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Performing a digital cut

From: Avid Media Composer 5 Essential Training

Video: Performing a digital cut

So once your sequence is all set, you can safely print to tape. In this movie, we'll explore the Digital Cut tool and a couple of the more popular options you have in laying your sequence to tape. First, let's go over the various types of digital cut and what each means for your delivery. An Insert Edit is the most precise method of digital cut and gives you an exact level of frame accurate control. And in Insert Edit, the sequence time code exactly matches the timecode that is pre-laid to the tape. Only video and audio are printed to the tape from Media Composer, not the timecode.

Performing a digital cut

So once your sequence is all set, you can safely print to tape. In this movie, we'll explore the Digital Cut tool and a couple of the more popular options you have in laying your sequence to tape. First, let's go over the various types of digital cut and what each means for your delivery. An Insert Edit is the most precise method of digital cut and gives you an exact level of frame accurate control. And in Insert Edit, the sequence time code exactly matches the timecode that is pre-laid to the tape. Only video and audio are printed to the tape from Media Composer, not the timecode.

Therefore, to perform an Insert Edit, you need to pre-black an entire tape, which means that you have taken the time to record a black video signal to it, laying an control track down on the entire tape. An Assemble Edit also needs control track laid on the tape, but only at the very beginning. After the initial grab onto the control track, Media Composer lays timecode from the sequence itself, so video, audio, and timecode are being printed on the tape. A Crash Record is the least precise or least frame accurate version of the digital cut.

It requires no control track to be laid. It simply begins recording at the point the tape in the deck is cued. Again, with a Crash Record, the video, audio, and timecode are printed at the tape from Media Composer. Okay. Let's take a look at the Digital Cut tool. The Digital Cut tool is accessed via the Output menu > Digital Cut. And let's go over several of these options. In the upper left-hand corner are the tracks that will be laid to tape. The video track is the uppermost video track and all the tracks below it.

It lists each audio track separately. Coming over here, this is the Play Digital Cut. It's what you'll push to actually perform the digital cut. This is a preview, so that you can see how it's going to look on the tape without it actually being printed. And this is your Stop or halt button. In your Output Mode pull- down menu are several choices. Depending on if you are in an SD or HD project, you will have different choices. I'm actually back in an SD project now, so I have DV25 and DV50 available to me.

So if it drops any frames, for example, if it plays through a composite that was accidentally rendered, the Digital Cut will stop and it will allow me to reset it without having to find out later. I also recommend clicking Add Black at Tail and you can specify a duration of black to be added. This will prevent the sequence from simply dropping off into an area of the tape with no control track. I will go ahead and just put in 5 seconds at the end. Digital Cut Safe Mode is an option where the Digital Cut tool analyzes the entire sequence for areas that might drop frames during playback.

It will then alert you of those and allow you to either render or transcode the clips accordingly. An LTC out during preroll will actually let you add one second of black before the sequence starts for a Digital Cut, which again is useful so that it doesn't start in an area with absolutely no control track. And here is where I select the relationship between my sequence time code and my tape time code. For an Insert Edit, I would choose Sequence Time, because then it's going to match my sequence time code to my tape time code, which I've already laid down by pre-blacking it.

However, right now I am only connected to a FireWire Deck, so I don't have the type of frame accurate control that an Insert Edit demands. But if you would like to perform an Insert Edit, you can certainly choose it from this list here and then choose Sequence Time. For me, I just have the Crash Record Option, so I am going to choose Ignore Time. I am simply going to print this sequence to tape without a heavy consideration for time code accuracy. I also have the option to set my Custom Preroll, like I did in my Capture window. I can also set my Output Format.

Right now I am in a 23.976 project. I can switch it on the fly if I like and here are my deck controls. For an Insert Edit, I can actually specify an exact frame to start my digital cut and this is where I do that. Okay. So once I am sure that I have my Format set, the correct audio sample rate, and I have all of my effects rendered, I am ready to perform my digital cut. I will go ahead and press the Play Digital Cut button.

It asks me to mount a tape, I'll say OK. (Music Playing.) (Male speaker: You have the mentor and the apprentice, Drosselmeyer and Mini-Meyer, and?) I am going to go ahead and halt the digital cut. We don't want to wait for the entire thing to pass through, but that's all there is to it. So printing your show to tape is such an important step, because you don't want to have made all the effort in putting the sequence together just to have it printed shoddily at the end.

Take your time with this step and make sure that you consider all the time code accuracies needed at this stage of the process.

Show transcript

This video is part of

Image for Avid Media Composer 5 Essential Training
Avid Media Composer 5 Essential Training

74 video lessons · 8168 viewers

Ashley Kennedy
Author

 
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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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