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Adding shots using Splice

Adding shots using Splice provides you with in-depth training on Video. Taught by Ashley Kennedy as … Show More

Avid Media Composer 5 Essential Training

with Ashley Kennedy

Video: Adding shots using Splice

Adding shots using Splice provides you with in-depth training on Video. Taught by Ashley Kennedy as part of the Avid Media Composer 5 Essential Training
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  1. 3m 43s
    1. Welcome
      1m 16s
    2. Using the exercise files
      2m 27s
  2. 22m 59s
    1. Understanding clips and media files
      2m 34s
    2. Understanding the Select Project window
      5m 40s
    3. Working in the Project window
      5m 35s
    4. Setting up and organizing a project
      5m 13s
    5. Saving and backing up
      3m 57s
  3. 50m 15s
    1. Using the Composer Monitor and the timeline
      6m 32s
    2. Adding shots using Splice
      5m 57s
    3. Adding shots using Overwrite
      7m 2s
    4. Removing shots using Extract and Lift
      4m 31s
    5. Using Extract/Splice Segment Mode to switch shots in the timeline
      5m 1s
    6. Using Lift/Overwrite Segment Mode to move shots in the timeline
      5m 59s
    7. Using direct timeline manipulation
      4m 6s
    8. Using subclips and subsequences
      3m 48s
    9. Adding and patching video tracks
      7m 19s
  4. 26m 39s
    1. Understanding trimming
      3m 42s
    2. Using A-side Single-Roller Trim to improve audio timing
      7m 59s
    3. Using B-side Single-Roller Trim to improve audio timing
      5m 41s
    4. Using Dual-Roller Trim to refine video
      6m 5s
    5. Using Ripple Trim and Overwrite Trim
      3m 12s
  5. 24m 8s
    1. Using the J-K-L keys for navigation
      4m 15s
    2. Using navigation shortcuts
      6m 26s
    3. Using the Command palette
      6m 4s
    4. Sorting and sifting clips
      7m 23s
  6. 20m 38s
    1. J-K-L trimming
      4m 11s
    2. On-the-fly trimming
      7m 18s
    3. Advanced trim methods: Slip mode
      5m 18s
    4. Advanced trim methods: Slide mode
      3m 51s
  7. 21m 33s
    1. Using the Audio tool to read audio levels
      6m 18s
    2. Using the Audio Mixer to adjust audio level and pan
      8m 27s
    3. Keyframing audio for intra-segment audio adjustments
      6m 48s
  8. 55m 23s
    1. Using Quick Transition effects
      5m 19s
    2. Using the Effects palette and the Effects Editor
      5m 21s
    3. Keyframing segment effects
      6m 0s
    4. Using nesting and auto-nesting
      5m 49s
    5. Saving effects templates
      5m 34s
    6. Building basic composites using vertical effects
      4m 53s
    7. Using the Picture-in-Picture effect
      6m 41s
    8. Creating basic motion effects
      5m 55s
    9. Using Timewarp
      5m 56s
    10. Using the Color effect
      3m 55s
  9. 9m 48s
    1. Understanding system performance
      5m 58s
    2. Rendering tracks
      3m 50s
  10. 20m 30s
    1. Analyzing footage for problems
      3m 8s
    2. Using the Y-Waveform monitor to set whites and blacks
      5m 34s
    3. Using the RGB Parade to correct color casts
      4m 42s
    4. Using the Vectorscope to improve skin tones
      3m 27s
    5. Correcting color automatically
      3m 39s
  11. 29m 16s
    1. Formatting and enhancing text using Avid Marquee
      6m 52s
    2. Using Marquee to apply shapes and gradients
      4m 23s
    3. Using title templates
      2m 40s
    4. Bringing a title into Media Composer
      3m 42s
    5. Revising the title
      2m 49s
    6. Creating rolling and crawling titles
      4m 40s
    7. Using Auto-Titler
      4m 10s
  12. 22m 3s
    1. Using the Capture tool
      5m 7s
    2. Capturing footage
      4m 26s
    3. Batch-capturing
      4m 46s
    4. Adjusting settings for import
      5m 7s
    5. Using AMA (Avid Media Access) for QuickTime imports
      2m 37s
  13. 16m 45s
    1. Understanding deletion types and cases
      3m 51s
    2. Performing bin deletion
      3m 17s
    3. Understanding the Media tool
      6m 8s
    4. Identifying and deleting media relatives and non-relatives
      3m 29s
  14. 15m 31s
    1. Understanding media delivery types
      2m 28s
    2. Preparing a sequence for digital cut to print to tape
      2m 48s
    3. Performing a digital cut
      5m 8s
    4. Exporting a QuickTime movie or QuickTime reference
      5m 7s
  15. 14m 39s
    1. Solving the offline media problem
      3m 58s
    2. Re-linking media
      2m 19s
    3. Solving Avid settings corruption
      4m 35s
    4. Using the Avid Attic to find and retrieve bins
      3m 47s
  16. 19s
    1. Goodbye

please wait ...
Adding shots using Splice
Video duration: 5m 57s 5h 54m Beginner


Adding shots using Splice provides you with in-depth training on Video. Taught by Ashley Kennedy as part of the Avid Media Composer 5 Essential Training

Media Composer

Adding shots using Splice

Once you've reviewed your footage and marked your shots, they're ready to be added to the timeline to form and build a sequence. In this movie, we'll talk about how to use the Splice Tool to edit shots into a sequence and we'll begin exploring the non-linear nature of Media Composer by splicing shots in different moments of the sequence to build the story. The first sequence we are going to edit is a montage, which just means we're going to edit video clips over music. The music we going to use is in our Audio bin, Dance montage audio. As you see, I've already marked an In and an Out at the beginning and the end of the clip so it's ready to be edited into the timeline.

We don't have a visual indication of this because it's audio only, but we do have the title up here. And we also have the Track Selector panel populated with one track of audio so we know it's going to be edited in. Before actually performing the edit, I want to open my _Sequences bin because I want this sequence to be separated from the master clips. We'll edit this by choosing Splice-In. The Splice-In is this yellow arrow right here. It corresponds with the V key on the keyboard which I'll press now. And we get this dialog box that asks us, where do you want the sequence to go? I want to go into the _Sequences bin, select OK and I'm immediately going to name it.

Never leave a sequence named untitled. It'll just be very confusing later. So we are going to title this Dance Montage and I highly recommend that you also date it and initial it. So we'll give it the date and my initials. Okay, I'm ready to go. Note that I can't close the bin because the moment I close the bin, the sequence will go out of the timeline so I'm just going to minimize it.

Notice in the timeline that we have one track of audio just like we thought we would. one track of audio correlates to one track of audio. We also have an empty track of video and another empty track of audio and we are going to talk about what to do at this point. I am going to go ahead and load one of my clips again by double-clicking on the clip icon and you can see I've already marked this. This clip has original audio associated with it when it was recorded. So if I play it -- (Music playing) It has two tracks of audio, 1, 2, associated with my video and I don't want to include those in this edit.

So I'm simply going to disable A1 and A2 and I'm likewise going to disable A1 and A2 on the timeline track selectors, because we don't need them. This means that we've a video- only edit and we are ready to go. Our position indicator is going to indicate where the edit is going to occur. We don't want it to occur at the end of the sequence. So I'm just going to hit Home to get us right to the beginning. And as you see here, we have 1, 2, 3 edit points and again I don't have an In point here, but the position indicator is acting as an In point.

And basically, every edit you'll ever make needs three edit points. In this case, we have both of our edit points in the source monitor and I am ready to make this edit. I am going to go ahead and hit this Splice-In again with using my V key and we have our first video clip. Notice that the position indicator is butting up right up against the end of Arabian dance. If it isn't, if it's somewhere else in the sequence and I need it to go to right to the end of Arabian dance, I can do so by Ctrl+clicking or if I am on a Mac system, Command+clicking.

And you can see I'm at the edit point, because I have a little white L right there. All right, I am going to go ahead and choose another shot. Again, I've already marked it, I am going to go ahead and splice it in using V, and we have two shots edited. A splice always adds material to the timeline. So as I'm adding shots, my video track is growing longer and longer. Let's take a look and see what we think. (Music playing) You know that's pretty fast music and this is a pretty slow shot.

I don't really think it's a good choice to have it at the beginning of the sequence. So let's go ahead and find a higher action shot at its beginning. Again, I'm going to bring my position indicator to the very beginning, and I'm going to choose my group dancers here. Let's see if this is a good candidate. Press 6 to play in to out, and this doesn't have audio associated with it but we can see that it's a higher action shot. So I am going to go ahead and perform the splice by hitting V. This gets spliced in at the beginning. my other two shots scoot down to let it in and let's see how it works.

(Music playing.) All right, that looks pretty good. I think I'd like another higher action shot right after this one. So I want to splice a shot right in between these two. I am going to zoom in so we can get a closer look and to snap right in between these two edit points, I'm going to Ctrl+click, and let's go ahead and get my Leapfrog Dancers. Again, it's already marked and we'll take a look at this one. All right, that's nice.

And we'll go ahead and perform the splice using V, zoom back out and take a look. (Music playing.) All right, so we're progressing right along. As you see, we are able to build our sequence relatively quickly using the Splice Tool. It's a really convenient way to edit shots to tell the story. But as you can see, the tool always adds material as we see the video tracks growing longer and longer.

In the next movie, we'll talk about a great way to not only add, but also replace material in our sequence.

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