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In Avid Media Composer 5 Getting Started, author Steve Holyhead explores the tools and techniques in Media Composer for producing great looking video, as well as the basics of high definition media formats. This course walks through the video production workflow from input to editing to output, covers key information such as trim concepts and frame rates, and introduces techniques such as color correction, footage stabilization, and real-time audio effects. Exercise files accompany the course.
The Effects palette opens up a whole world of both transition and segment-based effects, as well as plug-in effects from Avid and third party manufacturers. Once we've mastered the controls, you'll be having a lot of fun exploring this aspect of Media Composer. Over here in the Project window, after bins, we have Settings. After Settings we have the Effect palette. These are categories, on the left-hand side. As I click between the categories you can see there are various effects within each category.
Some of these are transition effects. For example, let's come down to Shape Wipes here. If I pick up the Clock wipe and drag it and drop it between these two clips here, I've created a clock wipe between them. (Clip playing.) If I come down to Spin and take Z Spin and drag and drop that between these two clips here, again, I've created an effect between the outgoing clip and the new incoming clip. (Clip playing.) However, as I said, some of these effects are segment-based effects.
For example, under Image, I have Flip and Flop. If I wanted to make flower face the other direction, if I took the Flop effect and rather than dragging it and dropping it to the transition point, drop it on the clip itself, I will have affected the entire length of this clip, like so. (Clip playing.) So that's the difference between a transition effect and a segment-based effect. A segment-based effect alters the whole clip; a transition effect, just the transition between two clips.
Let's look at another example. Under the Blend category, I have Picture-in-Picture. If I drag and drop that on to the cobweb clip, you can see that it automatically resizes the cobweb clip to 50% of its original size. If I want to edit that, all I need to do is go into Effects mode. You can see I'm currently in Source Record Editing mode. Below that though is the Effects mode button. It looks like a couple of sliders. Click on that, and we open up the Effect Editor. You can see there's the icon for the name for the effect that we're editing.
First off, let's look at Scaling. If I fold open the Scaling Parameter, you can see I've got X and Y. They're currently locked together, so if I expand or contract the size of the image, the X and Y values go up and down together. If I uncheck that, then I could effect the scaling of X and Y independent from each other. Now if you find dragging the sliders with your mouse a little cumbersome, if you leave the parameter highlighted like so, you can use the arrows keys on your keyboard to increment one value at a time up or down.
There is also a border control here. If I wanted to go ahead and add a border and then might be I'd like to add some color to the border, so here I've got my HSL controls, I can start to customize the color. That gives us an idea of how we might navigate around the Effects Editor. Once we're happy with the effect that we've created, all we need to do is close the Effects Editor. We'll return to Source Record Editing mode, and now we can play back the results of the effect. (Clip playing.) The Effects palette gives us a large inventory of Effect categories and types, which can all be customized.
Effects provide a way for us to manipulate story, meaning, rhythm and feel.
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