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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.
Once you're familiar with trimming concepts and using trim techniques, you'll experience a leap in your editing flow and productivity. Here in my Timeline, I have a sequence that begins with the valley clip and then goes into the close-up of the water. If I wanted to trim this transition point, I've got two tools over here in my Timeline palette: Overwrite Trim and Ripple Trim. Now as I use these tools, I want you to keep an eye on what happens to the duration of my sequence, currently at about 8 seconds.
First off, let's engage Ripple Trim. Now as I come to the left-hand side of my transition point here, you can see I get a yellow icon with a film rolled out to the left, indicating it's the left-hand clip that will be affected, the outgoing side of the transition. If I hover to the right, it's the opposite icon, indicating in this case it would be the water clip that would be affected by the trim. If I click down once on this side of the edit point, I get a single roller trim activated on the water clip.
The rollers are yellow to indicate that I'm in Ripple Trim mode. If I hold down again and trim to the right, what's happening is I'm removing material from the water clip. When I let go, the rest of the clips in the Timeline ripple up to accommodate that change. Notice the duration of the Timeline is now less than it was. On the other hand if I click down and drag to the left, I am now adding material onto the head of the water clip.
When I let go, you can see the clips in the sequence have rippled down the Timeline to accommodate that change, and now we've returned our Timeline to its original length. If I click down on the left-hand side of the transition point and hold down again and pull to the left, I am now removing frames from the valley clip, Again, when I let go, the rest of the clips in the Timeline ripple to accommodate that change. You can see again I've reduced the length of the sequence.
Again, if I hold down and trim to the right this time, I'm now adding material onto the outgoing side of the valley clip. When I let go, the Timeline updates, and look, the sequence is longer. Now one thing I'd like to make really clear here is that I've got Link Selection toggle engaged. If I didn't have the Link Selection toggle engaged, and I came to my Timeline, and I activated a trim, I would only be activating on the particular track that I have clicked on.
If I click on the video track here and pull to the left, I am removing frames from the valley clip, but only on the video track. As a result now I've thrown the rest of my audio clips out of sync with their video clips. When you're trimming, especially when you're trimming in Trim Ripple mode, make sure you understand whether you've got Link Selection toggle on or off. With it on, when you activate a trim, it will activate all of the tracks. With it off, when you activate a trim, it will only activate the track that you select.
Let's put it back on, and now let's turn off Ripple Trim and turn on Overwrite Trim. Let's go to a different transition point here between the sky and the rushing water. This time, if I hover to the left, I get a red icon, indicating, of course, that I am in Overwrite Trim mode. If I click down, I activate a single roller on the left-hand side of my transition point. This time, if I click down and drag to the left, I'm removing frames from the tail of the sky clip, but I've added black into my sequence.
As a result, the duration of the sequence remains unchanged. Let's do that again. If I click down on the transition point on the right-hand side, click down again and hold and drag to the right, I'm removing material from the beginning of the rushing water clip and adding black into my sequence. That makes sense. However, let's use an Overwrite Trim again, but this time let's adjust the trim point between the rushing water and the forest floor. I am on the right-hand side of the trim, so I am affecting the forest floor, but this time instead of dragging to the right, I am going to drag to the left.
What actually happens when I let go is that I have added material to the head of the forest floor clip, but I've also removed material, at exactly the same rate, from the outgoing side of the rushing water clip. That's essentially the same as doing a Dual-roller Trim. Let me show you that again here. If I click on the left-hand side of my transition point, but this time instead of dragging left to introduce black, let's say I drag right. Well, I am merely adding to the outgoing valley clip and removing from the incoming water clip, again, the equivalent of a dual-roller trim.
Up until this point, what I have been doing is toggling backwards and forwards between Overwrite Trim and Ripple Trim. What I would like to show you now is I can actually engage both of these buttons at the same time. Now when I come back to my sequence, you see I get the option. If I hover at the top of my clip, I can engage Overwrite Trim. If I hover at the bottom portion of my clip, I can engage Ripple Trim. And the same on the other side of my clip: clicking at the top, Overwrite Trim, clicking at the bottom, Ripple Trim.
And of course, if I click in the center, then I will get my Dual-roller Trim, which just adds and removes the same amount of material from the head and tail, preserving the duration of my sequence. To exit Trim mode, I can either click down here in the Timeline or else click Source Record Edit mode and return myself to the regular editing interface that we're used to. Using Overwrite Trim or Ripple Trim, either together or individually, gives us a really intuitive way to adjust the in and out points of the clips in our sequence
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