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Performing a digital cut

From: Avid Media Composer 6 Essential Training

Video: Performing a digital cut

Once your sequence is all set, you can safely print to tape. In this movie, we will explore the Digital Cut tool and a couple of the more popular options you have in laying your sequence to tape. All right, so I have my sequence here, and it's comprised of two tracks: a video mixdown and an audio mixdown. Again, that's not required, but it's a really great idea if you have a lot of video or audio tracks. One other thing I did was I moved my audio from A3 to A1. A1 is a stereo track, as indicated by these two speaker icons, and I just wanted it that way so that I could have just one track of video on V1 and one track of audio on A1.

Performing a digital cut

Once your sequence is all set, you can safely print to tape. In this movie, we will explore the Digital Cut tool and a couple of the more popular options you have in laying your sequence to tape. All right, so I have my sequence here, and it's comprised of two tracks: a video mixdown and an audio mixdown. Again, that's not required, but it's a really great idea if you have a lot of video or audio tracks. One other thing I did was I moved my audio from A3 to A1. A1 is a stereo track, as indicated by these two speaker icons, and I just wanted it that way so that I could have just one track of video on V1 and one track of audio on A1.

Another thing I did was I actually transcoded this sequence from its HD resolution to an SD resolution, as indicated right here in the Format tab. I did that because I just have a standard-definition DV camera connected to my system, so I wouldn't be able to go out HD. However, in my Video Quality menu, I am still going out at Full Quality. Lastly, I did shorten this just for demonstration purposes, so we only have about six seconds of the digital cut, but it will allow you to see how the digital cut starts and then we will allow it to finish so that you can see exactly how it works.

Before opening the Digital Cut tool, I want to go over the three types of digital cut. An insert edit is the most is the most precise method of digital cut and gives you an exact level of frame accuracy. In an insert edit, the sequence timecode exactly matches the timecode that is pre-laid on the tape and only video and audio are printed on the tape, not time code. 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 a control track on the entire tape.

An assemble edit also gives you precise control over your start time, just like an insert edit, but it does not require that you black the entire tape in advance. Rather, you only need to black the very beginning, enough for the sequence to grab on to the control track. The assemble edit then commands your deck to generate control track on the fly as the digital cut progresses. Lastly, crash-record edit can be performed with or without a small pre-black portion on your tape. Now, you usually don't perform a crash record with any expectation of syncing the sequence timecode to your tape timecode.

As with an assemble edit, your deck generates a control track and timecode on the fly as the digital cut progress. Now, if you are recording to a DV deck or camera like I am in this case, you will record a crash-record edit. I should also mention that if you just have your deck right beside you and you wanted to perform a crash record, one other method is to just press play and record on your deck and then play your sequence and then everything on your sequence will be laid to tape. However, we are going to look at the Digital Cut tool, assuming that you want remote control over your deck.

So, we are going to come up to Output > Digital Cut, and let's take a look at a couple of these tools. Here in the upper left are the tracks that are being laid to tape. Again, I only have two, so only two are listed, but if you had a lot, they would all be listed here. We have our Play Digital Cut button as well as our Hold button and a Preview button that will allow you to look at what it will look like without actually printing it. Here is our output resolution. And we have a couple of buttons here. Some of them are pretty useful. Entire Sequence will basically ignore any in or out points that you have in your sequence; however, if you leave this unchecked and you have in or out points, it's going to respond to any of those in or out points and just print that portion of your sequence.

Digital Cut Safe mode instructs Media Composer to take a look at your sequence and alert you if there is anything that might go wrong. For example, if you have both SD and HD in your sequence, it's going to ask you to transcode it. Or if you have a lot of un-rendered effects it's going to ask you to render those. You can also ask Media Composer to stop the digital cut if you come across any dropped frames, and you can also have it add black at tail, which is really useful for both assemble edits and crash records. Here is where you decide if you want remote control over the deck or Local.

Again, if you have the Digital Cut tool open, you are probably going to choose Remote control. And I am just going to come over here and show you that, again, because I just have a simple DV camera connected to my system, I only have the option to crash record. If you have a more sophisticated deck connected to your system, you will have the option to assemble edit or crash record accordingly. And then because we are only crash recording, we are going to ignore our sequence time. But again, if you wanted a timecode- accurate sequence, you would want to choose one of these other options.

And then down below here are our deck controls. Now again, I really shortened this up so we are only recording just over six seconds, but I wanted to show you the entire thing, so I am just going to press Play Digital Cut. It's going to ask me to mount the tape. The tape is already mounted, so I will click OK. (clip playing) All right, our digital cut is complete. Let's go ahead and click OK.

Printing your show to tape is such an important step because you don't want to have made all the effort in putting your sequence together just to have it printed shoddily at the end. Take your time with the step and make sure that you consider all of the time- code accuracies needed at this stage in the process.

Show transcript

This video is part of

Image for Avid Media Composer 6 Essential Training
Avid Media Composer 6 Essential Training

87 video lessons · 14445 viewers

Ashley Kennedy
Author

 
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  1. 3m 55s
    1. Welcome
      1m 16s
    2. Using the exercise files
      2m 39s
  2. 22m 54s
    1. Touring the Select Project window
      4m 45s
    2. Exploring bins
      4m 23s
    3. Customizing user settings
      3m 36s
    4. Setting up and organizing a project
      5m 57s
    5. Saving and backing up the project
      4m 13s
  3. 57m 27s
    1. Touring the Composer Monitor and the Timeline
      2m 29s
    2. Touring the Edit interface
      5m 6s
    3. Splicing shots
      7m 43s
    4. Splicing non-linearly
      2m 43s
    5. Overwriting shots
      4m 35s
    6. Removing shots using Extract and Lift
      4m 38s
    7. Using Segment mode (Extract/Splice) to switch shots
      6m 37s
    8. Using Segment mode (Lift/Overwrite) to move shots
      6m 31s
    9. Using Extract/Splice and Lift/Overwrite together
      3m 32s
    10. Manipulating the Timeline directly
      4m 34s
    11. Creating subclips and subsequences
      3m 48s
    12. Adding multiple video and audio tracks
      5m 11s
  4. 23m 28s
    1. Understanding trimming
      3m 19s
    2. Performing single-roller trims
      5m 15s
    3. Performing dual-roller trims
      3m 54s
    4. Using Ripple Trim and Overwrite Trim
      5m 4s
    5. Understanding sync
      3m 17s
    6. Solving sync problems
      2m 39s
  5. 54m 26s
    1. Navigating with JKL
      3m 26s
    2. Using navigation shortcuts
      4m 47s
    3. Using the Command palette
      6m 4s
    4. Customizing the Timeline
      4m 54s
    5. Using bin layouts
      3m 49s
    6. Using workspaces
      6m 41s
    7. Sorting and sifting clips
      5m 57s
    8. Using the Find tool
      5m 13s
    9. Using markers
      5m 54s
    10. Using PhraseFind
      3m 21s
    11. Using ScriptSync
      4m 20s
  6. 20m 42s
    1. Trimming with JKL
      4m 53s
    2. Performing Slip edits
      6m 1s
    3. Performing Slide edits
      5m 39s
    4. Performing Replace edits
      4m 9s
  7. 27m 17s
    1. Reading audio levels and pan
      5m 42s
    2. Using the audio mixer
      10m 1s
    3. Keyframing audio
      7m 6s
    4. Recording audio adjustments on the fly
      4m 28s
  8. 55m 1s
    1. Using Quick Transition effects
      4m 6s
    2. Using the Transition Manipulation tool
      3m 12s
    3. Using the Effects palette and the Effect Editor
      6m 1s
    4. Keyframing segment effects
      5m 30s
    5. Nesting and auto-nesting
      5m 54s
    6. Saving effect templates
      3m 23s
    7. Building basic composites using vertical effects
      4m 7s
    8. Using the picture-in-picture (PIP) effect
      5m 14s
    9. Using the Color effect
      4m 24s
    10. Creating basic motion effects
      6m 55s
    11. Using Timewarp
      6m 15s
  9. 11m 48s
    1. Understanding system performance
      6m 13s
    2. Rendering intelligently
      5m 35s
  10. 26m 44s
    1. Analyzing footage for problems
      2m 27s
    2. Using the Y-Waveform monitor to set whites and blacks
      7m 16s
    3. Using the RGB Parade to correct color casts
      5m 50s
    4. Using the Vectorscope to improve skin tones
      5m 34s
    5. Using auto color correction
      5m 37s
  11. 30m 10s
    1. Formatting and enhancing text using Avid Marquee
      5m 32s
    2. Using Marquee to apply shapes and gradients
      5m 18s
    3. Using title templates
      3m 45s
    4. Bringing the title into Media Composer
      3m 54s
    5. Revising the title
      2m 17s
    6. Creating rolling and crawling titles
      5m 14s
    7. Using AutoTitler
      4m 10s
  12. 32m 37s
    1. Importing files
      6m 47s
    2. Linking to files using AMA
      3m 36s
    3. Linking to hi-res stills
      5m 59s
    4. Using the Avid Marketplace
      2m 50s
    5. Using the Capture tool
      5m 19s
    6. Capturing footage
      3m 41s
    7. Batch capturing
      4m 25s
  13. 12m 58s
    1. Deleting material from the bin
      5m 29s
    2. Understanding the Media tool
      4m 46s
    3. Deleting unreferenced clips
      2m 43s
  14. 17m 35s
    1. Preparing your sequence for output
      5m 44s
    2. Performing a digital cut
      5m 26s
    3. Exporting your sequence as a file
      6m 25s
  15. 19m 2s
    1. Solving offline media
      6m 48s
    2. Re-linking media
      3m 0s
    3. Resetting Avid settings
      5m 9s
    4. Using the Avid Attic
      4m 5s
  16. 44s
    1. Additional resources
      44s

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