously, nothing
happens yet, but I am going to come up to my
| | 01:38 | Effect mode, and I am going
to Import image. Here it is!
| | 01:44 | I am going to go ahead and just
press Open and Avid brings it in.
| | 01:50 | Okay, so we don't quite realize
how high resolution this is until we
| | 01:53 | start playing with it.
| | 01:55 | So I am going to put a couple of
keyframes in here, and so we're going to
| | 01:59 | start zoomed in on Dave and then zoom
in up to Kim's face and then back out
| | 02:06 | for the big surprise.
| | 02:08 | Let's go ahead and start on the first
keyframe when we are zoomed in on Dave.
| | 02:12 | Now remember, this is what it looks like
when you import it as a video resolution,
| | 02:17 | so keep that in mind as we perform this.
| | 02:20 | I will press this button. So there are two
ways that you can look at this: Source or Target.
| | 02:27 | Let's go ahead and start in Source, and
I am just going to slide my Zoom Factor
| | 02:32 | over, and then I am going to use my X
and Y position to zero in on Dave here.
| | 02:44 | So that is where we start.
| | 02:47 | Let's go ahead and zero in on Kim for
this keyframe. And I am going to back
| | 02:55 | right out, so we can see her.
| | 02:57 | Her head is cut off in this view, but
when we switch to Target mode, we'll be
| | 03:01 | able to see it just fine.
| | 03:02 | Then we will end on the entire
image. Zoom out a little bit.
| | 03:11 | So that's our basic animation.
| | 03:13 | Start on Dave, go to Kim, and then
back out to reveal the entire scene.
| | 03:18 | I am going to select this keyframe
and then press Ctrl+A or Command+A to
| | 03:23 | select all of them.
| | 03:25 | I need to tell Avid how these animations
happen, and there are lots of choices.
| | 03:31 | I am just going to go ahead and
choose a constant ease-in velocity and a
| | 03:34 | constant ease-out
velocity and with a linear path.
| | 03:38 | You can feel free to
explore all of these on your own,
| | 03:41 | but one piece of advice I will give
you is to choose the Gaussian filter.
| | 03:47 | I think it's kind of the sweet spot
between really high quality and not
| | 03:50 | crazy-long render times.
| | 03:52 | So that's what I found about
the filter type. All right!
| | 03:54 | Just to do a preview, let's switch
from Source to Target. And it's going to
| | 04:01 | stutter a little bit because it hasn't
been rendered yet, but I am going to go
| | 04:03 | ahead and just play through.
| | 04:11 | Okay, so I am definitely
too far out on the zoom-out.
| | 04:14 | Let me just fix that.
| | 04:23 | I am just tweaking this a little bit for
the last keyframe, and one more, and looks good.
| | 04:30 | So it looks like we are all set.
| | 04:31 | Again, we're just accessing the high-
resolution graphic. And I have to set
| | 04:38 | another keyframe there so that we
don't see the black of the background.
| | 04:42 | Her head is really close to the top here.
| | 04:44 | If I don't get this exactly
perfect, we can definitely tweak later.
| | 04:49 | But for the purposes of this demo, I
think it's pretty good. There is still
| | 04:53 | a little bit more there, but I want to
show you what the effect is. All right!
| | 04:56 | So I am going to go ahead and render this out.
| | 04:59 | I am going to come down to Render Effect.
| | 05:01 | I am going to send it to my Data drive.
| | 05:03 | Again, the Render filter that we
are using is the Gaussian here.
| | 05:06 | I am going to go ahead and click OK.
All right! We are all set.
| | 05:11 | Now, before I play, do see that we have
some warning bars in a timecode track.
| | 05:17 | In an earlier movie, we did talk about this,
that our system is definitely being stressed.
| | 05:21 | It's hard to push a 4000x2000
pixel image through the system.
| | 05:25 | But now that we've rendered it,
we should be in good shape.
| | 05:27 | Again, we do kind of go out a frame
downstream here, but I think you will get
| | 05:32 | the effect. Go ahead and play.
| | 05:40 | So I would definitely want to smooth
that out and make sure that my keyframes
| | 05:45 | didn't show any of the black
background, but you get the idea.
| | 05:48 | We are linking to a high-resolution
image and we are able to zoom in really
| | 05:53 | tight, so that it's not pixelated, by
transferring it to a video resolution.
| | Collapse this transcript |
| Using the Avid Marketplace| 00:00 | The Avid Marketplace is a new
built-in application that allows you to shop
| | 00:04 | around for stock footage, audio plug-ins,
video plug-ins, training materials, and more.
| | 00:10 | In this movie, we'll explore how to shop for
and bring in stock footage to your project.
| | 00:16 | Okay, so as of Media Composer 6,
we have a new Marketplace heading.
| | 00:20 | I'll go ahead and click on this. And we
have lots of places that we can go, but
| | 00:24 | I'm going to choose Media Libraries, and
it brings us to a dialog box that opens
| | 00:29 | up the Thought Equity stock-footage-search tool.
| | 00:33 | Now, you'll have to go to
thoughtequity.com ahead of time and set up an
| | 00:36 | account so that you're either
immediately brought to the screen or it might
| | 00:40 | have you log in first.
| | 00:42 | I'm logged in now, so I'm all set to search.
| | 00:45 | I'm just going to search for swing
dancing because we need some archival shots
| | 00:49 | for our show, and I'll press Enter.
| | 00:54 | Okay, so we got 464 results.
| | 00:57 | Let's definitely qualify
that a little bit further.
| | 01:00 | I'm going to search within those results.
| | 01:02 | Let's go ahead and choose
archival and I will press Enter.
| | 01:08 | Notice that I can come along the
left side and qualify it further.
| | 01:12 | If I need to have a certain format, if
I want to have a certain footage type,
| | 01:16 | go ahead and just click on one of
those links and the search results will
| | 01:19 | filter down even more.
| | 01:21 | Now ideally, I would go through all of
these results and play through them and
| | 01:25 | pick the best one, but just for the
purposes of showing you how to get this back
| | 01:29 | into Avid, I'm going to
go ahead and just pick one.
| | 01:32 | Let's go ahead and choose this one here.
| | 01:34 | I'm going to press the plus sign, Add
to Stock Footage, and it looks like it's
| | 01:39 | adding my clip to my bin.
| | 01:41 | Now, it is not adding it to my Avid
bin yet; rather, it's adding it to my clip
| | 01:46 | bin here on the Thought Equity Avid Marketplace.
| | 01:49 | So if I go to My Bin, it should be
right there in the Stock Footage bin.
| | 01:53 | You can create your own clip
bin by coming to this option here.
| | 01:56 | So I'm going to go into Stock Footage
and here is my clip, or my comp. And I'm
| | 02:02 | simply going to download this,
which is going to bring it into Avid.
| | 02:06 | I'll go ahead and click on
Download comps for Stock Footage.
| | 02:10 | It brought up my clip.
| | 02:11 | It has a little bit of information about
its size and the instructions for download.
| | 02:15 | I'm going to go ahead and
just click on Download 1 Comp.
| | 02:18 | Notice that it's processing down here and
if I come back to my Avid bin, here it is.
| | 02:24 | Now, notice that we're linking to it via AMA.
| | 02:27 | So we have an AMA clip and I can
load it into my Source monitor.
| | 02:32 | Notice that it does have a watermark,
but I can literally just treat it like
| | 02:36 | any other clip, edit it into my
sequence, and then when I'm sure that I want it,
| | 02:41 | I can come back and right-click and
Buy Stock Footage, and that will send me
| | 02:46 | right back to the site where I
can purchase my stock footage clips.
| | Collapse this transcript |
| Using the Capture tool| 00:00 | Okay, so we've talked about how to
import footage, we've talked about how to access
| | 00:04 | footage, and in this movie
| | 00:06 | we're going to talk about how to use the
Capture tool to bring in media from tape.
| | 00:11 | Okay, so once you have turned on your
camera or deck, you can start Media Composer.
| | 00:17 | You don't want to start Media Composer
and then turned on your camera or deck,
| | 00:21 | or it might not read it.
| | 00:22 | So I have done that, and now I can
go ahead and open the Capture tool.
| | 00:26 | The Capture tool is found within the
Tools menu and Capture or Ctrl+7 or
| | 00:32 | Command+7 on a Mac, and there's
also a Capture workspace here.
| | 00:38 | I don't think I'll need that for now,
so I'm just going to open up the Capture
| | 00:41 | tool and just overlay it
right on top of my interface.
| | 00:45 | Now by default, if it sees the deck,
which it does in this case, it's going to
| | 00:48 | ask me to select a tape.
| | 00:51 | I want to select a new tape here, so
I'm going to press New and I'm just going
| | 00:56 | to name this. And I want to
name it something very unique.
| | 01:00 | You never want to leave a tape named
New Tape. And I recommend that you attach
| | 01:04 | both a number and a project name to it.
| | 01:07 | So I'm just going to call this
001Swing, and then my next tape in the Swing
| | 01:13 | project could be 002Swing, and so on.
| | 01:16 | Okay, so I'll just go ahead and select that.
| | 01:19 | We are ready to tell the Capture tool that
this is the tape that we're recording from.
| | 01:23 | So I'll click OK. And as you here, the
Capture tool is now reading the 001Swing
| | 01:30 | tape, and this is going to be the tape that's
forever attached to this footage. All right!
| | 01:34 | So keep that in mind. And let's start
up here at the top and just briefly go
| | 01:39 | through everything that we see here.
| | 01:41 | We're going to come back to this row
of buttons in a future movie when we
| | 01:45 | actually start capturing, and we'll head
on down to our track selector buttons.
| | 01:49 | Now, Media Composer has the
capability of capturing one track of video and
| | 01:55 | eight tracks of audio.
| | 01:56 | In this case, I just want to bring in two
tracks of audios, so my left and right channels.
| | 02:02 | And I also want to make sure
that I select TC, or timecode.
| | 02:07 | This is going to allow me to recapture
any of the footage at a later time if
| | 02:11 | I should need to, so you always want
to make sure to capture timecode with
| | 02:15 | your video and audio.
| | 02:17 | Below there are video and
audio and input options.
| | 02:20 | Now, I just have a FireWire camera
connected to my system, so the only thing
| | 02:24 | that I have available here is
Host-1394, which is FireWire.
| | 02:29 | However, if I was interfaced with a
breakout box with many, many options, I
| | 02:34 | would have options for component,
composite, as video, you name it.
| | 02:38 | But right now, it's fairly simple.
| | 02:40 | We're going to keep it at FireWire.
| | 02:42 | And if we come down here, this is where
we can both name and comment on our clip
| | 02:46 | as it's coming into the system.
| | 02:48 | So we'll come back to that when
we're actually performing a capture.
| | 02:51 | Here is where we choose the
bin that we're capturing into.
| | 02:55 | Again, in Media Composer, everything
clip has to go into a bin. And I've actually
| | 02:59 | set up two bins for me here: Swing
interview, because we have some interviews on
| | 03:03 | this tape; and also Swing selects,
because we have some Broll. And I have them
| | 03:07 | tabbed out, like so.
| | 03:09 | So we should see both of those
bins available to us, which I do.
| | 03:13 | I know I'd like to capture interview
footage first, so I'm going to select that
| | 03:17 | and come down here to Resolution.
| | 03:18 | Now, we talked a little bit about
Resolution before, but basically, whatever my
| | 03:23 | project format is at, which right now
I'm in a standard-definition project, this
| | 03:28 | will give me standard-definition resolutions.
| | 03:31 | Again, 1:1 is uncompressed.
| | 03:33 | Every other choice has some compression.
And I'm going to choose DV 25, which is
| | 03:37 | a really popular SD compression.
| | 03:39 | And of course I'm going to
send my media to my D drive.
| | 03:42 | So we've set our bin, our
resolution, and our drive.
| | 03:46 | This number over here tells me how
much of this resolution media I can
| | 03:51 | capture to my drive.
| | 03:53 | So, if I did switch this to 1:1, notice that
we only have fifty-one minutes that we can capture.
| | 04:01 | Again, if I switched to DV 25, I
have almost five hours that I can capture.
| | 04:07 | So as you can see here, there's a strong
relationship between quality and drive space.
| | 04:13 | This section right here really isn't relevant.
| | 04:15 | There are a couple of cameras that need
to put in a Delay audio number so that
| | 04:21 | their audio and video will be in sync.
| | 04:23 | We're not using one of those cameras,
so I'm just going to minimize that.
| | 04:27 | And finally, down here we have our
standard deck controls. And just so you know,
| | 04:32 | we have fast-forward and rewind here,
one frame back and one frame forward here.
| | 04:37 | Everything here should look familiar.
| | 04:39 | And again, we are connected to just a
generic DV deck and we are reading our 001Swing tape.
| | 04:47 | We will probably be using our custom preroll.
| | 04:51 | By the default, the deck needs to
preroll five seconds and if you don't have five
| | 04:56 | seconds of preroll, you would just
check this and then choose any other amount
| | 05:00 | of seconds--usually it's less than five.
| | 05:03 | I'm just going to go ahead and leave
this unchecked for right now, but we'll
| | 05:06 | pull it out if we need it.
| | 05:08 | Finally, over here, we have the ability to
set in out points as well as markers.
| | 05:14 | We'll definitely cover how to do that in
the next movie when we start capturing.
| | Collapse this transcript |
| Capturing footage| 00:00 | There are several ways to use
the Capture tool to ingest footage.
| | 00:03 | In this movie, we will go over capturing on
the fly and capturing with in and out points.
| | 00:09 | Okay, so I am going to open up my
Capture tool, but instead of opening it
| | 00:12 | via the Tools menu, I am going to come over
to Windows > Workspaces > my Capture workspace.
| | 00:20 | And it looks like I am all set up.
| | 00:21 | I am capturing one track of video,
two tracks of audio, and my timecode.
| | 00:26 | I am going in to my interview bin,
| | 00:28 | I have chosen my resolution and destination
drive, and so it looks like I am ready to go.
| | 00:33 | So, I am going to use my deck controls
to rewind to the place where I'd like
| | 00:37 | to start capturing. All right!
| | 00:40 | So I know that I want to
start capturing right about here.
| | 00:43 | So I've queued up my deck, and all I'm
going to do is press play, and then when
| | 00:48 | I'd like to start capturing, I am
going to press my Capture button.
| | 00:52 | Now, notice I am also able to
name my clip as I am ingesting it.
| | 00:56 | So I'm going to go ahead and press play
and press Capture when I want to start
| | 01:00 | and press it again when I want to stop.
| | 01:03 | (Interviewer: You have all this wardrobe
and stuff. Tell me a little bit about it.)
| | 01:10 | (Female speaker: For many people who swing dance, the
vintage lifestyle, the vintage clothing, it's all part of the
| | 01:15 | preservation of what they love. So they want a dress. They want
to dress the dance, they want to dance the dance, they'll live the dance.)
| | 01:27 | All right! So this is a clip that I've
just captured. It's in my bin.
| | 01:32 | If I double-click on it, I can scrub through it,
| | 01:36 | I can mark in and out points,
and just edit it into my sequence.
| | 01:40 | So I am ready to go here.
| | 01:42 | So that's capturing on the fly, pretty basic.
| | 01:44 | You play and then you
capture and then you stop.
| | 01:48 | Now, I am going to show you, in the
bottom lower-right portion of the window,
| | 01:52 | we've got in and out points.
| | 01:54 | And this time we are going play, and
then when we want to start the capture, we
| | 01:59 | press the in, or you can just press
the I on your keyboard, and then when we
| | 02:03 | want to stop the capture, we press mark out,
which correspond to the O key on your keyboard.
| | 02:09 | So go ahead and press play and--
| | 02:12 | (Female speaker:--extreme, but it's all about that preservation.
Some dances are all about moving forward, always changing it.)
| | 02:21 | (Lindy hop is unique in the sense that it's about preserving
a time in history. And also, you might be interested to know,)
| | 02:28 | (Female speaker: it's the only true American dance, only.
Interviewer: Wow.)
| | 02:32 | All right! Great!
| | 02:33 | So we marked an in and we marked an out.
| | 02:37 | It's a thirteen-second-and-six-frame clip and
now to bring it in to the system, I just
| | 02:42 | press the Capture button.
| | 02:44 | I'll go ahead and click on Capture, and
it's prerolling, and now it's about to capture.
| | 02:55 | (Female speaker:--are all about moving forward, always changing it.)
| | 02:59 | (Lindy hop is unique in the sense that it's about preserving
a time in history. And also, you might be interested to know,)
| | 03:06 | (it's the only true American dance, o--.)
| | 03:12 | All right, great!
| | 03:12 | So we brought this clip into our bin
too and again, if we double-click we can
| | 03:18 | scrub through it, we can set in and
out points, and add it into our sequence.
| | 03:22 | As you can see, basic
capturing is pretty straightforward.
| | 03:26 | Usually capturing on the fly and
capturing with in and out points are reserved
| | 03:30 | for longer clip captures.
| | 03:32 | In the next movie, we'll take a look
at a more organized, more preparatory
| | 03:36 | method of capturing material
called logging and batch capturing.
| | Collapse this transcript |
| Batch capturing| 00:00 | In this movie, we'll explore logging
and batch capturing, which is a way for
| | 00:04 | you to log many separate clips within an
entire tape and them capture them all at once.
| | 00:10 | All right, so I'm going use my Capture
tool again and I'm going to focus down
| | 00:15 | here in this lower-right portion
where I mark my in and out points.
| | 00:19 | I'm going to really try to
use my keyboard only though.
| | 00:22 | So again, my in point corresponds with
I, my out point corresponds with O
| | 00:28 | and, I can actually drive
my deck controls using JKL.
| | 00:32 | J goes backwards, K pauses, and L goes forwards.
| | 00:35 | I'm going to go ahead and make sure my
Capture tool is active by clicking on
| | 00:39 | it, and now I'm going to go forward
with L. And then when I want the clip to
| | 00:43 | begin, I'm going to mark an I and when I want
the clip to end, I'm going to mark an O. Okay?
| | 00:48 | I'm going to go forward with L.
| | 00:49 | (clip playing)
| | 00:58 | All right, so I played with L, I marked
my in and out point, and then I paused
| | 01:03 | it with K. We have a six-second-and-three-
frame clip ready to be logged to our bin.
| | 01:08 | Now this is Broll, so I'm going to
switch to my Selects bin, and I likewise want
| | 01:13 | to change from my Interview bin to my
Selects bin. And instead of capturing
| | 01:19 | this, I'm going to click on my
Capture/Log toggle button and that's going to
| | 01:25 | turn this into a log button.
| | 01:27 | All right, so it's going to take this
clip and when I click on Log Clip, it's
| | 01:30 | going to send it to the bin. And I'm
just going to name this. And if I expand
| | 01:37 | this over to the right--and I'm going to
choose columns, and we're just going to
| | 01:43 | show the Drive and Offline--
| | 01:47 | you'll notice that it's not on
the drive yet and it is offline.
| | 01:52 | If we go back to the clips that we
just captured, these are not offline and
| | 01:56 | they're on my D drive.
| | 01:58 | Okay, so that's fine.
| | 02:00 | We're going to go ahead and log a
couple and then capture them all at once by a
| | 02:04 | way of batch capture.
| | 02:05 | Again, I'm going to select my Capture
tool with my mouse, and now I'm going to
| | 02:10 | use JKL to navigate and I
and O to mark in and out.
| | 02:14 | (clip playing)
| | 02:24 | And log. And just one more quick one.
| | 02:30 | (clip playing)
And log.
| | 02:41 | Again, this is kind of just a very
small example for what you could be doing
| | 02:45 | on a very long tape.
| | 02:47 | Normally, I would have captured this
entire dance and then maybe they would have
| | 02:50 | been setting up for the next one and
I would have skipped all that and then
| | 02:53 | captured another entire dance, but
for demonstration purposes, we're just
| | 02:57 | capturing really small clips.
| | 02:59 | And just so we can see our clips come
online, I'm going to drag this down and
| | 03:04 | then expand it out, so that we have all of the
drive and offline information in front of us.
| | 03:10 | All right, so I'm going to lasso
these clips by dragging, and then I'll
| | 03:15 | right-click and choose Batch Capture.
And we are capturing offline media only.
| | 03:21 | I'd have the option of extending
the handles, which means that I would
| | 03:24 | capture slightly more than what I
logged, but I don't need to in this case.
| | 03:29 | And I'm going to click OK.
| | 03:31 | It's now searching for a Preroll point,
so it's going to the point right before
| | 03:35 | the first clip that I logged, and then
it's going to start capturing them one by one.
| | 03:38 | (clip playing)
| | 04:02 | All right, great, so you'll see here
that of the clips are now in my drive and
| | 04:08 | in my Offline column, all of that information
is gone because now the clips are now online.
| | 04:14 | Logging and batch capturing footage is a
really great way to quickly get through
| | 04:17 | an entire tape in an organized way
and then get on to something else without
| | 04:22 | having to be tied to the Capture station.
| | Collapse this transcript |
|
|
12. Managing MediaDeleting material from the bin| 00:00 | An important part of post-production
process is managing your media in a way
| | 00:04 | that doesn't clutter your workspace and drives;
| | 00:07 | therefore, deletion is often a
necessary step in cleaning up after a project.
| | 00:12 | There are several methods of deleting
files, and let's take a look at these.
| | 00:16 | First, as you remember from the
beginning of the course, you need both the
| | 00:19 | master clip and the media file
for nonlinear editing to work.
| | 00:23 | And as you remember, once you take away one of
these elements, editing does not work anymore.
| | 00:28 | The relationship is broken. Why?
| | 00:30 | Well, because master clips, which are
pointer files, won't work if they are not
| | 00:35 | pointing to something,
| | 00:36 | and media files, which need pointer files
to be read, are not good to you if there
| | 00:41 | is nothing pointing at them.
| | 00:43 | Okay, so that part is clear.
| | 00:44 | But sometimes you want to delete data
so that you can clear up drive space or
| | 00:48 | so that you can better organize
multiple projects on one drive.
| | 00:52 | Let us talk about how you might want to do this.
| | 00:55 | In this movie, I am going to talk about
the three ways to delete media from your bin.
| | 01:00 | In the next movie, we are actually
going to talk about how to do this in
| | 01:03 | the Media tool, so that you can do it
across multiple bins and even multiple projects.
| | 01:07 | All right, to delete media from your bin,
you simply highlight it, and then press
| | 01:13 | the delete key on your keyboard
and the Delete dialog box comes up.
| | 01:17 | We have three choices:
| | 01:19 | we can either delete the
master clip and not the media file,
| | 01:24 | we can delete the media file and not
the master clip, or we can delete both.
| | 01:28 | Let us go through these three options.
| | 01:31 | The most often-used choice is to delete
the media file but not the master clip.
| | 01:37 | This is because your master clip, even
when the media file is not present still
| | 01:43 | has all of the metadata that defines it.
| | 01:46 | It knows how long it is,
it knows its time code,
| | 01:50 | it knows its associated
tracks, its codecs, everything.
| | 01:54 | So, if was to delete this, which I
will by pressing OK, and, yes I am sure,
| | 02:01 | and I load this into the Source monitor,
| | 02:03 | you will see that this media is now offline.
| | 02:06 | However, I am going to expand my bin
and I am going to come in to the Bin Fast
| | 02:11 | menu, choose Columns, and I am just
going to select them all, and click OK.
| | 02:18 | Notice that even though my clip
is offline, we still know a lot of
| | 02:22 | information about it.
| | 02:24 | All the way across, it
still knows a lot about my clip.
| | 02:29 | So, this will allow me to very easily
bring this back online by either batch
| | 02:35 | capturing or batch importing.
| | 02:37 | I would capture if it came from tape.
| | 02:40 | I would do a batch-import
if it originated as a file.
| | 02:44 | To do either of these, I simply right-click
and choose either Batch Capture or Batch Import.
| | 02:51 | Indeed, you can bring an entire
project back online years after the fact by
| | 02:56 | simply doing a batch-capture or a batch-import.
| | 03:00 | Again, that would be deleting a
sequence rather than a master clip, but for the
| | 03:04 | purposes of demonstration, we
are showing this with a clip.
| | 03:06 | I am going to go ahead and chose
my clip again and press Delete.
| | 03:11 | And I would like to talk about the
second way of deleting something.
| | 03:15 | I could choose both my master clip
and my media files, and then I can also
| | 03:20 | further choose just my
audio, just my video, or both,
| | 03:25 | and this is only if I am sure I
will never ever need this data again.
| | 03:30 | And you know what? To be honest,
unless this was a project you know you will
| | 03:35 | never be coming back to, you can't
say that you are not going to be able to
| | 03:38 | spare a few megabytes of
space to keep your project files safe.
| | 03:41 | So bottom line, unless you are
sure, just keep your project data.
| | 03:46 | You make thank yourself later that you did.
| | 03:48 | So just to show you that it is going to
completely disappear from my bin, I will
| | 03:52 | go ahead and do this.
| | 03:53 | We will delete both the master clip
and the media file, press OK, yes, I am
| | 03:57 | sure, and it is gone.
| | 04:00 | If I want to get that back, I have to
recapture and re-import, and then it is
| | 04:04 | not going to fit succinctly back
into my sequence if it is edited there.
| | 04:08 | So you've really got to be sure.
| | 04:09 | I am going to click on my clip again and press
Delete, and I want to discuss the last method.
| | 04:16 | I could select my master
clip and not my media file.
| | 04:19 | You would really never ever want to do this.
| | 04:23 | This means that you have the large
media file, your large file
| | 04:27 | video and audio file that will remain
on your drives clogging up space, and you
| | 04:32 | are going to delete the small important
metadata that refers to that file away forever.
| | 04:39 | That means that you have nothing to refer to
it and nonlinear editing is not going to work.
| | 04:44 | So you have just got media
files clogging up your drive.
| | 04:47 | This results in something called an
orphan file, which is simply media on your
| | 04:52 | drive without anything pointing to it.
| | 04:55 | Again, you never ever want to do this.
| | 04:58 | So I am going to click Cancel.
| | 05:01 | As you can see, deleting is an
important and necessary part of the post-
| | 05:05 | production process, so you need to
know what you are deleting and why.
| | 05:09 | Again, most of the time you are going
to choose option number 1, deleting the media
| | 05:13 | files but keeping your project data,
so that you can bring your project back
| | 05:17 | online in the future if needed.
| | 05:18 | In the next movie, we will talk about
how to use the Media tool so that you can
| | 05:22 | delete media from multiple bins,
multiple projects, and multiple drives.
| | Collapse this transcript |
| Understanding the Media tool| 00:00 | If ever you need to delete material
across multiple bins, multiple projects, and
| | 00:05 | multiple drives, you'll most
likely want to use the Media tool.
| | 00:08 | The Media tool is like a super bin,
allowing you to bring master clips in from
| | 00:13 | a self-selective group of projects or
tribes and then manage the media accordingly.
| | 00:17 | I am going to open up the Media tool
by coming up to Tools > Media tool.
| | 00:24 | And as we here on the left, we have
the drives that we can choose from, and on
| | 00:29 | the right we have the
projects that we can choose from.
| | 00:32 | Now, my drive has only one project on
it, but I do want to give you one note
| | 00:36 | about the projects in this list:
| | 00:39 | this is not necessarily
the projects on your system.
| | 00:42 | You can delete all the projects from
your system and there'll still be a list
| | 00:46 | of projects here, because what this
list is measuring is the project that the
| | 00:51 | media on your drives was originally captured into.
That metadata is stored in those media files,
| | 00:57 | so even if you delete a project, your
media files can still live on the drive and
| | 01:02 | their project name will still be listed here.
| | 01:05 | Down here you can choose whether you
want to search through master clips,
| | 01:09 | pre-computes, or media files.
| | 01:11 | Master clips are obviously the clips
in your bins, pre-computes are render
| | 01:16 | files, and media files are the
actual media files on your drives.
| | 01:21 | You almost never choose this.
| | 01:24 | This is something that you may choose
if you call contact technical support and
| | 01:27 | someone walks you through it, but
otherwise, leave option number three alone.
| | 01:32 | So if I choose Master Clips and Pre-
computes, I am going to choose the Master
| | 01:37 | Clips and Render files on my data
drive in the Swing Dancing project.
| | 01:42 | Again, if I wanted to access multiple
projects and I have them available to me,
| | 01:47 | I would just select them here.
| | 01:48 | I will say OK, and as you can see, there
is quite a lot of stuff here to look at.
| | 01:53 | If you look at it though, you will
notice that this is just a big bin.
| | 01:57 | I have the headings across the top.
| | 02:01 | I have the ability to choose columns and
display just certain pieces of metadata.
| | 02:07 | I have the ability to show text
view or frame view or script view.
| | 02:14 | I have the ability to custom
sift searching for something.
| | 02:19 | I have the ability to use the Find tool.
| | 02:22 | Anything I can do in my Avid project I
can do in the Media tool too, but this
| | 02:27 | is searching across the drives and the
projects that I selected at the previous screen.
| | 02:33 | When I press Delete on a clip in the
Media tool--which I will go ahead and select
| | 02:38 | this clip and press Delete--
| | 02:40 | I have the option of
deleting video, audio, or both.
| | 02:46 | When I press Delete here, it is gone.
| | 02:49 | There is no getting it back
unless I recapture or re-import it.
| | 02:52 | So, I am not going to do that in this case.
| | 02:55 | Also, because the Media tool looks
at media on your drive, you can do something
| | 03:01 | pretty special here.
| | 03:02 | I am going to close the Media tool for
a moment, and I am going to come back to
| | 03:06 | this bin and I am going to pretend that
I accidentally deleted this master clip.
| | 03:13 | If you remember from the last movie, I said
this is something you never want to do.
| | 03:18 | If I highlight the clip, press Delete,
and delete the master clip, leaving my
| | 03:23 | media files on the drive, and say OK,
| | 03:25 | it is gone from my bin, and I
have what is called an orphan file.
| | 03:31 | You can use the Media tool to your
advantage to help you out in this situation.
| | 03:35 | If you know that you have an
orphan file, you can go get it back.
| | 03:40 | So if I go to Tools > Media tool,
again, I can select my Data drive, the
| | 03:47 | projects that I want to
look through, master clips.
| | 03:51 | And I know that that is not a render
file so I will deselect that and press OK.
| | 03:56 | And I can go ahead and sort this so that
everything is now in alphabetical order.
| | 04:00 | It already was.
| | 04:02 | And here it is, Dave smiling.
| | 04:05 | So I literally just pick
it up and put it in my bin.
| | 04:08 | I am going to click with my
mouse, drag over, and there it is.
| | 04:13 | Notice that it didn't leave my Media
tool, because again, the Media tool reads
| | 04:17 | the media on the drive.
After all, this media is still there.
| | 04:21 | But I got my master clip back, and I have
reunited the master clip with the media
| | 04:26 | file, and Dave is still smiling.
| | 04:29 | The Media tool is really powerful.
| | 04:31 | And whether you need it to delete media
across multiple bins, multiple projects,
| | 04:36 | or multiple drives, or whether you need
to resurrect master clips that you have
| | 04:40 | accidentally deleted from your bins, you
will certainly find the Media tool will
| | 04:43 | help you out in a variety of situations.
| | Collapse this transcript |
| Deleting unreferenced clips| 00:00 | Often, once you have edited your show
you'll want to keep the media associated with
| | 00:04 | your finished sequence and delete the
media that didn't make it into the cut.
| | 00:09 | In this movie, we will learn how to
isolate that unneeded media from your needed
| | 00:13 | media and discard it.
| | 00:15 | Okay, so here is our sequence.
| | 00:17 | Let's pretend it's the sequence.
We like everything in here, and we want to
| | 00:23 | delete everything that is not in the sequence.
| | 00:27 | In addition to the clips, we
also have some rendered files.
| | 00:32 | We have some rendered blue-dot effects.
| | 00:34 | We have a rendered composite here and
some more rendered blue-dot effects.
| | 00:38 | So, we want to make sure that we keep
all of the master clips and all of the
| | 00:42 | render files, or precomputes,
associated with the sequence.
| | 00:46 | So to do that, I am going to make sure
that I have this bin opened and only this bin.
| | 00:53 | If you have your sequence in a bin with
other things, I would highly recommend
| | 00:57 | taking it out and putting it in its
own bin and then opening it, and you will
| | 01:02 | see why in just a moment.
| | 01:04 | Now, I am going to open up my Media
tool and select the associated drives and
| | 01:10 | projects that this sequence is related to.
And I want to make sure that I choose
| | 01:15 | both Master Clips and Precomputes.
| | 01:18 | Okay, so I am going to say OK.
| | 01:21 | Again, here is all of the media that
we have been working with. And again, we
| | 01:24 | just want to look at the media associated
with this and then discard everything else.
| | 01:31 | So I have this bin open.
| | 01:32 | I am now going to go to the Media
Tool Fast menu and choose Select
| | 01:38 | Unreferenced Clips.
| | 01:40 | This is going to highlight everything
that is not associated with my sequence
| | 01:45 | that's in my open bin.
| | 01:46 | I am going to select Unreferenced Clips
and then here is where it says, "Select
| | 01:51 | Unreferenced Clips will select all
clips that are unreferenced by sequences in
| | 01:55 | currently open bins."
| | 01:56 | That's this. "References to Clips from bins
that are closed are not taken into account."
| | 02:01 | Okay, this is exactly what
we want, so we will press OK.
| | 02:04 | And now it's highlighted all of the
clips and precompute files that are not
| | 02:09 | associated with my sequence, which is
most of them. And then when I press
| | 02:14 | Delete, I have the option to
break it down even further.
| | 02:17 | I can select just my video, just my
audio, just my precomputes, any combination
| | 02:21 | therein, and if I press OK, it's gone,
| | 02:24 | because deleting things from
the Media tool is permanent.
| | 02:28 | However, I don't want to do this,
so I am just going to cancel.
| | 02:31 | But you may want to do this.
| | 02:32 | You just want to treat this process with
care, and you want to make sure that you
| | 02:36 | are deleting only the
material that you don't need.
| | 02:38 | Once you are sure though, this is great
way to clear clutter from your drives.
| | Collapse this transcript |
|
|
13. Outputting MediaPreparing your sequence for output| 00:00 | When you are finished editing and
ready to output to tape or export a movie
| | 00:04 | file, there are a few things that you
should do in order to ensure the smoothest
| | 00:08 | experience possible.
| | 00:09 | We will go over these in this movie.
| | 00:11 | So here is my sequence and first on
the checklist is to click on the Format
| | 00:17 | tab and make sure that the Project Type is
set to the format that you want to output.
| | 00:23 | Sometimes you switch to an SD flavor
of your HD project to maximize playback--
| | 00:28 | you just need to remember to switch that back.
| | 00:30 | So, I have got the proper Project
Type. And next, I need to come down to My
| | 00:37 | Video Quality menu.
| | 00:38 | Now, especially for printing to tape,
you need to switch this to the highest
| | 00:43 | quality possible, which is Full Quality,
so that your sequence goes out full
| | 00:47 | quality to the tape.
| | 00:49 | Next, I recommend that you make sure that
there is no offline media in your sequence.
| | 00:54 | This is especially true for
really long sequences where you can't
| | 00:58 | automatically eyeball it.
| | 01:00 | So, you can find that out by coming down
to the Fast menu here and then going to
| | 01:05 | Clip Color and then choosing Offline.
| | 01:09 | Now, when you check this,
anything that's offline will appear red.
| | 01:13 | So I will click OK. I don't have any red clips, so
everything is online and I am good to go there.
| | 01:19 | Also, I should note that if you have a
combination of standard-definition and
| | 01:24 | high-definition video, you are going to
need to transcode to one resolution or another.
| | 01:29 | So, I don't have this combination right
now, but just in case you do, you just
| | 01:34 | click on your sequence, then right-
click, and choose Consolidate/Transcode.
| | 01:37 | Then within the Transcode options, you
just want to make sure that you select
| | 01:44 | the appropriate resolution to
transcode everything in the sequence to.
| | 01:48 | Again, my entire sequence is HD,
| | 01:50 | I don't have any SD elements, so
I don't need to perform that step.
| | 01:55 | Next, I want to make sure that all
non-real-time effects are rendered and that
| | 02:00 | I have rendered any portions of the
timeline that might have a problem with playback.
| | 02:05 | Now, because I have switched to Full
Quality and because I have several blue-
| | 02:09 | dot effects in my timeline, you will
notice that virtually all of my effects
| | 02:12 | need to be rendered.
| | 02:14 | I can either go through and perform
some of the intelligent rendering methods
| | 02:18 | that we learned in a previous movie or you
can do something called creating a video mixdown.
| | 02:24 | Creating a video mixdown will take all
of the clips in all of your video tracks
| | 02:29 | and make one media file and
one master clip out of it.
| | 02:33 | To create a video mixdown, you just
mark an in at the beginning of your
| | 02:37 | sequence, you mark an out at the end
of your sequence, and then you select
| | 02:42 | the appropriate tracks.
| | 02:43 | So, I want to select my video tracks, and
then I come up to Special > Video Mixdown.
| | 02:50 | You select your Target Bin, your Target
Drive and your Target Resolution and click OK.
| | 02:56 | Now, I have actually already prepared
a video mixdown ahead of time, so I am
| | 03:00 | just going to show you right here that
it turns into a source clip. And it's my
| | 03:05 | entire sequence rendered out into one
master clip that corresponds to one media file.
| | 03:11 | So I have got my video mixdown.
| | 03:13 | Now I want to talk about audio mixdown.
| | 03:16 | Now, in the case of this sequence,
I only have two audio tracts,
| | 03:19 | so I wouldn't need to perform an audio mixdown.
| | 03:22 | But in the case that I had ten, twelve, fourteen
audio tracks, it'd be really good idea
| | 03:27 | to create an audio mixdown so your sequence
wouldn't have any problems during playback.
| | 03:31 | I will just do it to demonstrate.
| | 03:34 | Again, I want to select my audio track,
so I am just going to lasso through to
| | 03:38 | select the inverse. And I have
already got my in and out point set,
| | 03:43 | so I am going to go up to
Special > Create Audio Mixdown.
| | 03:46 | I want to create a stereo mix, and
it's actually going to put the mix on
| | 03:52 | the track of my choice,
| | 03:53 | so I will go ahead and
put the mixdown audio on A3.
| | 03:57 | The audio master clip will go into my
selected bin, and the audio media will go
| | 04:02 | onto my selected drive.
| | 04:04 | I recommend that you save a premix
sequence so that you can always come back
| | 04:08 | to what we have here.
| | 04:09 | And I am going to press OK. All right.
| | 04:13 | So notice in my bin I have my new sequence,
| | 04:17 | I have my premix sequence, I have my
video mixdown, and I have my audio mixdown.
| | 04:24 | So to put it all together, what I will
do is I will just delete A1 and A2 so
| | 04:30 | that I just have my audio mixdown here.
| | 04:32 | So I am going to deselect A3
and I am going to press Delete.
| | 04:36 | Yes, I do want to delete
these tracks. Don't worry;
| | 04:38 | we have a premix version in
case we need to come back to these.
| | 04:41 | Say OK, and I am likewise going to
delete my video tracks. Delete and OK.
| | 04:49 | I have got my video mixdown loaded in
my Source monitor, so I am just going to
| | 04:55 | edit this right on top of my audio mixdown.
| | 04:58 | Go ahead and overwrite by pressing B, and
here we have our entire sequence in two
| | 05:06 | tracks: one video track and one audio track.
| | 05:10 | Again, this is not a required step, but
if you do have a lot of video tracks or
| | 05:15 | a lot of audio tracks, I do recommend
performing a mixdown so that it's really
[00:05:20.25
easy to play out or so that
it's really easy to export a file.
| | 05:24 | All right, so we have checked our
project format, we have increased our video
| | 05:29 | quality, we have made sure that all of
our video is online, and we have even made
| | 05:34 | a video mixdown and an audio mixdown.
| | 05:36 | We are all set to export this, and in
the next movie we are going to learn how
| | 05:40 | to print to tape by using a digital cut.
| | Collapse this transcript |
| Performing a digital cut| 00:00 | Once your sequence is all set,
you can safely print to tape.
| | 00:03 | In this movie, we will explore the
Digital Cut tool and a couple of the more
| | 00:07 | popular options you have in
laying your sequence to tape.
| | 00:10 | All right, so I have my sequence here,
and it's comprised of two tracks: a video
| | 00:15 | mixdown and an audio mixdown.
| | 00:17 | Again, that's not required, but it's a
really great idea if you have a lot of
| | 00:21 | video or audio tracks.
| | 00:23 | One other thing I did was I
moved my audio from A3 to A1.
| | 00:29 | A1 is a stereo track, as indicated by
these two speaker icons, and I just
| | 00:34 | wanted it that way so that I could
have just one track of video on V1 and one
| | 00:38 | track of audio on A1.
| | 00:40 | Another thing I did was I actually
transcoded this sequence from its HD
| | 00:45 | resolution to an SD resolution, as
indicated right here in the Format tab.
| | 00:51 | I did that because I just have a
standard-definition DV camera connected to my
| | 00:56 | system, so I wouldn't be able to go out HD.
| | 00:59 | However, in my Video Quality menu, I
am still going out at Full Quality.
| | 01:03 | Lastly, I did shorten this just for
demonstration purposes, so we only have
| | 01:07 | about six seconds of the digital cut,
but it will allow you to see how the
| | 01:12 | digital cut starts and then we will
allow it to finish so that you can see
| | 01:15 | exactly how it works.
| | 01:17 | Before opening the Digital Cut tool, I want
to go over the three types of digital cut.
| | 01:22 | An insert edit is the most is the most
precise method of digital cut and gives
| | 01:27 | you an exact level of frame accuracy.
| | 01:29 | In an insert edit, the sequence
timecode exactly matches the timecode that is
| | 01:34 | pre-laid on the tape and only video and
audio are printed on the tape, not time code.
| | 01:39 | Therefore, to perform an insert edit
you need to pre-black an entire tape, which
| | 01:44 | means that you have taken the time to
record a black video signal to it, laying
| | 01:48 | a control track on the entire tape.
| | 01:50 | An assemble edit also gives you
precise control over your start time, just
| | 01:54 | like an insert edit, but it does not
require that you black the entire tape in advance.
| | 01:59 | Rather, you only need to black the
very beginning, enough for the sequence to
| | 02:03 | grab on to the control track.
| | 02:05 | The assemble edit then commands your
deck to generate control track on the fly
| | 02:09 | as the digital cut progresses.
| | 02:11 | Lastly, crash-record edit can be
performed with or without a small pre-black
| | 02:15 | portion on your tape.
| | 02:17 | Now, you usually don't perform a crash
record with any expectation of syncing
| | 02:21 | the sequence timecode to your tape timecode.
| | 02:23 | As with an assemble edit, your deck
generates a control track and timecode on the
| | 02:27 | fly as the digital cut progress.
| | 02:29 | Now, if you are recording to a DV deck
or camera like I am in this case, you
| | 02:33 | will record a crash-record edit.
| | 02:35 | I should also mention that if you just
have your deck right beside you and you
| | 02:39 | wanted to perform a crash record, one
other method is to just press play and
| | 02:43 | record on your deck and then play
your sequence and then everything on your
| | 02:47 | sequence will be laid to tape.
| | 02:48 | However, we are going to look at the
Digital Cut tool, assuming that you want
| | 02:52 | remote control over your deck.
| | 02:53 | So, we are going to come up to Output >
Digital Cut, and let's take a look at a
| | 02:58 | couple of these tools.
| | 02:59 | Here in the upper left are the
tracks that are being laid to tape.
| | 03:03 | Again, I only have two, so only two
are listed, but if you had a lot, they
| | 03:07 | would all be listed here.
| | 03:09 | We have our Play Digital Cut button as
well as our Hold button and a Preview
| | 03:13 | button that will allow you to look
at what it will look like without
| | 03:17 | actually printing it.
| | 03:18 | Here is our output resolution. And
we have a couple of buttons here.
| | 03:22 | Some of them are pretty useful.
| | 03:23 | Entire Sequence will basically ignore
any in or out points that you have in your
| | 03:28 | sequence; however, if you leave this
unchecked and you have in or out points,
| | 03:32 | it's going to respond to any of those
in or out points and just print that
| | 03:35 | portion of your sequence.
| | 03:37 | Digital Cut Safe mode instructs Media
Composer to take a look at your sequence
| | 03:41 | and alert you if there is
anything that might go wrong.
| | 03:43 | For example, if you have both SD and HD
in your sequence, it's going to ask you
| | 03:48 | to transcode it. Or if you have a lot
of un-rendered effects it's going to ask
| | 03:52 | you to render those.
| | 03:53 | You can also ask Media Composer to stop
the digital cut if you come across any
| | 03:57 | dropped frames, and you can also have it
add black at tail, which is really useful
| | 04:02 | for both assemble edits and crash records.
| | 04:04 | Here is where you decide if you want
remote control over the deck or Local.
| | 04:09 | Again, if you have the Digital Cut
tool open, you are probably going to
| | 04:11 | choose Remote control.
| | 04:13 | And I am just going to come over here
and show you that, again, because I just
| | 04:17 | have a simple DV camera connected to my system,
| | 04:20 | I only have the option to crash record.
| | 04:23 | If you have a more sophisticated deck
connected to your system, you will have
| | 04:27 | the option to assemble edit
or crash record accordingly.
| | 04:30 | And then because we are only crash recording,
we are going to ignore our sequence time.
| | 04:34 | But again, if you wanted a timecode-
accurate sequence, you would want to choose
| | 04:38 | one of these other options.
| | 04:39 | And then down below here are our deck controls.
| | 04:43 | Now again, I really shortened this up
so we are only recording just over six
| | 04:46 | seconds, but I wanted to show you
the entire thing, so I am just going to
| | 04:50 | press Play Digital Cut.
| | 04:52 | It's going to ask me to mount the tape.
| | 04:54 | The tape is already mounted, so I will click OK.
| | 04:56 | (clip playing)
| | 05:06 | All right, our digital cut is complete.
| | 05:08 | Let's go ahead and click OK.
| | 05:10 | Printing your show to tape is such an
important step because you don't want to
| | 05:14 | have made all the effort in putting
your sequence together just to have it
| | 05:17 | printed shoddily at the end.
| | 05:19 | Take your time with the step and make
sure that you consider all of the time-
| | 05:22 | code accuracies needed at
this stage in the process.
| | Collapse this transcript |
| Exporting your sequence as a file| 00:00 | When exporting files from Media Composer,
there are several types of files that
| | 00:04 | are useful in DVD creation
and making web-based movies.
| | 00:09 | We'll go over these in this lesson.
| | 00:11 | Okay, so I have my sequence here, and we're
working with the mixdown version of the sequence.
| | 00:17 | You don't have to mixdown, because
when you export files Media Composer will
| | 00:22 | render all video and audio effects upon
export, but if you've done the work in
| | 00:27 | making a mixdown, the whole
process is going to go much quicker.
| | 00:31 | So, we've got it done, so we'll go with
that, and I'm just going to right-click
| | 00:35 | on the sequence and choose Export.
| | 00:39 | This is where we choose the
destination and where we can name it.
| | 00:43 | Under Export Setting, we have quite
a few different settings that we can
| | 00:47 | choose here, and I'm going to choose Send To QT
movie because we're going to make a QuickTime.
| | 00:53 | When I click on Options, we've even
have more choices that we can make.
| | 00:57 | Up here at the top, if I click in the
Export As, pull down menu, there are quite
| | 01:02 | a few file types that I can choose here.
| | 01:03 | I'm going to choose QuickTime Movie.
| | 01:05 | To the right of that, I have
Use Marks and Use Enable Tracks.
| | 01:10 | If I select Use Marks, it will export
between an in and an out point that I
| | 01:15 | have in my sequence.
| | 01:16 | If I choose Use Enable Tracks, it
will export only the tracks that I have
| | 01:20 | enabled in the Timeline.
| | 01:22 | Next, I have Same as Source and Custom.
| | 01:26 | Same as Source is going to export a
QuickTime at the same resolution that I'm
| | 01:30 | working with in Media Composer.
| | 01:33 | Under the Same as Source, I can
select to export video and audio or just
| | 01:37 | video or just audio, and I can choose my
color levels. 601709 is what I'll choose.
| | 01:45 | And I can also choose my Display Aspect Ratio.
| | 01:47 | So we're working in 16x9 standard
definition, so that's what we'll choose here.
| | 01:51 | If I had chosen Custom, this brings up a
whole host of other options I can select,
| | 01:58 | the biggest being the
Format Options button right here.
| | 02:01 | If I click on this, this will allow me
to customize my video and audio settings,
| | 02:07 | and I'll just show you
what it looks like in here.
| | 02:09 | I have a Compression Type list that if I
wanted to select a specific compression
| | 02:14 | on the way out of Media Composer, I
could choose something from this list.
| | 02:17 | I don't want to, so I'm going click Cancel,
and Cancel again to get me back to my window.
| | 02:23 | Again, I can choose Video and
Audio or just Video or just Audio.
| | 02:27 | I can also customize the size of my frame.
| | 02:31 | So if I wanted to go the web, I could
pick a very small size on the way out.
| | 02:35 | I also can select my File Field
Order, and again, my Aspect Ratio.
| | 02:40 | I'm going to choose Same as Source so
we don't have so many options to go over
| | 02:44 | here, and I'll go ahead and save that out.
| | 02:47 | If I had made some choices, I
could save a template for using later.
| | 02:51 | I'll go ahead and save, and this is
going to be a full QuickTime movie, so I'm
| | 02:55 | just going to call this QT
movie, and I'll save, and it exports.
| | 03:02 | All right, so I have a
QuickTime movie on my desktop.
| | 03:06 | We'll look at it in just a second, but I
first want to create one more type of file.
| | 03:10 | If I right-click on the sequence and
choose export again, instead of Send to QT
| | 03:15 | movie, I'm going to choose QuickTime Reference.
| | 03:19 | Then when I quick on Options, you see
that it gives me a couple of other choices.
| | 03:22 | Again, I can use marks or use enabled tracks.
| | 03:25 | I have the same file types within this
menu, but it allows me to render all my
| | 03:31 | video effects on its way out
or it mix down the audio tracks.
| | 03:35 | Now, why is it asking me this?
| | 03:37 | When I export a QuickTime reference, it's
not actually exporting a stand-alone movie.
| | 03:43 | Rather, it's only exporting a pointer file.
| | 03:46 | It points to my media on my drives.
| | 03:49 | Therefore, if I have any non-
rendered video or audio effects, that media
| | 03:53 | obviously doesn't exist.
| | 03:55 | Therefore, I can choose for it to
render the video effects or mix down my
| | 03:59 | audio tracks upon export.
| | 04:01 | Now again, we've done the work ahead of
time in making a video mixdown and an
| | 04:05 | audio mixdown so we don't
need to check those boxes.
| | 04:08 | I'm going to click Save and I'm just
going title this QT reference and save
| | 04:16 | that out. And you can see that
that was pretty much immediate.
| | 04:20 | Again, it's not making any media;
it's just making a pointer file.
| | 04:24 | So, I'm going to minimize Avid, and
here we have a QuickTime movie and a
| | 04:29 | QuickTime reference.
| | 04:30 | Let us go ahead and check the
sizes of each of these files.
| | 04:33 | I'll right-click and Properties, and
you can see that this is almost 200 MB.
| | 04:40 | If I check the size of the QuickTime
reference file, you can see that it's 5 KB.
| | 04:47 | That's a lot smaller.
| | 04:49 | Again, this is a stand-alone movie
and if I took this to another system, it
| | 04:54 | would play, as long as I had QuickTime installed.
| | 04:56 | If I took my QuickTime Reference to
another system, it wouldn't play, because it
| | 05:01 | wouldn't be able to read my media.
| | 05:03 | So, stand-alone movie, reference file,
which is just another word for a pointer file.
| | 05:09 | You can usually take either one of
these files to a third-party encoding
| | 05:13 | program, like Sorenson Squeeze or
Compressor, and make it into a
| | 05:18 | different type of file.
| | 05:20 | You can also take either one of
these types of files into a DVD authoring
| | 05:24 | program and author a DVD.
| | 05:27 | So a QuickTime reference is often a
really great option because it doesn't take
| | 05:30 | a lot of time to export and
it works in the same fashion.
| | 05:34 | I'm going to go ahead and open up Avid
again, and I'm going to right-click on my
| | 05:38 | sequence and choose Send To this time.
| | 05:42 | This is a list full of canned
templates that are really common ways to export
| | 05:46 | things out of Media Composer.
| | 05:47 | For example, I can choose DVD and I
can either choose DVD Authoring or DVD
| | 05:53 | OneStep, where it actually sends it
straight to a DVD authoring program package
| | 05:57 | with Media Composer.
| | 05:58 | But I will just go ahead and choose DVD
Authoring so you can see what this looks like.
| | 06:03 | This has a lot of export options,
all of which is customizable.
| | 06:07 | And here is the summary of everything that
I have chosen for my DVD authoring export.
| | 06:12 | If I changed any of the choices up here,
I could save a template for using later.
| | 06:17 | As you can see, there are a lot of
export options in Media Composer.
| | 06:21 | All it takes is a little
experimentation on your part.
| | Collapse this transcript |
|
|
14. TroubleshootingSolving offline media| 00:00 | Media management is a
crucial part of successful editing.
| | 00:03 | As we saw in a previous chapter,
when you delete media, the master clip
| | 00:08 | recognizes that this
correlating media is offline.
| | 00:12 | Well, there are other reasons
that a clip can go offline too.
| | 00:14 | Sometimes some or all of your media
will be offline simply because the master
| | 00:19 | clips in your bin can't find the media
with which it is supposed to be linked.
| | 00:24 | In this movie, we will take a look at how
this happens and how to solve these issues.
| | 00:28 | Usually the reason that media shows
up as offline is because the media is
| | 00:33 | simply not on your drive in the first place.
| | 00:35 | Often you may accidently capture or
import media to the internal hard drive
| | 00:40 | of the system you are working on,
instead of to your dedicated media drive.
| | 00:44 | If you do this and then switch editing
systems with your media drive, then your
| | 00:49 | media is going to show up as offline.
| | 00:51 | So before beginning to troubleshoot,
make sure that the scenario is not the case.
| | 00:55 | Now, if it is the case, you are going
to have to go find the media files and
| | 00:59 | transfer them over accordingly. Or if
you can't find them, you will need to
| | 01:02 | recapture or re-import your media.
| | 01:05 | So to check where Media Composer thinks
your media should be, you can just make
| | 01:10 | sure you are in text view in your bin
| | 01:12 | and then go to Choose Columns. And
just to simply this, I am going to choose
| | 01:18 | None, but then I am going to display my drive.
| | 01:22 | And in the Drive column is where
Media Composer captured the media to.
| | 01:26 | So if your drive is D, but this says C,
then you know that you accidentally
| | 01:32 | captured to the internal drive
and you are going have to go find that
| | 01:35 | media or recapture.
| | 01:37 | If you are sure that the media that the
media should be on your drive, then you
| | 01:40 | can begin troubleshooting.
| | 01:42 | Now, often media becomes offline
because there is something wrong with either
| | 01:46 | the media drive or your media folder.
| | 01:49 | So before troubleshooting offline media
problems, make sure to exit Avid first,
| | 01:54 | which I will do now,
| | 01:58 | and then first go after your drive.
Make sure your drive is plugged in to your
| | 02:02 | FireWire report, turned on, and as
shown as mounted on your computer.
| | 02:07 | If the drive isn't mounted, then you
want to try swapping your FireWire cables,
| | 02:11 | as well as try plugging the FireWire
into a different port on your computer.
| | 02:16 | Also, try determining if another hard
drive will mount on your computer or if
| | 02:21 | your hard drive will mount on another system.
| | 02:24 | Now, if your drive is properly mounted
but your media is still offline, it is
| | 02:28 | time to take a look at your media folder.
| | 02:31 | Now, as you may remember from a
previous movie, if you captured or imported
| | 02:36 | media in the traditional way, your media is in a
managed media folder called Avid Media Files.
| | 02:43 | Now, I am going to go to that drive.
| | 02:47 | I know that my media is supposed
to be on my data drive, my D drive,
| | 02:52 | and I know that I need a folder on
the root directory of my media drive.
| | 02:57 | Now, all root directory means is that
they can't be inside any other folders;
| | 03:02 | it has to be at the top level.
| | 03:05 | So I am going to look for a folder
called exactly Avid Media Files and as you
| | 03:11 | see here, we don't have that,
| | 03:14 | so the media is somewhere else.
| | 03:16 | I can either search for it, or you
can kind of look and see if there is
| | 03:21 | somewhere else it might be.
| | 03:23 | I see this folder here called AvidMedia,
| | 03:26 | so I am going to look in there. Aha!
| | 03:28 | And there it is.
| | 03:29 | So this is spelled correctly, and
it is just in the wrong location.
| | 03:35 | So you just need to move that back to
your root directly, and now Avid will see it.
| | 03:42 | Again, I will stress that this is for
traditionally captured or imported media.
| | 03:48 | If you are accessing your media via AMA,
this is not the step that you should take.
| | 03:53 | In that case, you should simply re-link via
AMA like we discussed in a previous movie.
| | 03:59 | Okay, so we have our media files folder
in the right location on the drive where
| | 04:05 | Avid is expecting it.
| | 04:07 | There is one more thing you can try.
| | 04:09 | If you go inside this folder,
there will be an MXF folder.
| | 04:15 | This folder is just a label folder.
There is nothing inside of it, but it helps
| | 04:19 | me identify what the media is inside of this.
| | 04:23 | Inside the MXF folder will be numbered folder.
| | 04:26 | It doesn't have to be 1, it can be
any number, but in this case it is 1.
| | 04:31 | And I am just going to pop inside here.
And as you notice, all of my files that I
| | 04:37 | see here are MXF files, or
Avid's Native Media Asset.
| | 04:42 | If I scroll down though, I will
see two files that are not MXF files.
| | 04:49 | These are my database files.
| | 04:51 | They tell Avid where each of my
media files is and what it is.
| | 04:56 | They work in conjunction with one
another to tell Avid those two pieces of
| | 05:00 | information: what and where.
| | 05:03 | Now, it could be that one of your
databases is corrupt, therefore not sending
| | 05:07 | the correct messages to Avid
and throwing your media offline.
| | 05:10 | So I recommend every few weeks coming
in to your Avid Media Files folder and
| | 05:16 | deleting this databases,
| | 05:18 | because when Avid re-launches, it
is going to notice that those data
| | 05:21 | basis aren't there,
| | 05:22 | it is going to rescan and re-index all
of your media, reform these databases,
| | 05:28 | and Avid is going to have a
refreshed view of all of its media.
| | 05:32 | Again, this is a great way to solve
offline media, but also good housekeeping.
| | 05:36 | So I am just going to Shift+Click to select
both of them and dump them in my recycle bin.
| | 05:43 | And as you see, everything
else in the folder is an MXF file.
| | 05:49 | So I verified that my Media
Files folder in the correct location,
| | 05:54 | I have deleted my databases, and now I
am just going to re-launch the program.
| | 05:59 | Okay, so Avid has recognized that the
media files are gone, so it is rescanning,
| | 06:05 | and soon it will re-index all of my media.
| | 06:09 | And it is going to get a fresh look
on all of the media in that folder.
| | 06:13 | Again, this is a great thing to do every
couple of weeks for good media management.
| | 06:16 | All right, so let's go back into our project.
| | 06:21 | We have verified that the media is on
the drive, that the drive is working
| | 06:25 | properly, that the connection is good,
that the Media Files folder is in the
| | 06:29 | correct location, and we deleted
our databases for good measure.
| | 06:32 | Let us go ahead and look inside.
| | 06:36 | Okay, great. Our media is back
online, and we are good to go.
| | 06:40 | Now, occasionally this won't work and
you will have to take a step further by
| | 06:43 | using the Relink function, which
we will explore in the next movie.
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| Re-linking media| 00:00 | Okay, so you have made sure your drive is good,
| | 00:03 | you have made sure that your connection is good,
| | 00:05 | you have made sure that your media files
folder is good, but your media is still offline.
| | 00:10 | There are still a more couple of
things that you can do, and in this movie we
| | 00:14 | will explore the Relink command, which is
another great way to bring the media back online.
| | 00:19 | So I have some media that is offline,
and I am going to try to bring that back
| | 00:24 | online using Relink.
| | 00:25 | So I am going to just click on the
clip and then right-click and Relink.
| | 00:31 | And as you see here, I have a
big dialog box that comes up.
| | 00:37 | Now, it is too much to cover for this
course, so I will just say that when you
| | 00:42 | are just wanting to bring media back online,
| | 00:45 | it's best to be as lenient as possible.
| | 00:49 | Therefore, it's nice to uncheck
anything that qualifies this further. So I am
| | 00:54 | going to uncheck Relink to current project.
| | 00:58 | I am going to make sure
that all drives are selected.
| | 01:00 | I am going to keep my relink method,
by timecode and tape, but I am going to
| | 01:06 | uncheck Match case when
comparing tape and source file name.
| | 01:09 | I am going to relink to any video
format, and I can go ahead and leave this
| | 01:15 | at Highest Quality.
| | 01:17 | So as you see here, we have basically
taken out any of the qualifiers that might
| | 01:23 | make this difficult to link up.
| | 01:25 | Now before I hit OK, I do want to
mention some other ways that your Relink
| | 01:29 | dialog box can help you out.
| | 01:32 | Now, as you see here, I can relink to
any video format, which is how we have it
| | 01:36 | set now, but what if I had two sets of
two video files: one at HD and one at SD?
| | 01:43 | My HD was on my main system;
my SD was on my laptop.
| | 01:48 | So you were able to use the Relink
dialog box to go back and forth between your
| | 01:52 | high-quality video files and your low-quality.
| | 01:56 | Likewise, you can switch which
drives you connect your media to.
| | 01:59 | So as you can see, you can really use
this to your advantage if you need to
| | 02:05 | bring your project back online between
multiple drives or multiple resolutions.
| | 02:10 | As you can see, I even have the
ability to link to specific resolutions from
| | 02:16 | these dropdown menus, so I can even
have more than two sets of media files.
| | 02:22 | Okay, so I have got
everything with very lenient settings.
| | 02:26 | It is a master clip that I am bringing
back online, so I have Master clip selected.
| | 02:31 | If I was trying to bring something else
back online, like a sequence, subclip, or a
| | 02:35 | group clip, I would have this checked.
| | 02:37 | And let's go ahead and attempt the relink.
| | 02:40 | So I am going to click OK.
| | 02:42 | All right, terrific!
| | 02:44 | Our media was brought back online.
| | 02:47 | There must have just been a
miscommunication between the media file and its
| | 02:52 | master clip, which is here in my bin,
but by performing the relink, I have
| | 02:56 | reestablished that connection
and my media is back online.
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| Resetting Avid settings| 00:00 | As you may remember, there are three
types of settings in Avid Media Composer:
| | 00:04 | User Settings, Project
Settings, and Site Settings.
| | 00:09 | We are able to see what each of the
settings are by looking at this column here.
| | 00:14 | Now, each of these settings can be
restored to their factory defaults, to remedy
| | 00:18 | any finicky behavior or unexplained errors.
| | 00:21 | In this way, you can continue
working on project but clear up the bugs.
| | 00:25 | So, sometimes it's obvious what the
problem is, and you would go straight
| | 00:30 | after your User Setting or straight
after your Project Setting or straight
| | 00:34 | after a Site Setting.
| | 00:35 | But you know what? Most of the time
it's not, and so I recommend clearing all
| | 00:40 | three out at once, and usually you
can get back up and running that way.
| | 00:45 | Okay, so let's first talk about
how to reset your User Settings.
| | 00:50 | That's the easiest one.
| | 00:51 | You just simply come down to your
Settings dropdown and choose Create User Profile.
| | 00:58 | Now I actually already made a
default user setting, and I can choose that
| | 01:03 | instead. But if you don't have default User
Setting, then you'll want to create one yourself.
| | 01:09 | Also, what you can do is actually create
a default User Setting, make all of the
| | 01:14 | changes regarding your interface and
your keyboard and your timeline and all of
| | 01:18 | that and then save it out and make
sure that its pristine and that you can
| | 01:22 | always bring it back online.
| | 01:24 | Otherwise, we're totally zeroed out to
factory defaults, and we'll have to rebuild it.
| | 01:29 | Okay, so I am back on factory
default settings for my User Setting.
| | 01:33 | I'm just going to bump back out to
the Select Project dialog box, where I'm
| | 01:39 | going to clear out my project settings.
| | 01:41 | Now this is a little bit trickier.
| | 01:43 | What I'm actually going to do is make a
new project in the same format as my old
| | 01:48 | project and then copy my bins into it.
| | 01:51 | So we're just basically trying
to zero out the Project Settings.
| | 01:55 | I'm going to go into New Project.
| | 01:57 | I know that my format is 1080i50 994, and
I'm just going to call this Swing Dance
| | 02:06 | Default, and I'll say OK.
| | 02:09 | Now the project is created.
| | 02:11 | I'm going to go ahead and quit because
I need to copy and paste my bins at the
| | 02:16 | operating-system level.
| | 02:17 | All right, so I'm going to into the
folder where my project lives and as you see
| | 02:24 | here, here is my old
project and here's the new one.
| | 02:27 | There is nothing in here
except for fresh settings.
| | 02:30 | So let's go ahead and climb inside my old
project and bring my bins and folders over.
| | 02:36 | So that's all of this.
| | 02:37 | All I'm doing is Shift+Clicking on the
first and last folder to bring all of that in.
| | 02:44 | We want to ignore SearchData, Statistics,
Trash, and all of my settings and my project file.
| | 02:50 | So this is just all of the metadata.
| | 02:52 | We are ignoring the settings files.
And I'm going to press Ctrl+C or Command+C on
| | 02:59 | a Mac and I'm going to come back to
my fresh project with the new project
| | 03:04 | settings, and I'm going to paste
those bins and folders in here.
| | 03:09 | Okay, so we've rebuilt the Project Settings.
| | 03:11 | We've rebuilt our User Settings.
| | 03:14 | Now we just need to get our Site Settings.
| | 03:17 | Now the location of the Site
Settings is always changing when the
| | 03:20 | operating system upgrades.
| | 03:22 | So what I would recommend that you do
is just type Site Settings in the search
| | 03:29 | box and when you find it, go ahead
and just open that file location.
| | 03:35 | Inside of here are four files for you to delete.
| | 03:41 | Again, you'll delete them, Avid
will realize they're not there, and then
| | 03:44 | Media Composer will recreate them
from scratch, thereby returning them to
| | 03:49 | their factory defaults.
| | 03:51 | So, the files in here that you
want to eliminate are Site_Settings.
| | 03:55 | There is both an AVS file and an XML file of that.
| | 04:00 | I'm also going to Ctrl+Click or Command+
Click on Mac on Site_Attributes and MCState.
| | 04:07 | Okay, so we're eliminating the Site_Settings,
the Site_Attributes, and the MCState file.
| | 04:14 | I'm just going to move those to the
recycle bin, they're gone, and now, when I
| | 04:21 | relaunch Media Composer, it's
going to remake those site settings.
| | 04:25 | We're going into our new fresh project and
we're going to use our new fresh user setting.
| | 04:34 | Okay, so I'm going to switch
my User Profile to Default.
| | 04:36 | I'm going to click on external. And when
we delete our Site Settings, everything
| | 04:41 | in this window disappears, so I'm
going to have to re-navigate to it.
| | 04:44 | I'm going to click on Exercise Files/Avid
Projects/Swing Dance Default, OK.
| | 04:50 | Okay, so again, we are zeroed out as
far as our settings are concerned, and this
| | 04:55 | should clear out a lot of buggy behavior.
| | 04:58 | In fact, when you call user support,
they'll usually have you clear out all
| | 05:03 | of your settings and delete your media
databases, and that usually clears out most problems.
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| Using the Avid Attic| 00:00 | We've just learned what to do in case
your media goes missing, but what about
| | 00:04 | the other half of the equation?
| | 00:05 | What if your project data goes missing?
| | 00:08 | You'll be glad to know that if any of
your project files, whether it be master
| | 00:11 | clips, sequences, or entire bins, becomes
corrupted or if you accidentally delete
| | 00:17 | something crucial, you don't have to panic.
| | 00:19 | Remember, Avid autosaves your
project at whatever you set your autosave
| | 00:23 | interval, and you also probably
save your project an awful lot.
| | 00:28 | Every time an autosave or an explicit
save that you do happens, a version of
| | 00:35 | that bin gets sent to
what's called The Avid Attic.
| | 00:38 | So let's simulate a 2 a.m. mistake,
where we think we're going to do a little
| | 00:44 | bit of housekeeping for our Sequences
bin and maybe we accidentally delete it,
| | 00:52 | and maybe we accidentally empty the trash.
| | 00:55 | So, we come back in the next day.
| | 00:57 | We see that our Sequences bin is totally gone.
| | 01:01 | It has everything that we've been
working on in it, and we start to panic, but
| | 01:06 | then we remember The Attic.
| | 01:07 | So, I'm going to go ahead and minimize
Avid, because we want to do this at the
| | 01:12 | operating-system level, and again, you
don't need to remember where the Attic
| | 01:16 | is, because you can just search for it.
| | 01:18 | So in Windows, I can just search in
this search field and on a Mac you can
| | 01:22 | search in the Spotlight. But I'm just
going to type in Avid Attic. And here it is.
| | 01:29 | I'm going to go ahead and right-click and
Open Folder Location, and there's my Attic.
| | 01:35 | I'm going to go inside, and here are all the
projects that I've been working on in this system.
| | 01:40 | So I need to make sure that I
go into the correct project.
| | 01:42 | So I know it's in Swing Dancing.
And then I want to go into Bins.
| | 01:48 | Now here are all of the bins that
I've been working on in this project.
| | 01:52 | There are a lot. But I know that the
name of the bin that I accidentally deleted
| | 01:57 | is called Sequences.
| | 01:59 | Okay, so I'm just going to go inside
there, and as you see, here's all of the
| | 02:04 | times that the Sequences bin was saved.
| | 02:07 | The first time was on November 3rd at
2:48 p.m. and at the time it was 214 KB,
| | 02:14 | and we have different
sizes, and the date increases.
| | 02:19 | So I know that I had my bin intact
today, just a little bit ago, and this is
| | 02:24 | the version that I need to copy
and paste back into my project.
| | 02:28 | So I'm just going to click on this bin
and press Ctrl+C or Command+C on a Mac,
| | 02:38 | and then I can just go back into my
project in Exercise Files/Avid Projects,
| | 02:45 | and here it is, Swing Dancing, and
I can just paste into my project. Okay.
| | 02:52 | One thing you do need to make sure of is
that you don't have a version of this bin open.
| | 02:57 | You can't have two versions of the
same bin open in the application.
| | 03:02 | Now, I don't have the bin, because I
accidentally deleted it, so we should
| | 03:05 | be good to go here.
| | 03:06 | I'm going to just paste. There it is.
| | 03:12 | And on a Windows system it likes for you
to rename this .avb. And you can just go
| | 03:20 | ahead and click Yes to this message.
And notice that when I typed .avb, it now
| | 03:26 | looks like a bin file.
| | 03:27 | Now you normally don't
have to do that step on a Mac.
| | 03:30 | Okay, so I've copied and
pasted my Attic bin into my project.
| | 03:36 | I'm going to go ahead and go
back into Avid, and there it is.
| | 03:41 | So I'll open it up, and now I
have all of my sequences back.
| | 03:47 | Everything is online, and
I'm good to go. Believe me,
| | 03:51 | retrieving bins from the Attic has
saved many an editor on many an occasion.
| | 03:55 | So, whether it's to retrieve lost work
or simply to track a sequence back to a
| | 04:00 | previous version, you'll certainly
find the Attic useful in resurrecting
| | 04:03 | project data.
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ConclusionAdditional resources| 00:00 | Now that you've taken this course, you
should feel prepared to join the ranks of
| | 00:04 | the thousands of Avid editors
worldwide who have created so many important
| | 00:08 | bodies of work, and not just Hollywood
movies, but projects across all sorts of
| | 00:12 | different topics and genres.
| | 00:14 | To get started, I recommend joining
one of the Avid communities, where you can
| | 00:18 | connect online with other Avid
editors for support, training, and good
| | 00:23 | conversations about editing.
| | 00:24 | Or you may even want to look into
joining one of the Avid user groups, which
| | 00:28 | are found in most major cities in
the United States, and even worldwide.
| | 00:33 | If you're looking for more training,
keep your eye on the lynda library, because
| | 00:36 | they'll be coming out with some
more advanced Avid trainings very soon.
| | 00:40 | Thanks so much for joining me
for this course, and happy editing!
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