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Avid Media Composer 5 Essential Training
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Keyframing audio for intra-segment audio adjustments


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Avid Media Composer 5 Essential Training

with Ashley Kennedy

Video: Keyframing audio for intra-segment audio adjustments

Everything we learned in the previous movies about adjusting Audio Level and Pan are a great resource for basic audio adjustments, provided that you're either changing the audio of a source clip, or of a segment in the Timeline. What if however, you need to change the audio within a segment? Many times audio levels fluctuate within the boundaries of a segment and one adjustment is not enough. Instead, you need to be able to ride the levels up and down within a segment. To do this, you'll need to keyframe the audio, which is otherwise known as rubber-banding.
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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 54s
    1. Understanding deletion types and cases
      3m 51s
    2. Performing bin deletion
      3m 17s
    3. Understanding the Media tool
      6m 17s
    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
      19s

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Avid Media Composer 5 Essential Training
5h 54m Beginner Jul 07, 2010

Viewers: in countries Watching now:

In Avid Media Composer 5 Essential Training, author Ashley Kennedy demonstrates basic and intermediate editing techniques in Media Composer, one of the most widely used nonlinear, video editing systems. This course covers how to build sequences, mix audio, color correct footage, apply effects, and troubleshoot common post-production issues in Media Composer. Exercise files accompany the course.

Topics include:
  • Adding and removing shots to build multi-track sequences
  • Trimming shots to improve audio timing and refine video
  • Learning navigation shortcuts
  • Customizing the workspace for an individualized editing experience
  • Using advanced trim methods
  • Adjusting audio levels and panning
  • Applying effects, such as Picture-in-Picture and Timewarp
  • Color correcting footage using a variety of built-in video scopes
  • Understanding the rendering and system performance relationship
  • Titling footage with Avid Marquee
  • Capturing and importing footage
  • Performing intelligent media management strategies
  • Exporting and printing to tape
Subjects:
Video Video Editing
Software:
Media Composer
Author:
Ashley Kennedy

Keyframing audio for intra-segment audio adjustments

Everything we learned in the previous movies about adjusting Audio Level and Pan are a great resource for basic audio adjustments, provided that you're either changing the audio of a source clip, or of a segment in the Timeline. What if however, you need to change the audio within a segment? Many times audio levels fluctuate within the boundaries of a segment and one adjustment is not enough. Instead, you need to be able to ride the levels up and down within a segment. To do this, you'll need to keyframe the audio, which is otherwise known as rubber-banding.

We already know this section of the Timeline has some issues. We can't really understand Tony, and then the music drops abruptly out. Let's go ahead and just play one our time to remind ourselves. (Music Playing.) (Male speaker: You have the mentor and the apprentice, Drosselmeyer and Mini-Meyer.) (Male speaker: And that's one of the themes.) What we want to do is drop the level of the music down here, keep it at a constant level while Tony is talking, and then drop it again.

We'll need to keyframe, and a keyframe is basically a point of change from one audio level to another. Right now, I have my audio waveform displayed and I need to display one more thing before being able to keyframe. That's my Auto Gain. I can find that in the Fast Menu > Audio Data > Auto Gain. If I choose this, it globally enables Auto Gain for all of my tracks, or if I take off Auto Gain, but still have Allow Per Track Settings, I can activate Auto Gain via this pull down menu on individual tracks, like so.

This will allow me to input keyframes to dip the audio down here and then dip it again here. By default the Keyframe button is on your Quotes key on the keyboard. So I'll go ahead and press it right here. Then again, right as he starts talking, and then we'll press it again here, because we need to dip out at the end right there. If I try to pull this down, right now it doesn't work. I need to actually enable audio keyframes right here.

Now if I hover over this keyframe, my cursor turns into a little hand and I can actually drag this down. I'm going to zoom in a little bit more. I'm going to enlarge the size of the tracks by hitting Ctrl+L, or Command+L on a Mac. Notice that when I do this, I get small decibel lines. If you look over here, I actually have numbers indicating how much I'm raising, or lowering my audio. So I'm just going to make them a little bit larger.

We'll zoom in. We'll scroll over. And if I hold down Ctrl, while lowering my audio, it snaps to these decibel lines. So I'm going to snap down two lines on each side, so that I get a ramp down, a constant rate during the time that he is talking, and then I need to lower this down to silence. Let's go ahead and play this out.

(Music Playing.) (Male speaker: You have the mentor and the apprentice, Drosselmeyer and Mini-Meyer.) (Male speaker: And that's one of the themes in the story.) If I'd like to raise or lower that by any other degree, I can do so by marking an In and an Out around these two keyframes and then raising them up or down at the same rate. So if I thought that was a little bit quiet, I can just drag it up just a tiny bit more and let's play that.

(Music Playing.) (Male speaker: You have the mentor and the apprentice, Drosselmeyer and Mini-Meyer.) (Male speaker: And that's one of the ....) Well, it looked like my levels were peaking exactly right. Everything sounded nice, as I was ramping down and then ramping down again. I thought that worked really well. Now let's go to this section, because I think we have the same issue. Again, we will probably want to put a keyframe right at the beginning and then another one and then ramp up the rest of the way here.

So let's go ahead and clear our In and Out marks by pressing G. We'll mark a keyframe using the Quote key. We'll do another one here, and then two more right here. When he is finished talking, drag that down to silence. We'll want to have these at the same level. So we'll go ahead. I'll snap to my decibel lines. We'll see if that works.

(Male speaker: Is like you know the apprentice is trying to learn how to become a magician.) (Music Playing.) I thought that ramped up a little bit fast, so let's try something a little bit more subtle. I want to move these to the left and right. I can't do that by default. I have to actually press my Alt key. If I press Alt, I can drag to the left and the right, like so. I want to drag the second keyframe to the left.

I want to drag both the second and third keyframe down by several decibels. So I'll snap to my decibel lines and drag that up slightly. I'll need to take away In and Out points, drag that up slightly, and let's test that out. (Male speaker: The apprentice is trying to learn how to become a magician.) (Music Playing.) A little bit more. I think we're good.

(Male speaker: The apprentice is trying to learn how to become a magician.) (Music Playing.) We've keyframed the audio, so that we can hear Tony and so that everything is mixed a lot better. Rubber-banding audio is absolutely essential to building a proper audio mix, because you can never really rely on audio segments with uniform levels. Building an intricate audio bed is so important. So you'll certainly find yourself setting audio keyframes a lot in the audio mixing process.

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