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In this course, author Ashley Kennedy demonstrates basic and intermediate video editing techniques in Avid Media Composer. The course explains how to build sequences, mix audio, apply effects, and color-correct footage. The course also shows how to create titles, manage and output media, capture and import footage, and troubleshoot common post-production issues.
Okay, so we've talked about how to import footage, we've talked about how to access footage, and in this movie we're going to talk about how to use the Capture tool to bring in media from tape. Okay, so once you have turned on your camera or deck, you can start Media Composer. You don't want to start Media Composer and then turned on your camera or deck, or it might not read it. So I have done that, and now I can go ahead and open the Capture tool. The Capture tool is found within the Tools menu and Capture or Ctrl+7 or Command+7 on a Mac, and there's also a Capture workspace here.
I don't think I'll need that for now, so I'm just going to open up the Capture tool and just overlay it right on top of my interface. Now by default, if it sees the deck, which it does in this case, it's going to ask me to select a tape. I want to select a new tape here, so I'm going to press New and I'm just going to name this. And I want to name it something very unique. You never want to leave a tape named New Tape. And I recommend that you attach both a number and a project name to it. So I'm just going to call this 001Swing, and then my next tape in the Swing project could be 002Swing, and so on.
Okay, so I'll just go ahead and select that. We are ready to tell the Capture tool that this is the tape that we're recording from. So I'll click OK. And as you here, the Capture tool is now reading the 001Swing tape, and this is going to be the tape that's forever attached to this footage. All right! So keep that in mind. And let's start up here at the top and just briefly go through everything that we see here. We're going to come back to this row of buttons in a future movie when we actually start capturing, and we'll head on down to our track selector buttons.
Now, Media Composer has the capability of capturing one track of video and eight tracks of audio. In this case, I just want to bring in two tracks of audios, so my left and right channels. And I also want to make sure that I select TC, or timecode. This is going to allow me to recapture any of the footage at a later time if I should need to, so you always want to make sure to capture timecode with your video and audio. Below there are video and audio and input options.
Now, I just have a FireWire camera connected to my system, so the only thing that I have available here is Host-1394, which is FireWire. However, if I was interfaced with a breakout box with many, many options, I would have options for component, composite, as video, you name it. But right now, it's fairly simple. We're going to keep it at FireWire. And if we come down here, this is where we can both name and comment on our clip as it's coming into the system. So we'll come back to that when we're actually performing a capture.
Here is where we choose the bin that we're capturing into. Again, in Media Composer, everything clip has to go into a bin. And I've actually set up two bins for me here: Swing interview, because we have some interviews on this tape; and also Swing selects, because we have some Broll. And I have them tabbed out, like so. So we should see both of those bins available to us, which I do. I know I'd like to capture interview footage first, so I'm going to select that and come down here to Resolution. Now, we talked a little bit about Resolution before, but basically, whatever my project format is at, which right now I'm in a standard-definition project, this will give me standard-definition resolutions.
Again, 1:1 is uncompressed. Every other choice has some compression. And I'm going to choose DV 25, which is a really popular SD compression. And of course I'm going to send my media to my D drive. So we've set our bin, our resolution, and our drive. This number over here tells me how much of this resolution media I can capture to my drive. So, if I did switch this to 1:1, notice that we only have fifty-one minutes that we can capture.
Again, if I switched to DV 25, I have almost five hours that I can capture. So as you can see here, there's a strong relationship between quality and drive space. This section right here really isn't relevant. There are a couple of cameras that need to put in a Delay audio number so that their audio and video will be in sync. We're not using one of those cameras, so I'm just going to minimize that. And finally, down here we have our standard deck controls. And just so you know, we have fast-forward and rewind here, one frame back and one frame forward here.
Everything here should look familiar. And again, we are connected to just a generic DV deck and we are reading our 001Swing tape. We will probably be using our custom preroll. By the default, the deck needs to preroll five seconds and if you don't have five seconds of preroll, you would just check this and then choose any other amount of seconds--usually it's less than five. I'm just going to go ahead and leave this unchecked for right now, but we'll pull it out if we need it.
Finally, over here, we have the ability to set in out points as well as markers. We'll definitely cover how to do that in the next movie when we start capturing.
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