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Using A-side Single-Roller Trim to improve audio timing

From: Avid Media Composer 5 Essential Training

Video: Using A-side Single-Roller Trim to improve audio timing

Okay, so once you have the rough assembly laid down, you'll want to go through and begin trimming. Trimming can be seen as a methodical practice in which the editor goes through the sequence, looking at each shot and treating each side of each transition as a separate case for improvement. Remember to ask yourself questions about if the cut works, and if not, which side or sides need to be changed, the A side, B side or both? In this movie, we'll focus on tweaking the A side of a transition through the use of A side single-roller trim.

Using A-side Single-Roller Trim to improve audio timing

Okay, so once you have the rough assembly laid down, you'll want to go through and begin trimming. Trimming can be seen as a methodical practice in which the editor goes through the sequence, looking at each shot and treating each side of each transition as a separate case for improvement. Remember to ask yourself questions about if the cut works, and if not, which side or sides need to be changed, the A side, B side or both? In this movie, we'll focus on tweaking the A side of a transition through the use of A side single-roller trim.

Okay, so we have our rough assembly here. I've also added some narration. What we're going to do is start going through transition-by-transition, seeing how we can improve these edits. I'm going to zoom in and I can lasso the transition to get into trim mode and as you see, we have the last frame of our A side, the first frame of our B side, and we have rollers on each side of our edit. This is the default view of dual-roller trim, and what I'm going to do is just play loop around this edit, and see what I think.

I can play loop by pressing the Play Loop button here, or just by pressing any Play button on the keyboard. So, I'll go ahead and just press Spacebar. (Music Playing.) (Male speaker: Start a Christmas tradition with Tony Williams's?) (Male speaker: Start a Christmas tradition?) A couple of things immediately come to mind. On the A side, everyone is just sort of in mid-twirl here. It might be nicer to have them finish their motion.

So, I think what I'm going to do is do an A-side trim, I'm going to be accessing the handle, and let out some of this shot. To enter A-side trim, I'm going to click on my A-side monitor. You'll notice a couple of things have happened. I now have just the A-side Trim Counter highlighted, and I have a roller just on the A side here. Now, instead of two pink rollers, I now have one yellow roller, because by default, I've gone into what is called Ripple Trim.

Ripple Trim is going to allow me to affect just one side of the edit, without affecting any other shots. So, we want to let this out. I'm going to use my Trim buttons here under my A-side monitor, and I'm going to trim right and let them finish this motion and maybe a little bit back, okay. You'll notice that I just added 21 frames to the A side. Let's go ahead and play through using Play Loop. (Music Playing.) (Male speaker: Start a Christmas tradition with Tony Williams's Urban?) Okay, I'm going to tighten it up just a little bit by trimming left, and I think that should do it.

Let's play. (Music Playing.) (Male speaker: Start a Christmas tradition with Tony Williams's Urban?) Okay, I thought that was nice. Now I'm going to zoom out and I want to show you one thing. Because I added 17 frames to the A-side here, I now am 17 frames over at the end of my sequence. Now, this sort of thing bothers some beginning editors, but please don't let it. This is going to change every single time you go through and trim your sequence and you'll fix that later.

Now let's zoom in and go to our next edit. I can either exit trim mode by clicking on my timecode track and then reenter trim mode here, then we go back into trim mode on this edit, or I can come here right under the B-side monitor and press the Fast Forward key. It jumps me to the next edit point on the V1 track. Let's play through and see what we think. (Male speaker: ? Williams's Urban Nutcracker, now in its 9th season.) Okay, so again, I'm looking at my A-side.

She's really not finishing her motion here. It'd be nice if she finished it. So, I'm going to access my Trim Right button. This corresponds by the way to the period key on my keyboard. I'm going to go ahead and enter A side, single-roller trim. Again, I am in Ripple Trim and I'm going to trim out. Let her finish this motion, like so. Notice that I've added 13 frames to the A-side.

Let's play through. (Male speaker: ...Urban Nutcracker, now in its 9th season. Don't miss the?) Okay, very nice! Now I would be going through and fixing each one of these transitions one by one, but I want to pull up one more sequence to show you one more thing about A side single-roller trim. I'm going to pull up my Magician sequence and this is also from the Urban Nutcracker, but it is actually an excerpt from a more documentary approach of editing and I want to look at this edit here.

I'm going to ahead and enter trim, we'll go ahead and Play Loop. I'll press Spacebar. (Male speaker 2: So there's this whole story.) (Male speaker 3: Show. It's almost like a?) (Male speaker 2: self? so this?) We don't really get a good sense of what he's saying. So what I'm going to do is change this amount from 2 seconds preroll. I'll change it to 4 seconds. 400, Enter, and let's play through again. (Male speaker 2: Becoming a bit of a master himself, so there's this whole story.) (Male speaker 3: Show. So it's almost like a?) I'm going to zoom in and what we actually want him to say is, "he's becoming a bit of a master himself." He has a few extra words and I want to get rid of those.

This is going to be an A-side trim, a reductive trim, and let's play through and see exactly where he ends his word "self." (Male speaker 2: Becoming a bit of a master himself?) Okay, right there! So instead of using my Trim buttons, I'm actually going to drag this back, and I'll release, and let's play through. (Male speaker 2: You know, he's becoming a bit of a master himself?) (Male speaker 3: Show. So it's almost like a?) Okay, the A side looks good now.

The B side has some problems, but we'll fix that in a later movie. Let's zoom out and taka a look here. Now I want to point out one thing, these buttons here. These are called Sync Locks, and what it does is it allows me to sync all of my tracks, so that when I perform things like A-side single-roller trim, the edits downstream are not affected. I'm going to undo this trim and I'm going to disable Sync Locks. If I want to disable them all at once, I come down to the bottom one and click twice.

I'll perform that trim again, again by dragging, let's go ahead and zoom in, and release. Let's look here. If I come downstream, you'll see that I'm actually 37 frames out of sync between my video and my music down here. This is what I mean. If you have Sync Locks on, it prevents that from happening. So, let's go ahead and undo, enter trim here again, put my Sync Locks on, trim back and play through.

(Male speaker 2: You know, he's becoming a bit of a master himself.) (Male speaker 3: Show. So it's almost like?) And everything's in sync. As you can see trimming allows you to really hone in on where shots begin and end, down to the exact frame. In this way, trimming allows you to really control the timing and pacing of the show, by focusing on each individual transition. We're only halfway there though. In the next lesson, we'll take a look at the B side.

Show transcript

This video is part of

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

74 video lessons · 8167 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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