Pinnacle Systems Media Composer - 7.0 Quick Start Guide

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Avid

Media Composer

Getting Started Guide

Release 7.0



tools for storytellers™

Product speciﬁcations are subject to change without notice and do not represent a commitment on the part of Avid Technology , Inc. The software described in this document is furnished under a license agreement. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as speciﬁcally allowed in the license agreement. Avid products or portions thereof may be protected by one or more of the following patents: 4,746,994; 4,970,663; 5,045,940; 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; D352,278; D372,478; D373,778. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for an y purpose without the express written permission of Avid Technology , Inc.

APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME ST ATES. THE ABO VE EXCLUSION MAY NOT APPLY TO YOU. THIS W ARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MA Y HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Lefﬂer and Silicon Graphics, Inc. for the use of their TIFF library

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF libr ary] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Lefﬂer and Silicon Graphics may not be used in any advertising or publicity relating to the software without the speciﬁc, prior written permission of Sam Lefﬂer and Silicon Graphics.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group

This software [i.e., the JPEG modules] is based in part on the work of the Independent JPEG Group.

The following disclaimer is required by Ray Sauers Associates, Inc.

“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost proﬁts, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

The following disclaimer is required by Videomedia, Inc.

“Videomedia, Inc. makes no warr anties whatsoever, either express or implied, regarding this product, including w arranties with respect to its merchantability or its ﬁtness for any particular purpose.”

“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. Use, duplication or disclosure by the government of the software, documentation and other technical data is subject to restrictions as set forth in subparagraph (c) of FAR clause 52.227-19, COMMERCIAL COMPUTER SOFTWARE-RESTRICTED RIGHTS or, in the case of the Department of Defense or its contractor, is subject to DFARS 227.7202-3, Rights in Commercial Computer Software or Commercial Computer Software Documentation.

Electromagnetic Compatibility FCC Notice

This device complies with Part 15 of the FCC Rules. Oper ation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

This equipment has been tested and found to comply with the limits for a Class A digital device , pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. Ref: C97029a

Canadian ICES-003

This Class A digital apparatus meets all requirements of the Canadian Interference Causing Equipment Regulations. Cet appareil numérique de class A respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

Declaration of Conformity (according to ISO/IEC Guide 22 and EN 45014)

Application of Council Directives: 73/23/EEC, 89/336/EEC. Standards to which Conformity is Declared: EN 60950: 1992 + A1, A2: 1993, IEC950: 1992 + A1, A2: 1993 Mod., CISPR 22:1985 / EN 55022:1988 Class A (1), EN 50082-1, IEC801 -2, -3, -4. Manuf acturer’s Name: Avid Technology Inc., 1925 Andover Street, Tewksbury, MA 01876, USA. European Contact: Nearest Avid Sales and Service Ofﬁce or Avid Technology Int’l B.V., Sandyford Business Center, Unit 3, Dublin 18, Ireland. Type of Equipment: Information Technology Equipment. Product Name: Avid Editing System, PCI Media Composer, MCXpress for Macintosh, Film Composer. Base Model Numbers: 400S, 800, 900, 1000, 4000, 8000, MC Ofﬂine, Media Station. Product Options: All. Year of Manufacture:1997. (1) The product was tested in a typical Avid Media Composer conﬁguration.

I the undersigned, hereby declare that the equipment speciﬁed above conforms to the above Directives and Standards. George R. Smith, Quality Manager Ref: C97029a, C97030a

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Trademarks

AirPlay, AudioVision, Avid, FieldPak, Film Composer, HIIP, Image Independence, Media Composer, MediaMatch, Media Recorder, Media Suite, NewsCutter, OMF, OMF Interchange, Open Media Framework, and the Avid logo, are registered trademarks and Advance, AniMatte, AudioStation, AutoSequence, AutoSync, AVIDdrive, AVIDdrive Towers, AvidDroid, AvidNet, AVIDstripe, Avid Xpress, Film Cutter, Krypton, MCXpress, Media Fusion, Media Illusion, MediaLog, Media Reader , MediaServer, and MediaShare, and Tools for Storytellers are trademarks of Avid Technology, Inc. Digidesign is a registered trademark and Audiomedia II, Audiomedia III, Pro Tools, Sound Accelerator II, Sound Designer II, Sound Tools II, and Video Slave Driver are trademarks of Digidesign, a division of Avid Technology, Inc. Elastic Reality and TransJammer are registered trademarks and the Elastic Reality logo is a trademark of Elastic Reality , Inc., a division of Avid Technology, Inc. Matador is a registered trademark of Avid Technology, Inc. in the United Kingdom.

3D Studio and Animator Pro are registered trademarks and FLIC is a trademark of Autodesk, Inc. in the USA and/or other countries. Abekas is a registered trademark of Scitex Digital Video, Inc.; Adobe After Effects, Adobe Illustrator, Adobe Photoshop, Adobe Premiere, Adobe Type Manager, and PostScript are trademarks of Adobe Systems Incorporated or its subsidiaries and may be registered in certain jurisdictions. Alias and Alias/Wavefront are registered trademarks and Alias Animator and Alias PowerAnimator are trademarks of Alias/ Wavefront; America Online is a registered trademark of America Online, Inc.; AmiLink CIP and AmiLink POST! are trademarks of RGB Computer and Video, Inc.; Ampex is a registered trademark of Ampex Corporation. Apple, AppleShare, AppleTalk, LaserWriter, Mac, Macintosh, Macintosh Quadra, QuickDra w, QuickTime, Po werBook, Power Macintosh, and TrueType are trademarks of Apple Computer, Inc., registered in the United States and other countries. Balloon Help and Finder are trademarks of Apple Computer, Inc. AudioFile is trademarked in the United Kingdom by AMS Neve PLC; Boris FX is a trademark of Artel Software, Inc.; Cineon is a trademark of Eastman Kodak Company; CLARiiON is a registered trademark of Data General Corporation; Claris and FileMaker are registered trademarks of Claris Corporation; CMX is a trademark of CMX Company; Compaq is a registered trademark of Compaq Computer Corporation; CompuServe is a registered trademark and GIF is a service mark property of CompuServe, Inc.; DOS Mounter is a trademark of Dayna Corporation; Dyaxis II is a trademark of Studer Editech Corp.; FirstClass is a trademark of SoftArc, Inc.; Flame and Flint are trademarks of Discreet Logic, Inc.; FLEx is a trademark of Pioneer-Standard Electronics, Inc.; FLEXlm is a registered trademark of Globetrotter Software, Inc.; Hitachi is a registered trademark of Hitachi, Ltd.; IBM and OS/2 are registered trademarks of International Business Machines Corporation; iNFiNiT! is a trademark of Chyron Corporation; Inscriber is a registered trademark of Image North Technologies; Intel and Pentium are registered trademarks of Intel Corporation; Key-Log is a trademark of Evertz Microsystems, Ltd.; Mackie Mixer is a trademark of Mackie Designs, Inc.; Match-Maker is a trademark of Audio Technologies Inc.; Mediasound is a trademark of TimeLine Vista, Inc.; Micropolis is a registered trademark of Micropolis (S) PTE Ltd.; Microsoft, MS-DOS, and Windows are registered trademarks and Excel is a trademark of Microsoft Corporation; Motorola is a registered trademark of Motorola Corporation; Mylar is a trademark of E.I. duPont de Nemours & Co., Inc.; NuBus is a registered trademark of Texas Instruments, Inc.; NuVista+ is a registered trademark of Truevision, Inc.; Panasonic is a registered trademark of Matsushita Electric Industrial Company, Limited; PC Paintbrush is a trademark of Zsoft Corporation; Pr actical Modem is a trademark of Practical Peripherals, Inc.; PyraMix is a trademark of Merging Technologies; RCA is a registered trademark of General Electric Company; Seagate is a registered trademark of Seagate Technology; Silicon Graphics is a registered trademark of Silicon Graphics, Inc.; Speed of Sound Library is a trademark of Aware, Inc.; Softimage is a registered trademark of Softimage, Inc., a wholly owned subsidiary of Microsoft Corporation, in the United States and/or other countries; Sony is a registered trademark of Sony Corporation; S/Link is a trademark of The Synclavier Company; Still File Storage is a trademark of Leitch Video; Sun is a trademark or registered trademark of Sun Microsystems, Inc. in the United States and other countries; TARGA, TARGA 2000, and Truevision are registered trademarks of Truevision, Inc.; Trans/Port is a trademark of OSC S.A.; Ultimatte is a trademark of Ultimatte Corporation; Vantage is a trademark of Baseline Software, Inc.; Video Explorer is a trademark of Intelligent Resources Integrated Systems; Video Toaster is a trademark of NewTek Inc.; V-LAN and VLXi are registered trademarks of Videomedia, Inc.; WordPerfect is a registered trademark of WordPerfect Corporation; X Window System is a trademark of X Consortium, Inc. All other trademarks and registered trademarks used herein are the property of their respective owners.

Footage

Bullfrog, Duckhead, and Rain Forest footage was provided courtesy of Fireside Films, Atlanta, GA; Canyonlands and Flowers footage was provided courtesy of the National Park Service, Harpers Ferry, VA; Softrock (Fields of Gold) footage was provided courtesy of SouthPaw Productions Chicago, IL. Peter Hawley-Director, Jim Fiester-Director/Editor.

Avid Media Composer Getting Started Guide• Part 0130-00994-01 Rev. A • 2/98

Preface

Who Should Use This Manual About This Manual

Symbols and Conventions If You Need Help Related Information If You Have Documentation Comments

Chapter 1 Introduction

Using this Guide Using the Tutorial What You Need Turning on Your Equipment Installing the Media Composer Tutorial Files

Installing AVR 3s Tutorial Files

Installing AVR 70 Tutorial Files Launching the Media Composer Application

Specifying Audio Hardware

Electronic Licensing How to Proceed Using Online Help

Three Ways of Finding Topics in Help

Finding Topics with the Index Searching with the Find Feature

Using Online Documentation

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Chapter 2 About Media Composer

About Media Composer Editing Basics

About Nonlinear Editing

Editing Components Project Workßow

Starting a Project

Preparing to Edit

Editing a Sequence

Generating Output

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Chapter 3 Starting a Project

About Composer Projects and Avid Users Folders Using the Bins Display Using the Settings Display

About Settings

Reviewing Basic Settings Using the Info Display

About Projects and Memory

Viewing Memory Tutorial: Starting a Project Starting the Application Opening a Project

Creating a User

Selecting a Project

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Chapter 4 Digitizing

Selecting Settings About the Digitize Tool About the Audio Tool About the Video Input Tool Digitize Preparations Check List Digitizing

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Digitizing and Logging at the Same Time

Batch Digitizing

Redigitizing

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Chapter 5

Getting Ready to Edit

About Bin Display Modes About Bin Views Controlling Playback

Using Position Bars and Position Indicators

Using Buttons

Play, Pause, Stop, Fast Forward, and Rewind Buttons Step Buttons

Using the Keyboard

J-K-L Keys (Three-Button Play) Home, End, and Arrow Keys

Using the Mouse

Stepping with the Mouse

Shuttling with the Mouse Marking IN and OUT Points Creating Subclips Tutorial: Getting Ready to Edit Viewing Clips Playing Clips

Playing Clips in the Source Monitor Controlling Playback

Marking Edit Points

Marking the Marking the Marking the Using Timecode to Find a Frame Using Frame Offset

Subclipping

Clearing IN Points and OUT Points

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planing ms

ducks

draw knife cu

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Clip

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Clip

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Clip

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Closing the Project Ending the Session

Chapter 6 Editing a Rough Cut

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Viewing Methods Navigating in the Timeline

Using the Position Indicator Using the Timeline Scroll Bar Displaying More or Less Detail

Focusing the Timeline Displaying Source Material in the Timeline Using the T

Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Tutorial: Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Making the First Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Splicing an Audio Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

ConÞrming the Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Splicing Video into the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Splicing a Clip in a Pop-up Monitor . . . . . . . . . . . . . . . . . . . . . . 105

Playing IN to OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Using the Go to IN and OUT Buttons. . . . . . . . . . . . . . . . . . . . . 107

Moving to the Head and Tail of a Shot . . . . . . . . . . . . . . . . . . . . 108

Using the Splice-in Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Splicing a Shot into the Middle of a Sequence. . . . . . . . . . . . . 109

Undoing an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Using the I/O (IN Point / OUT Point) Tracking Display . . . . . 110

rack Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Monitoring Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

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Chapter 7 Refining the Edit

Using Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

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Editing in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Distinguishing Two Types of Buttons . . . . . . . . . . . . . . . . . . . . 113

Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Toggling Between Big and Small Trim Mode . . . . . . . . . . . . . . 116

Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Using the Command Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

utorial: ReÞning Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Overwriting Shots into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Marking Clips for Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Storyboard Editing the Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Rearranging Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Overwriting with the Three-Point Edit. . . . . . . . . . . . . . . . . . . . 129

Rearranging Footage with Extract/Splice-in . . . . . . . . . . . . . . . 131

Removing Footage from a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . 132

Removing Footage with Extract/Splice-in . . . . . . . . . . . . . . . . . 132

Removing Footage with Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Dual-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Using Dual Rollers to Trim the Outgoing Shot. . . . . . . . . . . . . 136

Trim Shot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Single-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Adding Synced Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Adjusting Audio Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Adjusting Audio Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Chapter 8 Adding Effects

Effects Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Displaying the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Effect Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Effect Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Segment Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Applying Effects to a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Working in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Rendering an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Tutorial: Adding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Adding Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Displaying Editing Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Adding Fade In

Dissolving Between Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Creating a Series of Dissolves . . . . . . . . . . . . . . . . . . . . . . . . 152

Creating Audio Dissolves . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Adding a Fade Within the Sequence. . . . . . . . . . . . . . . . . . . . . . 153

Adding a Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Using the Second Video Track . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Creating the Picture-in-Picture Effect . . . . . . . . . . . . . . . . . . . . . 154

Repositioning the Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Adjusting a Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Adding Key Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Adding Background Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Rendering the Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Screening the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Chapter 9 Creating Titles

Creating New Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Understanding the Title Tool Window. . . . . . . . . . . . . . . . . . . . . . . . 163

Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Text Formatting Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Choosing Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . 166

Adjusting the Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Tutorial: Creating Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Adding a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Creating a New Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Repositioning Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Changing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Adding a Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Saving a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Closing the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Editing the Title into the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Adding Rolling Credits

Editing an Existing Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Adding a Video Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Viewing the Creation Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Editing a Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Deleting Excess Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Exiting the Title Tool After Creating a New Title. . . . . . . . . . . 176

Chapter 10 Output

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Supported File Types for Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Preparing to Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Tutorial: Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Recording a Digital Cut to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Chapter 11 Backing Up

About Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Media Objects and Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Media Relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Freeing Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

About the Consolidate Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Backing Up Project Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Tutorial: Backing Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Saving Your Work on a Disk or Drive . . . . . . . . . . . . . . . . . . . . . . . . 196

Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Quitting and Shutting Down. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

xii

Tables

Table 1-1 Choosing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Table 6-1 Starting the Tutorial: Rough Cut . . . . . . . . . . . . . . . . . 100

Table 7-1 Starting the Tutorial: Refining Edits . . . . . . . . . . . . . . 123

Table 7-2 Mark Points for Boat Shop Clips . . . . . . . . . . . . . . . . . 126

Table 8-1 Starting the Tutorial: Adding Effects . . . . . . . . . . . . . 148

Table 9-1 Starting the Tutorial: Creating Titles. . . . . . . . . . . . . . 169

Table 10-1 Starting the Tutorial: Output . . . . . . . . . . . . . . . . . . . . 181

Table 11-1 Media Objects and Files . . . . . . . . . . . . . . . . . . . . . . . . 187

Table 11-2 Starting the Tutorial: Backing Up . . . . . . . . . . . . . . . . 193

xiii

Preface

This guide provides information about how to get started using your Avid¨ Media Composer¨ system.

Who Should Use This Manual

This guide is written for video and Þlm editors who are learning to use an Avid Composer system.

About This Manual

The Table of Contents that precedes this preface lists all topics included in the book. They are presented with the following overall structure:

¥ Chapter 1 explains how to turn on your system, install the tutorial

media, and use the online help and online documentation.

¥ Chapter 2 presents basic editing concepts and walks you through

a typical workßow scenario.

¥ The main body of the guide presents introductory material on var-

ious aspects of your work, followed in most chapters by a tutorial

xiv

section. Step through the tutorial for guided hands-on experience

with your Media Composer system.

¥ A detailed Index helps you quickly locate speciÞc topics.

This guide should get you started. For more information, see the online help and the Avid Media Composer UserÕs Guide.

Symbols and Conventions

The Media Composer documentation uses the following special symbols and conventions:

1. Numbered lists, when order is important.

a. Alphabetical lists, when the order of secondary items is

important.

¥ Bulleted lists, when the order of the items is unimportant.

- Indented dashed lists, when the order of subtopics is unimportant.

k This symbol refers to the Apple or Command key. Hold down the Command key and another key to perform the desired keyboard equivalent.

Look here in the margin for tips.

In the margin you will Þnd tips that help you perform tasks more easily and efÞciently.

A note provides important related information, reminders, recommendations, and strong suggestions.

A caution means that a speciÞc action you take could cause harm to your computer or cause you to lose data.

A warning describes an action that could cause you physical harm. Follow the guidelines in the manual or on the unit itself when handling electrical equipment.

If You Need Help

If youÕre having trouble using Media Composer, you should:

1. Retry the action, carefully following the instructions given for that task in this guide.

2. Check the documentation that came with your hardware for maintenance or hardware-related issues.

3. Check the Services & Support section of the Avid web site at http://www.avid.com for the latest FAQs, Tips & Techniques, Avid Answers, and other Avid online offerings.

4. Check the Avid Bulletin Board, ÒAvid Online,Ó for information on product and user conferences. If you do not Þnd the solution to your problem, you can exchange information with other Avid customers and Customer Support representatives.

5. Contact Avid Customer Support at 800-800-AVID (2843).

Related Information

The following documents provide more information about Media Composer:

¥ Avid Media Composer UserÕs Guide

¥ Avid Media Composer Products Reference

¥ Avid Media Composer and Film Composer Effects Guide

¥ Avid Media Composer Products Site Preparation

¥ Avid Media Composer Products WhatÕs New for Release 7.0

¥ Avid Media Composer Products Quick Reference

¥ Avid Media Composer Products Online Documentation

You can get help while you use your Composer system from the online help.

xvi

If You Have Documentation Comments

Avid Technology continuously seeks to improve its documentation. We value your comments about this manual or other Avid-supplied documentation.

E-mail your documentation comments to Avid Technology at

TechPubs@avid.com

Please include the title of the document, its part number, revision, and the speciÞc section youÕre commenting on in all correspondence.

xvii

CHAPTER 1

Introduction

This chapter sets you up to use this guide and work through the tutorial sections that teach you the basics of your Avid Composer system. This chapter contains the following sections:

¥ Using this Guide

¥ Using the Tutorial

¥ What You Need

¥ Turning on Your Equipment

¥ Installing the Media Composer Tutorial Files

¥ Launching the Media Composer Application

¥ How to Proceed

¥ Using Online Help

¥ Using Online Documentation

Using this Guide

This guide introduces you to Media Composer. It presents the essential features of the system; most chapters also contain hands-on tutorial sections so you can practice what you learn.

Using the Tutorial

The self-paced tutorial sections included in this guide are designed as guided Avid edit sessions using the basic features of the Media Composer system. In the tutorial sections, youÕre going to edit a oneminute sequence about a company in Amesbury, Massachusetts that makes small Þshing boats called dories.

The footage for the sequence is on the Media Composer Tutorial CDROMs that came with your system. They contain digitized media that is ready for you to use.

The instructions in this tutorial take you through each step of the edit process:

¥ Starting a project (in Chapter 3

¥ Getting ready to edit (in Chapter 5)

¥ Editing a rough draft (in Chapter 6)

¥ ReÞning the edit (in Chapter 7)

¥ Adding effects, titles, and other Þnishing touches to the sequence

(in Chapter 8 and Chapter 9)

¥ Preparing output (in Chapter 10)

¥ Backing up (in Chapter 11)

This tutorial assumes a basic familiarity with the Macintosh¨ computer. If you have never used a Macintosh system, please refer to the Macintosh Getting Started tutorial.

You donÕt need any previous experience with the Avid Composer system. The terms and techniques needed for each tutorial section are in each chapter. However, it will help to read Chapter 2 of this manual before starting any of the tutorial sections. You can also use the Avid Composer Help (see ÒUsing Online HelpÓ on page 31) and online books (see ÒUsing Online DocumentationÓ on page 33) for more information.

)

This tutorial takes approximately four hours. Before you begin, you need:

¥ An installed Avid Media Composer system

See the Avid Media Composer Products Setup Guide if you have not yet set up your Media Composer system. See the Avid Media Composer and Film Composer Release 7.0 Release Notes if you need to install the Media Composer software.

¥ The Boat Shop media and project Þles on the Media Composer

CD-ROMs

Depending on your level of expertise in editing on Avid systems, you may choose to go through the tutorial in either of two ways.

¥ If you have no experience with Media Composer or other Avid

systems, you should go through the entire tutorial.

¥ If you have used other Avid systems, you may want to read cer-

tain lessons to understand the speciÞc features of Media Composer, and complete the tutorials for other lessons.

You can do this tutorial in one or several sessions. Each section is selfcontained.

What You Need

The CD-ROMs packaged with your Media Composer system include all Þles necessary to do this tutorial:

¥ Read Me First Þle Ñ contains the installation instructions for each

of the Þles on the CD-ROMs. These instructions also appear in

ÒInstalling the Media Composer Tutorial FilesÓ on page 25.

¥ MediaFiles folder Ñ contains the digitized Þles you need for the

tutorial. You need to copy these Þles onto your external media drive.

¥ Composer Projects folder Ñ contains the project and bins you

need for the tutorial. You need to copy these Þles onto your Avid drive.

Turning on Your Equipment

Begin your edit session by turning on the components of your Media Composer system. If any part of your system fails to turn on, make sure its electrical cord is plugged snugly into an appropriate electrical outlet or power strip. See the Avid Media Composer Products Setup Guide for information on setting up your system.

If you fail to follow the proper sequence for starting up your system, you could damage your Macintosh computer and/or storage drives.

Always turn on the devices as follows:

1. Fixed-storage drives: Turn on Þxed-storage drives before starting the computer. Allow 10 to 15 seconds for the drives to spin up to speed before starting the Macintosh.

2. Other peripheral hardware: Turn on all other peripheral units except the Macintosh. This includes:

¥ Monitors and speakers.

¥ Tape decks and/or additional autoassembly conÞgurations

(switcher, time-base corrector, and so on) if you plan to digitize or conduct an autoassembly.

¥ Digidesign¨ audio interface hardware, if your system

includes these. Turn on the Digidesign hardware and black burst generator in order to maintain proper sync between audio and video while digitizing and editing.

For information on Macintosh features, such as the desktop and icons, see your Macintosh documentation.

The black burst generator that accompanies the Digidesign hardware should already be turned on if it is connected to an active power strip.

3. The Macintosh: Press the Power On key located at the upper right corner of the keyboard.

When you start the Macintosh:

¥ You hear a tone that means the hardware is operational.

¥ The computer goes through a self-check routine. If the

Macintosh passes all of its internal logic tests, the smiling Macintosh icon appears.

¥ The Avid startup screen appears and the initialization process

begins.

¥ The Macintosh desktop appears.

Avid drive (internal)

Media

drives

(external)

To avoid damage, do not disconnect or turn off hard disks or individual disk drives while the Macintosh is on.

Installing the Media Composer Tutorial Files

The Media Composer Tutorial CD-ROMs contain all of the Þles you need for the tutorial sections of this guide. It takes about 30 minutes to copy the media Þles from the CD-ROM to the external hard drive.

The CD-ROMs contain several versions of the tutorial media Þles digitized at different Avid Video Resolutions (AVRs). You must select the appropriate AVR for your Media Composer product model. Table 1-1 shows the correct tutorial media for your product. You also need to have enough free space on your external hard drive to accommodate the media sizes listed in the table.

Table 1-1 Choosing Media

If you have: Use: On the CD-ROM named: Media Size

Media Composer Ofßine AVR 3s Avid Media Composer Products

Ofßine Tutorial (PAL and NTSC)

Media Composer online models with striped drives

Media Composer online models without striped drives

AVR 70 Avid Media Composer Products

Online Tutorial (PAL) Disks 1 and 2

Avid Media Composer Products Online Tutorial (NTSC) Disks 1 and 2

AVR 3s Avid Media Composer Products

Ofßine Tutorial (PAL and NTSC)

260 MB

1100 MB

970 MB

260 MB

Installing AVR 3s Tutorial Files

To install the tutorial Þles for AVR 3s:

1. Insert the Avid Media Composer Products Ofßine Tutorial (PAL and NTSC) and double-click its icon.

2. Double-click the folder at the top level of the CD-ROM.

3. The AVR 3s CD-ROM has two top-level folders. Choose NTSC or PAL.

You should see two folders labeled Composer Projects and OMFI MediaFiles.

4. Do one of the following:

¥ If there is an existing OMFI MediaFiles folder on the external

media drive, open the OMFI MediaFiles folder on the CDROM, choose Select All from the Edit menu, and drag the contents to the OMFI MediaFiles folder on the external media drive.

¥ If there is no OMFI MediaFiles folder on the external media

drive, drag the OMFI MediaFiles folder from the CD-ROM to the external media drive.

The Þles are loaded on the drive.

5. Do one of the following:

¥ If there is a Composer Projects folder on the Avid drive, open

the Composer Projects folder on the CD-ROM and drag the Boat Shop folder to the Composer Projects folder on the Avid drive.

¥ If there is no existing Composer Projects folder on the drive,

drag the Composer Projects folder on the CD-ROM to the Avid drive.

Installing AVR 70 Tutorial Files

The tutorial Þles for AVR 70 require two CD-ROMs for NTSC and two for PAL. The procedure is the same for installing either type.

To install the tutorial Þles for AVR 70:

1. Insert the CD-ROM labeled Avid Media Composer Products Online Tutorial (PAL) Disk 1 or Avid Media Composer Products Online Tutorial (NTSC) Disk 1 and double-click its icon.

2. Double-click the folder at the top level.

You should see two folders labeled Composer Projects and OMFI MediaFiles.

3. Do one of the following:

¥ If there is an existing OMFI MediaFiles folder on the external

media drive, open the OMFI MediaFiles folder on the CDROM, choose Select All from the Edit menu, and drag the contents to the OMFI MediaFiles folder on the external media drive.

¥ If there is no existing OMFI MediaFiles folder on the external

media drive, drag the OMFI MediaFiles folder from the CDROM to the external media drive.

The Þles are loaded on the drive.

4. Do one of the following:

¥ If there is an existing Composer Projects folder on the Avid

drive, open the Composer Projects folder on the CD-ROM and drag the Boat Shop folder to the Composer Projects folder on the Avid drive.

¥ If there is no existing Composer Projects folder on the Avid

drive, copy the Composer Projects folder on the CD-ROM to the Avid drive.

5. Eject the CD-ROM in the drive.

6. Insert the CD-ROM labeled Avid Media Composer Products Online Tutorial Disk 2 and double-click its icon.

7. Double-click the top folder.

You should see a folder labeled OMFI MediaFiles-2.

8. Choose Select All from the Edit menu, and drag the contents to the OMFI MediaFiles folder on the external media drive.

Launching the Media Composer Application

The Media Composer application icon is located in the Media Composer folder on the Avid drive. For most users, the desktop or the Apple menu is a more convenient location for launching the application.

For more information on making an alias and using the Apple menu, see your Macintosh documentation.

The application will not launch properly if the icon is moved out of the Media Composer folder. To launch the application from a convenient location, Avid recommends that you create an alias and place it in a convenient location.

To launch the application, double-click the application icon or alias, or choose it from the Apple menu. The Avid splash screen appears.

Specifying Audio Hardware

The Þrst time you launch the application, a dialog box appears.

Check your audio hardware conÞguration, then do one of the following:

¥ If your audio hardware is labeled Audio Interface, click Digide-

sign 442 in the dialog box.

¥ If your audio hardware is labeled 8 Channel Audio Converter,

click Digidesign 888.

The Avid splash screen returns, then the License Agreement dialog box appears.

Electronic Licensing

To accept your Avid Composer product license electronically:

1. Read the License Agreement, then click the Accept button or the Decline button at the bottom of the screen.

The agreement appears the Þrst several times you launch the application. After several launches, a new button appears at the bottom of the screen.

2. If you do not want to see the license agreement again, click the Accept and DonÕt Show Again button.

A dialog box appears.

3. Enter the name of your organization in the dialog box, and click OK.

After the application starts, the Project Selection dialog box appears, as described in ÒOpening a ProjectÓ on page

51.

How to Proceed

The following are a few tips for taking full advantage of Media Composer documentation and other resources:

¥ Complete the tutorial sections in this book before starting a

¥ Begin learning about basic procedures by using the default set-

project.

tings. As your conÞdence builds, begin to explore additional procedures and settings.

¥ Keep the Avid Media Composer and Film Composer Quick Reference on

hand during sessions to speed the use of functions, shortcuts, keyboard commands, menus, and icons.

¥ Make a habit of reading AvidÕs newsletters, mailings, and other

trade publications.

¥ Make use of additional training resources provided by Avid when-

ever possible, such as classes and instructional videotapes. For more information, contact Avid at 800-867-2843.

¥ Check the Avid web site at www.avid.com/services/training/

training.html for listings of courses, schedules, and locations.

Using Online Help

This release supports online help for your Avid Composer system. The online help is automatically installed with the application.

You can access online help in two ways:

¥ From the question mark menu in the upper right corner of your

screen, choose Composer Help.

¥ As context-sensitive help:

a. Position the cursor on the window for which you want help.

b. Make sure your Avid Composer system is active.

c. Press the Help key on the keyboard.

A window appears representing the tool or feature for which you want help.

d. Click on different aspects of the tool or feature to see pop-up

help.

If no speciÞc help for the window exists, the Topics window appears.

Procedures are displayed in yellow How To windows; background information and illustrations are displayed in white Reference windows.

The following sections explain how to use the help system. For more information, see ÒOnline Help:overviewÓ in the online help index.

Three Ways of Finding Topics in Help

To Þnd a topic in Help:

1. Open the Topics window.

2. Do one of the following:

¥ Click the Contents tab to view lists of topics in the main help

window.

¥ Click the Index tab to open the Index window and view a list

of index entries.

¥ Click the Find tab to search for words or phrases that may be

contained in a help topic.

Finding Topics with the Index

To Þnd topics using keywords in the Index:

1. Click the Index tab to display the Index panel.

2. In the text box, type the keyword youÕre interested in or choose a topic from the list.

3. Click the Display button to view the topic or double-click the topic name in the Index scrolling list.

Searching with the Find Feature

To search for words in a help Þle:

1. Click the Find tab to display the Find panel.

2. In the text box, type a word you want to Þnd. Use the pop-up menus to change the way in which you search for words.

3. If youÕd like to search for additional words, click the More Choices button.

4. Click the Search button. Topics that are found are displayed in the list.

5. Choose a topic in the list (if any were found) and click the Display button.

DonÕt type quotes or asterisks in the text boxes.

Using Online Documentation

The Media Composer Products Online Publications are a collection of books on CD-ROM. They include:

¥ Avid Film Composer UserÕs Guide

¥ Avid Media Composer UserÕs Guide

¥ Avid Media Station UserÕs Guide

¥ Avid Media Composer and Film Composer Effects Guide

¥ Avid Media Composer Products Reference

The books are in PDF format. You can read them on the screen or print out all or part of them.

CHAPTER 2

About Media Composer

This chapter provides a general overview of Media ComposerÕs capabilities. It introduces basic concepts along with some tips for the beginning user in the following sections:

¥ About Media Composer

¥ Editing Basics

¥ Project Workßow

About Media Composer

Media Composer streamlines the editing process by combining the traditional tools of postproduction, the creative control of digital editing, and the simplicity of the interface.

More than a method of saving time and money, nonlinear editing introduces a whole new style of craftsmanship into the postproduction suite by allowing greater experimentation in the composition of fullmotion visual media.

In addition, Media Composer blends the traditional beneÞts of previsualization familiar to the conventional ofßine editor with the advanced production tools and image quality of high-end online production.

Editing Basics

The unique nature of nonlinear editing Ñ and the speciÞc features of the Media Composer system Ñ suggest a new way of approaching the process of editing and the ßow of your work on projects, as described in this section.

About Nonlinear Editing

As a digital, nonlinear editing tool, Media Composer provides complete random access to footage, with instantaneous cueing and retrieval of sequences, segments, shots, and frames. This is much faster than the time it would take to mount and shuttle through tapes.

In addition, traditional editing requires that you electronically copy video from a source tape to a master tape. When you make changes in this linear arrangement, you must reassemble all of the shots that follow the change. By contrast, when you edit with Media Composer, you are not actually cutting or dubbing the footage. Instead, your source tapes are digitized into media Þles that can be played just like the original tapes. When you edit, you work with these images and sounds (objects) with great freedom, creating data Þles that refer to the media Þles and to your original source tapes. You can make changes, and the entire sequence is immediately updated. This is the primary beneÞt of nonlinear editing.

The system maintains frame-accurate links between each alteration of the objects you work with and the original media Þles. This allows you to experiment with every edit you make through multiple generations. When you play back your work, the system immediately accesses and plays the appropriate portions of the digitized video and audio.

You can use Media Composer to create:

¥ A Þnal product based on the media Þles

¥ A work print as a reference to editing tapes

¥ An edit decision list (EDL) that you can use to control the editing

of tapes in an online or ofßine editing studio

Editing Components

Knowing some basic terms for the editing components will help you use Media Composer more effectively.

¥ Project: the job that results in one or more sequences; the Project

window organizes all the clips, sequences, effects, and media Þle pointers for a program or series of programs

¥ Sequence: an edited composition that includes audio and video

clips and rendered effects connected

¥ Bin: the window in which you organize the material to be edited

¥ Source clip: the smallest media object that contains all the infor-

mation necessary to reference footage

¥ Master clip: editing object that references the compressed media

¥ Media Þle: stored, compressed digital data representing the origi-

nal video and audio

¥ Source/Record mode: a mode composed of a Source monitor that

displays source clips, a Record monitor that displays the assembled sequence, and controls for making basic edits

¥ Timeline: the graphical representation of every edit made to a

sequence, including all nested effects and layered tracks

¥ Segment mode: editing controls for moving, deleting, marking,

and editing segments in the Timeline

¥ Trim mode: controls for Þne-tuning edits and transitions with var-

ious trim procedures

¥ Effect mode: controls in the Timeline and the Effect Mode window

to apply, render, and edit effects into the sequence

¥ IN and OUT point: starting and ending points of an edit

¥ Subclip: Part of a master clip, which references the master clip

¥ EDL: edit decision list containing detailed information on your

sequence for online editing of a videotape master

¥ Cut list: a series of output lists containing speciÞcations used to

conform the Þlm work print or negative

¥ Digital cut: a copy struck directly from disk to tape

Project Workﬂow

The following sections introduce the four basic stages of a project, along with the basic system terms you encounter in Media Composer. Complete procedures for each phase are described in this guide, in the Avid Composer system online help, and the Avid Media Composer

UserÕs Guide. You can alter parts of each stage if necessary.

Starting a Project

Starting a project involves the following steps:

1. Turn on your equipment in a prescribed order and launch the Media Composer software.

2. Select or create a new project: the job that will result in one or more Þnished sequences.

3. Create and organize bins.

Turn on and launch Media Composer.

Select or create a project.

4. Back up your project on a regular basis.

Create and organize bins.

Back up the project.

Preparing to Edit

Preparing to edit involves the following procedures:

1. Import your logs into the bins, or log the material manually to create source clips.

2. Digitize your analog footage, creating media Þles and master clips.

3. Work with bins and clips to organize your source material for easy access during editing.

4. Build a storyboard, if desired, to begin previsualizing your Þnal cut before editing.

log

Import shot logs into the bin.

Sort and organize clips in bins.

Source

tapes

Digitize footage, creating

master clips and media ﬁles.

5. Manage media Þles using controls provided by the system, such as the Media Tool.

Previsualize with storyboards.

Manage media ﬁles for storage, efﬁciency, and backup security.

Editing a Sequence

Editing a sequence involves the following procedures:

1. View your clips in advance and mark IN points and OUT points, or create subclips based on selected portions of your master clips.

2. Build your sequence in Source/Record mode, which provides nonlinear editing controls with Source and Record monitors, and the Timeline.

3. Fine-tune your edits and effects using functions of the various edit modes, such as Segment mode, Trim mode, and Effect mode.

Source Record monitor

Screen, mark, and subcatalog footage.

Screen and continue

editing as necessary.

monitor

Timeline

Edit in Source/Record mode and the Timeline.

4. Adjust and mix multiple audio tracks and prepare for Þnal playback or output using Media ComposerÕs

Audio Tool and Audio Mix Tool.

5. Return to editing if further adjustments are required.

Fine-tune edits and effects.

Fine-tune audio pan, volume, and EQ.

Generating Output

Generating various forms of output based on your sequence involves selecting among several options:

¥ Export and exchange material for audio sweetening or graphics enhancement in a thirdparty application, or for incorporating into a multimedia project.

Export and exchange material for import into third-party applications such as AudioVision.

¥ Record the Þnal sequence as a digital cut.

¥ Generate an EDL.

Beta-

cam

Record a digital cut directly to tape.

EDL

Generate an EDL for online

videotape editing.

CHAPTER 3

Starting a Project

The Project window provides controls in three different display modes for structuring and viewing important information about your current project. These include a display of bins and folders associated with the project, a list of all settings, and basic information about the format of the project and use of system memory.

The overview topics are described in the following sections:

¥ About Composer Projects and Avid Users Folders

¥ Using the Bins Display

¥ Using the Settings Display

¥ Using the Info Display

Tutorial: Starting a Project contains the following sections:

¥ Starting the Application

¥ Opening a Project

About Composer Projects and Avid Users Folders

Composer Projects and Avid Users folders allow you to move whole projects or selected project and/or user settings between systems by copying and moving Þles on your desktop.

When you create a new project or user, the system creates the following Þles and folders:

¥ When you create a new user, the system creates three items: a user

proÞle Þle, a User settings Þle, and a user folder containing the two. Each item is given the user name you provide. This new folder is stored in the Avid Users folder on the Avid drive.

¥ When you create a new project, the system creates three items: a

project Þle, a Project settings Þle, and a folder containing the two, each of which is given the project name you provide. This new folder is stored in the Composer Projects folder on the Avid drive.

Your settings are initially set to the default values. As you work, the Þles maintain current settings, while the project folder Þlls with bin Þles.

Using the Bins Display

Bins are windows that contain titles, Òthumbnails,Ó and information about the material you digitize. These editable Þles are called master clips. They refer to the actual media Þles created when you digitize source material. While the physical media are stored on external hard drives, the master clips that refer to that media reside in the bin. Bins also store the sequences, subclips, group clips, and effect clips that you create during a project. The Project window allows you to make a new bin, close it, reopen it, and move clips among these bins. You can also open bins created for different projects.

After you select a user and project in the Project Selection dialog box, the Project window opens. To view a complete list of bins associated with the project, click the Bins button in the Project window. A scrolling list appears.

Bins button

Open bin

From the Bins list you can examine the number, names, size, and location of bins, and you can also open bins. Dotted bin icons next to bin names indicate bins that are currently open; solid icons indicate closed bins.

Using the Settings Display

From the Settings display you can view, select, open, and alter various User, Project, and Site settings, as described in this section.

To view the Settings display, click the Settings button in the Project window. A scrolling list of settings appears.

About Settings

Settings button

Settings type

Three types of settings are displayed in the Settings scroll list, as indicated in the third column of information: User, Project, and Site settings.

¥ User settings are speciÞc to a particular editor. In general, User

settings reßect individual preferences for adjusting the user interface in Media Composer. Individual User settings are stored in each user folder within the Avid Users folder on the Avid hard drive.

¥ Project settings are directly related to individual projects. When a

Project setting is changed, it affects all editors working on the project. SpeciÞc Project settings are stored in each project folder within the Composer Projects folder on the Avid hard drive.

¥ Site settings establish default parameters for all new users and

projects on a particular system. These can apply to particular conÞgurations of equipment installed at the site, for example, spec and node settings for an external switcher. They can also include other user or project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder in the Media Composer folder on the Avid hard drive.

¥ Workspace settings let you associate a conÞguration of windows

with a workspace setting name. If you are used to working with a particular group of windows arranged and sized in a particular setup, you can assign a Workspace setting to remember that arrangement. You can have as many workspace settings as you want. See the Avid Media Composer UserÕs Guide and ÒWorkspace, selectingÓ in the online help index for more information.

Reviewing Basic Settings

For a complete description of all settings and their options, see the

Avid Media Composer Products Reference.

The following list describes basic system settings to review at the start of your project:

¥ Bin settings

¥ General settings

¥ Interface settings

Double-click each setting in the Settings scroll list of the Project window to view the following dialog boxes:

¥ Bin settings deÞne general system functions related to bins,

including:

- Parameters of the Auto-save function

- Maximum number of bin backup Þles stored in the Attic

folder

¥ General settings deÞne fundamental system defaults, including:

- Starting timecode for sequences edited in Media Composer

- Setup default for either American NTSC or Japanese NTSC

video input (affects calibration)

- Whether the system uses the drive-Þltering function to auto-

matically target only the fastest drives when digitizing highresolution media

¥ Interface settings determine the level of basic information dis-

played in the interface, including whether written labels are displayed beneath icons in the various command palettes.

Using the Info Display

The Info display in the Project window allows you to view basic project information, such as the video format (NTSC, for example) or frame rate (24 fps for Þlm projects).

To activate the Info display, click the Info button in the Project window.

Fast Menu button

Info button

The items listed in this view are for information only and cannot be changed from the Info list.

To see additional information:

1. Click the Fast Menu button at the bottom of the Info window.

A pop-up menu appears.

2. Choose one of the options from the pop-up menu. See the Avid Media Composer UserÕs Guide or ÒInfo display of project informationÓ in the online help index for more information about these options.

About Projects and Memory

The way in which a project uses memory has a direct effect on performance. As a project develops, the number of media objects in use (clips, effects, and other bin items) increases. Because the system keeps track of them in RAM, they can be played back faster, but the memory requirements can slow down the system in other ways.

The Avid Media Composer and Film Composer Release Notes provide infor- mation about system requirements for RAM. Occasionally you might need to adjust the way your Macintosh uses its RAM in order to work efÞciently. There are two factors that can affect the performance of your system:

¥ If you opened and quit several applications during a session, or if

you opened and closed various Media Composer tools repeatedly, your computerÕs memory may become fragmented. As a result your system may be sluggish. To solve this problem, close all applications and restart your Macintosh.

¥ If you need to open more or larger Þles within Media Composer,

you might want to increase the amount of memory allocated to the application from the desktop.

To check and adjust the allocation of system memory (RAM), consult your Macintosh documentation.

Viewing Memory

To view how your Avid Composer system is using the system memory, press kÐI on the keyboard or choose Memory from the Info window Fast menu. Also see the Avid Media Composer and Film Composer Release Notes for information about memory requirements.

If the memory in use is already near the limit of the total memory, you might want to consolidate Þnished elements and eliminate old material from the project, or break the project up into separate, segmented projects. For more information on consolidating, see the Avid Media

Composer UserÕs Guide.

Tutorial: Starting a Project

In this tutorial, you will start Media Composer and select a user and a project. Before starting this procedure, make sure you have installed the Tutorial Þles (see ÒInstalling the Media Composer Tutorial FilesÓ

on page 25).

Starting the Application

1. Double-click the desktop alias of the Media Composer folder icon to open the folder.

2. Double-click the Media Composer application icon to launch the program.

After a few moments, the Project Selection dialog box appears.

For this tutorial, you use the Boat Shop project (along with its settings Þle) that you copied into the Composer Projects folder in

Chapter 1.

Opening a Project

To open a project, you create a new user and select an existing project.

Creating a User

To create a new user:

1. Click the New User button.

A dialog box appears.

2. Type your name and click OK.

Selecting a Project

To select a project:

1. Select Boat Shop from the Composer Projects list and click OK.

The Project Selection dialog box reappears with your name highlighted in the list of users.

The Project window opens. It lists the bins, or storage areas, created to hold the clips and sequences you will need for this tutorial.

2. Double-click the icon to the left of Getting Ready to Edit to open the bin.

This bin contains the clips of the source footage you will use to begin to build the Boat Shop sequence.

YouÕve Þnished this tutorial section. The next section is Tutorial: Get-

ting Ready to Edit on page

76. Be sure to read Chapter 4 and the intro-

ductory material in Chapter 5 before continuing the tutorial.

CHAPTER 4

Digitizing

This chapter surveys the digitize process and related tools. Topics covered include:

¥ Selecting Settings

¥ About the Digitize Tool

¥ About the Audio Tool

¥ About the Video Input Tool

¥ Digitize Preparations Check List

¥ Digitizing

Selecting Settings

A number of settings have a direct bearing on the digitizing process. Before digitizing, review the following options for General Settings, Deck Settings, and Digitize Settings.

¥ Drive Filtering Based on Resolution causes the system to dim all

drives for which speed capabilities are unknown or untested in a particular Avid Video Resolution (AVR). This setting is selected by default in the General Settings dialog box.

The Avid Composer system does not prevent you from using nonAvid drives, but their reliability cannot be assured.

¥ Deck Settings include various options for source deck, sync

mode, preroll, drop/non-drop-frame preference, and deck control.

¥ Digitize Settings include essential options for digitizing and

batch-digitizing, including general parameters for capture of the source material, and special conditions such as digitizing across timecode breaks or capturing a single video frame.

¥ Deck ConÞguration Settings allow you to establish deck control

parameters for a single deck or for multiple decks. You can manually conÞgure the deck or use the AutoconÞgure option.

About the Digitize Tool

The Digitize Tool provides controls for digitizing your footage.

To open the Digitize Tool, choose Digitize from the Tools menu. The Digitize Tool window opens.

Track Selection

Digitize/Log mode

Single/Dual drives

Target drive Message bar

Deck controls

Deck selection

Tape name

ResolutionBin

Video Input Tool

Digitize indicato

Digitize

Disk time available

Trash/ Abort

Subclip indicator

Record to the Timeline

Deck ofﬂine

Audio Tool

The Digitize Tool has the following characteristics:

¥ Track Selection panel lets you choose which audio tracks you

want to digitize from the source tape, whether you want to digitize video, and whether you want to record timecode.

¥ Bin pop-up menu lets you choose a target bin as the destination

for the master clips created when you digitize on-the-ßy. You can also choose a target bin containing the logged clips you will use to batch-digitize your media.

¥ Resolution pop-up menu next to the Bin pop-up menu lets you

choose an Avid Video Resolution (AVR).

¥ Digitize indicator ßashes on and off while you are digitizing.

¥ Red Digitize button begins the digitizing process.

¥ Digitize/Log mode button lets you switch between digitize mode

and log mode.

¥ Single/Dual drives button lets you target a single or separate

media drive volumes for digitizing the audio and video for each clip.

¥ Target drive pop-up menu lets you choose the target drive

volumes.

¥ Disk time available is displayed after you select an AVR and

target a drive or drives for the digitized media.

¥ Trash/Abort button stops the digitizing process and deletes the

digitized media.

¥ Status bar displays information on the current status of the tool.

¥ Subclip indicator displays a subclip IN mark, a subclip OUT

mark, and a clip icon or number. It provides visual feedback when you create subclips on-the-ßy while digitizing.

¥ Record to the Timeline allows you to digitize footage directly

from tape into a sequence loaded in the Timeline in one step. Recording to the Timeline works best when you are digitizing onthe-ßy.

¥ Deck Ofßine button takes the deck ofßine: the software ceases to

recognize the deck.

¥ Deck controls operate the deck.

¥ Deck selection pop-up menu lets you choose the deck you want

to play from. It also lets you check and reset serial port connection to decks.

¥ Tape name display shows the name of the source tape.

About the Audio Tool

The Audio Tool controls parameters for incoming audio.

To open the Audio Tool, choose Audio Tool from the Tools menu or click the Audio Tool icon in the Digitize Tool window. The Audio Tool window opens.

Input In/Out toggle Reset Peak

Setup

Meters

Peak/Hold

Analog VU scaleDigital VU scale

Output Display

Setup Display

Channel Selectors

The Audio Tool has the following options:

¥ Input button displays a panel that contains a single slider control

for raising or lowering global audio input.

¥ Setup button displays a panel that contains information and con-

trols for adjusting various audio hardware parameters.

¥ Reset Peak button resets the current maximum peak measure-

ments. It also stops the playback of the internal calibration tone.

¥ In/Out buttons toggle the meter displays for each channel

between input levels from a source device and output levels to the speakers and record devices. I indicates input, and O indicates Output.

¥ Peak Hold pop-up menu allows you to choose options for cus-

tomizing the meter displays, and setting and playing back the internal calibration tone.

¥ Digital VU scale to the left of the meters displays a Þxed range of

values from 0 to -90 decibels (dB), according to common digital peak meter standards.

¥ Analog VU scale to the right of the meters displays a Þxed range

of values that you can conform to the headroom parameters of your source audio.

¥ Meters dynamically track audio levels for each channel as follows:

- Meters show green below the target reference level (the

default reference level is -14 on the digital scale).

- Meters show yellow for the normal headroom range, above

the reference level to approximately -3 dB.

- Meters show red for peaks approaching overload, between -3

dB and 0 (zero) dB.

- Thin green lines at the bottom indicate signals below the dis-

play range.

¥ Channel Selector pop-up menus let you map tracks in the

sequence to output channels.

About the Video Input Tool

The Video Input Tool controls parameters for incoming video.

To open the Video Input Tool, choose Video Input Tool from the Tools menu or click the Video Input Tool icon in the Digitize Tool window. The Video Input Tool window opens.

Input

Settings

Internal Waveform Monitor button

Vectorscope Vectorscope button

Internal waveform monitor

Slider

Preset buttons

Click the Internal Waveform Monitor button to bring up the Waveform monitor. Click the Vectorscope button to bring up the Vectorscope.

The Video Input Tool has the following options:

¥ Input pop-up menu lets you choose either a Composite or Com-

ponent video input source.

¥ Sliders let you change the value for each setting.

¥ Preset buttons are highlighted when the factory preset levels are

displayed. When you click a lit Preset button, it turns gray and the slider returns to the most recent manual level setting.

¥ Settings pop-up menu lets you save the site settings for an indi-

vidual tape each time you calibrate bars.

¥ Internal Waveform monitor lets you adjust luminance values.

¥ Vectorscope monitor lets you adjust hue and saturation.

Digitize Preparations Check List

1. Check your hardware conÞgurations: power switches, cable connections, pull-down switch on the Video Slave Driver, and remote switch on the source deck for deck control (see the Avid Media Composer Products Setup Guide for hardware conÞgurations).

2. In the Project Settings scrolling list, make sure you have the desired options selected in the General Settings, Deck Settings, Deck Preferences, Deck ConÞguration, and Digitize Settings dialog boxes.

3. Consider striping your drives in advance according to the AVIDdrive Utility UserÕs Guide if you are working on a complex project with multiple streams of video and high-resolution images. You must stripe your drives if you work with AVR

4. Insert a tape into the deck and set up the Digitize Tool for track selection, target bin, target drives, source tape, and source deck.

5. Set up the Compression Tool for resolution (AVR) and color compression (see the Avid Media Composer UserÕs Guide and ÒCom- pression ToolÓ in the online help index for more information).

6. Use the Audio Input Tool to set the audio input levels.

7. Use the Video Input Tool to set the video input levels; save your video settings for future use.

Digitizing

You can digitize your source material in one of the following ways:

¥ Digitize and log at the same time

¥ Batch digitize

¥ Redigitize

¥ Use Avid MediaLog and import shot logs

Digitizing and Logging at the Same Time

When you digitize without entering log information in a bin ahead of time, the system creates clips and associated media Þles while you digitize. Digitizing in this manner involves manually cueing source footage with an Avid-controlled deck using the deck controls in the Digitize Tool.

See ÒDigitizingÓ in the online help index for more information.

There are several ways to digitize and log at the same time:

¥ Digitizing from a mark IN to a mark OUT. This method lets you

specify the exact timecode location to begin and end digitizing. You can also specify only a mark IN or mark OUT, and enter the other mark on-the-ßy.

¥ Digitizing on-the-ßy. This method is easier than setting marks,

but it is more imprecise. It involves using the deck controls in the lower left corner of the Digitize Tool to cue, play, and stop the source footage manually while digitizing.

¥ Autodigitizing. This method requires the least amount of supervi-

sion and effort, but usually calls for more digitizing time and disk storage space. It involves playing each source tape from a cue point near the beginning and letting the system digitize the entire tape, automatically naming and entering each long clip into the bin.

Batch Digitizing

Redigitizing

Once you have imported a log or manually logged a group of clips into a bin, you can automate the digitize process by using your Avid Composer systemÕs batch digitizing capabilities. In order to batch digitize, source tapes must have timecode. For more information and procedures, see ÒBatch digitizingÓ in the online help index.

Redigitizing is the process of capturing previously digitized source footage based on existing clips and sequences. Redigitizing uses the batch digitize process and does not require extra logging time because the clip information for such things as source tracks, timecodes, and compression settings already exists in the bin. For more information and procedures, see ÒRedigitizingÓ in the online help index.

CHAPTER 5

Getting Ready to Edit

To get ready to edit, you need to understand how to organize your clips and manipulate them. The overview is in the following sections:

¥ About Bin Display Modes

¥ About Bin Views

¥ Controlling Playback

¥ Marking IN and OUT Points

¥ Creating Subclips

Tutorial: Getting Ready to Edit contains the following sections:

¥ Viewing Clips

¥ Playing Clips

¥ Marking Edit Points

¥ Subclipping

About Bin Display Modes

You can use three display modes for viewing and working with clips in a bin: Text mode, Frame mode, and Script mode.

¥ In Text mode, clips are displayed in a database text format using

columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views by using the Bins settings in the Project window and the Bin Fast menu.

Column headings

Object icons

Bin view menu Text mode

Bin Fast menu

Frame mode Script mode

To enter Text mode, click the Text Mode button (labeled T) in the lower left portion of the bin.

¥ In Frame mode, each clip is represented by a single picture frame,

with the name of the clip. You can play back the footage in each frame, change the size of frames, and rearrange frames in any order within the bin.

To enter Frame mode, click the Frame Mode button (labeled F) in the lower left border of the bin.

¥ In Script mode, the system combines the features of Text mode with

Frame mode, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a text box to the right of each clip. Clip data is displayed above the text box.

To enter Script mode, click the Script Mode button (labeled S) in the lower left portion of the bin.

About Bin Views

To the right of the Display Mode buttons is a pop-up menu of titles for different Bin views. This option is available only in Text mode. Bins have the following default views that are automatically loaded:

¥ Statistics view uses the standard statistical column headings

derived from information established during capture, such as Start and End timecodes, Duration, Resolution, and so on.

¥ Custom view allows you to create and save customized views.

The only required heading is the clip name, displayed by default. You can customize the view by adding, hiding, or rearranging column headings.

Controlling Playback

There are several ways to play, view, and cue clips:

¥ Instantly access frames or move through footage using the position

indicator within the position bar under the Source or Record monitors

¥ Play, step (jog), or shuttle through footage using user-selectable

buttons

¥ Play, step, or shuttle using keyboard equivalents

¥ Step or shuttle using the mouse

Using Position Bars and Position Indicators

You can quickly access frames within a clip thatÕs been loaded into a monitor or move through the footage using the position indicators that appear in the position bars under Source or Record monitors, and in the Timeline when you are viewing a sequence.

¥ You can move the position indicator within the position bar under

the Source or Record monitors by clicking anywhere in the position bar, or by dragging the position indicator to the left or right. The speed with which you drag the position indicator determines the speed at which you move through the footage.

Position bar

Position indicator

¥ In the Timeline, the position indicator shows your position within

the sequence. It is always in the same position as the position indicator in the Record monitorÕs position bar, and works in the same way: you can click anywhere in the Timeline to relocate the position indicator, or you can drag the position indicator through footage at varying speeds.

Position indicator in Timeline

¥ You can go directly to the beginning or end of a clip or sequence

by clicking at the far left or far right of the clip or sequence.

Using Buttons

You can use the user-selectable buttons that appear below the Source and Record monitors to play and step through your footage. You can also use the keyboard to manipulate footage.

Aside from the default conÞgurations, these buttons can be remapped from the Command Palette in any conÞguration onto any of the user palettes and the keyboard.

Play, Pause, Stop, Fast Forward, and Rewind Buttons

The Play, Pause, Stop, Fast Forward, and Rewind buttons work much like the buttons on any conventional VCR. With a clip loaded in a monitor, the Play button plays your footage at a normal rate. The Play Reverse button plays backward at a normal rate. The Fast Forward and Rewind buttons instantly cue you to the beginning or the end of the clip.

Play, Fast Forward, and Rewind buttons appear by default in the Þrst row of buttons below the Source and Record monitors. Map the Play Reverse, Stop, and Pause buttons onto your button rows from the Command Palette. Mapping replaces the existing button functions.

Video Monitor buttons

Audio Monitor buttons

During playback, the Play button also acts as a Stop button.

When viewing sequences in the Record monitor, you can play only video and audio tracks that are currently monitored in the Track Selector panel.

Track Selector panel

Step Buttons

To play a clip:

1. Load a clip or sequence into a monitor.

2. For sequences in the Record monitor, click the Video or Audio Monitor buttons in the Track Selector panel.

3. Go to the start of the clip or sequence by clicking the start of the position bar under the monitor, or pressing the Home key.

4. To play the clip or sequence, click the Play button under the chosen monitor.

5. To stop playback, press the space bar or click the Play button again.

You can also use the Step buttons under the monitors to play the clip backward or forward in 1- or 10-frame increments.

When you have a single row of buttons displayed under your monitors, the Step Forward and Step Backward buttons appear. If you press and hold the Option key while clicking either button, you can advance ten frames forward and ten frames backward.

To display all four Step buttons, you must display two rows of buttons under the monitors when conÞguring the Source/Record window in the Composer Settings dialog box.

To step through footage:

1. Load a clip or sequence into a monitor.

2. Press the appropriate key to step one or ten frames forward or back.

Using the Keyboard

The default keyboard contains all of the buttons discussed so far.

Step buttons

Play button

Stop button

You can move and replace buttons on the keyboard using the Command Palette; see ÒUser-selectable buttons, mappingÓ in the online help index.

J-K-L Keys (Three-Button Play)

The J-K-L keys on the keyboard allow you to play, step, and shuttle through footage at varying speeds. This feature, also referred to as three-button or variable-speed play, allows you to use three Þngers to manipulate the speed of playback for greater control.

Play/Step/Shuttle buttons

Home key End key

To shuttle through the footage using the J-K-L keys on the keyboard:

1. Do one of the following:

¥ Load a clip or sequence into the Source or Record monitor.

¥ Select a clip in a bin in Frame mode.

2. Use the following keys to shuttle at varying speeds:

¥ Press the L key to move forward through the footage at nor-

¥ Press the J key to move backward at the same shuttle speed

¥ Hold and press the K and L keys together for slow forward.

¥ Hold and press the K and J keys together for slow backward.

3. To pause the shuttling, press the K key.

4. To stop shuttling, press the space bar.

Home, End, and Arrow Keys

You can also use the Home, End, and arrow keys on the keyboard to move through footage when a clip is loaded in a monitor.

¥ The Home key takes you to the beginning of a clip or sequence.

¥ The End key takes you to the end of a sequence.

¥ The Left Arrow key moves the footage one frame backward.

mal speed. Press once to increase the forward speed 2 times, twice to increase it 4 times, and 3 times to increase it 8 times normal speed, as desired.

increments.

¥ The Right Arrow key moves the footage one frame forward.

Using the Mouse

You can also use the mouse for one-handed control of playback. You can either step or shuttle by using the mouse.

Stepping with the Mouse

To step by using the mouse:

1. Do one of the following:

¥ Load a clip into the Source monitor or a sequence into the

Record monitor.

¥ Select a clip in a bin in Frame mode.

2. Do one of the following:

¥ Press the N key to activate mouse control for stepping.

Mouse Step button

¥ Activate the buttons on the Command Palette by deselecting

3. Move the mouse to the right to step forward, or to the left to step backward.

4. To quit stepping with the mouse, press the space bar.

Shuttling with the Mouse

To shuttle by using the mouse:

1. Do one of the following:

¥ Load a clip or sequence into the Source or Record monitor.

¥ Select a clip in a bin in Frame mode.

2. Do one of the following:

¥ Press the semicolon (;) key to activate mouse control for

both boxes at the bottom of the Palette, then click the Mouse Step button, which is available on the Play tab of the Command Palette and can be mapped to any button under the Record monitor (see ÒUsing the Command PaletteÓ on

page 119).

shuttling.

Mouse Shuttle button

¥ Activate the buttons on the Command Palette by deselecting

both boxes at the bottom of the Palette, then click the Mouse Shuttle button, which appears on the Play tab of the Command Palette and can be mapped to an editing button under the Record monitor (see ÒUsing the Command PaletteÓ on

page 119).

3. Move the mouse to the right to increase the shuttle speed, or to the left to decrease the shuttle speed.

4. To quit shuttling with the mouse, press the space bar or doubleclick the mouse button.

You can also use the keyboard in conjunction with the mouse to control shuttling. For example, if youÕre shuttling with the mouse and you press the L key, the playback speeds up to the next normal play rate (30, 60, 120, 240 fps for NTSC; 25, 50, 100, 200 fps for PAL; 24, 48, 96, 192 for Þlm projects). You can continue to change the shuttle speed and direction with the mouse.

Marking IN and OUT Points

You can mark IN and OUT points for your clips in advance, which provides several advantages:

¥ You can quickly build a sequence by splicing the marked clips into

place one after another.

¥ You can use the process of rough-cut or storyboard editing, which

allows you to instantly splice several prepared clips into a sequence, as described in the Avid Media Composer UserÕs Guide.

¥ You can play back and mark clips in the bin before loading a single

clip, saving several steps.

Even if your marks are not accurate now, Media Composer allows you to trim the edit points and Þne-tune the sequence later without reediting the material.

Creating Subclips

When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks, or you can create subclips

based on the marks you set to break up longer master clips into smaller segments of selected footage.

This is similar to creating selects of all your best footage before editing. Unlike selects, however, subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips in turn reference the digitized media Þles located on your storage drives. As a result, none of the original footage is lost.

You can also create subclips while digitizing as described in ÒSubclips:creating onthe-ßyÓ in the online help index.

Clip icon

You can create subclips directly from the marked section of material in the monitors by using one of the following methods:

¥ Option key: Press and hold the Option key, then drag the picture

from the monitor to the bin in which you want to store the subclip.

¥ Clip icon: Click the icon next to the clip name in the Source moni-

tor, then drag the icon to the bin in which you want to store the subclip.

The clip icon changes to an icon of a frame during the drag, then becomes a subclip icon when you release the frame in the intended bin.

¥ Subclip button: Click the Subclip button located in one of the

command palettes to create the subclip and place it into the active bin by default. If you press the Option key while you click the Subclip button, a dialog box allows you to choose the destination bin for the subclip.

The new subclip will be listed in the bin, preceded by a subclip icon and identiÞed with a numbered .Sub sufÞx, as shown in the following illustration.

A new subclip as referenced in Bin Text view

For more information on trimming, see ÒTrim EditsÓ in the online help index.

Subclips do not limit your access to the original, digitized master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT boundaries of the subclip to make it longer or shorter, your system does accommodate the boundary adjustments during the trim.

Tutorial: Getting Ready to Edit

The following tutorial steps correspond to the clips and sequence in the bin titled Getting Ready to Edit.

Viewing Clips

Be sure to read Chapter 2 and the preceding overview sections of this chapter before you start this tutorial.

1. If Media Composer is not already running, launch it by doubleclicking the application icon.

2. Choose your User name and your Boat Shop project and click OK.

3. From the Boat Shop Project window, double-click the Getting Ready to Edit bin.

The clips associated with the lesson are displayed in the bin.

The information in a bin can be viewed in several ways.

¥ Text mode displays columns of information about your clips.

¥ Frame mode displays each clip as a single representative image.

¥ Storyboard mode displays each clip with an image and an area in

which to enter text as part of a storyboard.

Text Mode Frame Mode

Name Heading

Zoom box

Frame Mode button

The S button is for Script mode.

Text Mode button

LetÕs look at Text mode.

1. Click the Text Mode button (T) in the lower left corner of the bin to view information about clips in the Getting Ready to Edit bin.

If the button is dark, you are already in Text mode.

You can rearrange the clips in the bin by sorting on a particular column. LetÕs sort by clip name so we can easily locate any clip.

2. Click the Name heading in the bin.

3. Choose Sort from the Bin menu along the top of the screen.

The clipsÕ names are rearranged in alphabetical order.

To sort in numerical order, select another heading, for example, duration.

Now letÕs look at Frame mode.

1. Click the Frame Mode button (F) to see a pictorial representation of each clip in the bin.

The sorted order of clips does not carry over to Frame mode.

2. Choose Reduce Frame or Enlarge Frame from the Edit menu.

To change frame size at the keyboard, you can also press k-K (Reduce Frame) and k-L (Enlarge Frame).

If some clips are now off screen, do one of the following:

¥ Click the zoom box in the upper right corner of the bin

window.

¥ Choose Fill Window from the Bin menu.

¥ Drag the size box in the lower right corner of the bin window.

3. Click the zoom box in the upper right corner of the bin window labeled Getting Ready to Edit.

The bin zooms out to enclose all the clips. However, they might be scattered randomly in the bin window. LetÕs Þx that.

4. Choose Fill Window from the Bin menu.

The clips are arranged in neat rows and columns in the bin.

Now you can adjust frame size so the clips are ÒreadableÓ but not so large that they wonÕt Þt in the bin window.

Playing Clips

Your Avid Composer system offers a variety of ways to play clips. The more you practice the various methods, the more control you will have over the editing process.

Playing Clips in the Source Monitor

The Source monitor is a window in which you can play clips.

1. In the Getting Ready to Edit bin, select the clip named bridge by double-clicking anywhere in the frame.

The bridge clip appears in the Source monitor.

2. Press the Home key on the keyboard (between the main keyboard and the numeric keypad) to go to the start of the clip.

The End key, just below the Home key, moves the position indicator to the end of the clip.

3. Press the Play (5) key on the keyboard to play the clip at normal speed.

4. Press the Play (5) key again (or press the space bar on the keyboard) to stop playback at any point.

5. Press the L key (Play) on the keyboard to play the clip forward at normal speed. Press the key repeatedly to play the clip at 60, 90, 150, and 240 frames per second (fps).

6. Press the J key (Reverse Play) to play the clip backward at normal speed. Press the key repeatedly to play the clip backward at 30, 60, 90, 150, and 240 frames per second (fps).

7. Press the K key to stop playback.

8. To move forward or backward at slow speed, press and hold the K key while you press and hold the L or J key.

9. Use the 1, 2, 3, and 4 keys to step through the footage forward or backward in 1-frame or 10-frame increments.

Step Backward 10 Frames

Controlling Playback

In the Source monitor, you can use:

¥ Playback control keys

¥ Equivalent buttons below the Source monitor

¥ Blue position indicator to go to a speciÞc position or scroll through

a clip

Step ForwardStep Backward

Step Forward 10 Frames

Position

indicator

Position bar

Step Backward

Step Forward

Play

1. Double-click the tools clip in the Getting Ready to Edit bin.

The clip appears in the Source monitor.

2. Click the Play button.

You can press the 5 key on the keyboard for the same purpose.

3. Click the Play button again (or press the space bar on the keyboard) to stop playback at any point.

4. Step through the footage forward or backward in 1-frame and 10frame increments using the Step Forward and Step Backward buttons under the Source monitor. You can also use the 4, 3, 2, and 1 keys on your keyboard.

5. Locate the vertical blue position indicator in the position bar in the Source monitor.

6. Click to the left of the position indicator to step several frames back in the clip.

To step several frames forward, click just to the right of the position indicator.

7. Press the Home key to go to the beginning of the clip.

Press the End key or click the Fast Forward key to go the end of the clip.

8. Step through the clip by clicking different spots in the position bar.

9. Drag the position indicator to the left, then to the right, to scroll through the clip.

Marking Edit Points

Before making your Þrst edit, you can mark the segments of the clips you want to use in your sequence. You can mark clips in the Source monitor.

In this section, you will:

¥ Mark IN and OUT points in the Source monitor

¥ Locate IN and OUT points by timecode in the Source monitor

Marking the

planing ms

LetÕs Þrst display clips in the Source monitor, and then mark a couple of clips you will use when you edit the sequence.

1. Activate the Getting Ready to Edit bin by clicking anywhere in it or by choosing Getting Ready to Edit from the Windows menu.

The bar above the active window turns purple.

2. Double-click the planing ms clip to activate it.

The clip name turns pink and the clip appears in the Source monitor.

3. Play the clip from the head by pressing Home and then the Play (5) key, and Þnd the approximate place where the boatbuilder begins to plane. Then use the Step Forward and Step Backward (3 and 4) keys to locate the frame where he starts the Þrst planing stroke.

4. Mark an IN point by pressing the Mark IN (I) key.

A white sawtooth pattern appears on the left edge of the Mark IN frame.

Clip

5. Step forward two full strokes of the plane.

6. Mark an OUT point by pressing the Mark OUT (O) key.

Media Composer remembers your IN and OUT points until you change them.

Marking the

ducks

draw knife cu

Clip

Now mark the IN and OUT points for the ducks clip. This time, instead of using the 5 key, use the J-K-L keys to play the clip.

1. Double-click the ducks clip to activate it.

2. Locate the frame where the second duck enters the right edge of the frame behind the duck swimming in the foreground.

Use the 3 and 4 keys to locate the precise frame.

3. Mark an IN point by pressing the I key.

A white sawtooth pattern appears on the left edge of the Mark IN frame.

4. Step forward to locate the Þrst frame where the same duck ßies beyond the left edge of the screen.

5. Mark an OUT point by pressing the O key.

A white sawtooth pattern appears on the right edge of the Mark OUT frame.

Clip

LetÕs mark another clip weÕll use in the sequence.

1. Display the draw knife cu in the Source monitor by doubleclicking it in the Getting Ready to Edit bin.

When you edit the sequence, you want to show just three strokes of the knife.

2. Place the position indicator around the midpoint of the clip, and play forward until just after the Þrst fairly large wood chip falls off.

Use the Play button (or J-K-L keys) to get close to the frame, and then use the Step buttons to locate the frame you want to use as your IN point.

3. Mark an IN point by clicking the Mark IN button under the monitor.

A white sawtooth pattern appears on the left edge of the Mark IN frame.

4. Step forward, and locate a frame just after three strokes of the knife.

5. Mark an OUT point by clicking the Mark OUT button under the monitor.

A white sawtooth appears on the right edge of the Mark OUT frame.

Using Timecode to Find a Frame

You can mark IN and OUT points by using timecode as your reference point. If you know the timecode for the frame you want to mark, you can go to that frame instantly by typing it on the numeric keypad.

In this section, you will use visual cues to mark an IN point, and then locate a speciÞc timecode. First, you need to display the appropriate timecode information.

1. Double-click the chiseling clip to open it.

2. Place the cursor in the gray title bar area over the timecode information displayed above the Source monitor.

3. When the cursor changes to a downward arrow, click to display the pop-up menu, then choose TC, V1 (timecode for track V1) from the menu. A checkmark means it is already selected.

Timecode shows the following: Hours Minutes Seconds Frames

One second holds 29 frames.

The timecode references the frame displayed in the Source monitor.

4. Use the Play and Step buttons to locate the frame where the boatbuilder begins one of the Þrst strokes of the chisel.

5. Click the Mark IN button.

6. Read the timecode in the Timecode display at the IN point. Add 15 frames (13 frames PAL) to the timecode number. (Remember, there are 29 frames in a second.)

For example, if the timecode is 04:11:34:15, adding 15 frames gives you a result of 04:11:35:00.

7. Type +15 on the numeric keypad on the right side of the keyboard and press Enter on the numeric keypad.

As you start typing, a window opens in the middle of the Source monitor, showing the numbers you type. When you press Enter, the position indicator locates the speciÞed frame.

The Timecode window displays the current number.

To locate frames using the numeric keypad, you must show the appropriate timecode in the Timecode display. For example, the timecode display must show track V1 to go to a speciÞc frame on the V1 track.

Timecode display

Timecode entered

8. Click the Mark OUT button.

Using Frame Offset

Whenever you use the numeric keypad, you must press Enter after typing the number.

You can also use the numeric keypad to move the position indicator forward or backward a speciÞed number of frames, with the frame offset feature. LetÕs mark an IN point for the planing cu clip and then use frame offset to locate the OUT point.

1. Double-click the planing cu clip to open it.

2. Use the Play and Step buttons to locate the frame where the boat-

3. Click the Mark IN button.

4. To advance two seconds, type +129 (+124 PAL) in the numeric

builder begins making the Þrst stroke of the plane.

keypad and press Enter. The system inserts the colons for you.

Since Media Composer counts the frame it is parked on, you type one frame less than two seconds.

When using frame offset, type one frame less than the number of frames you want to advance.

Subclipping

If you want to move back a certain number of frames, type a minus sign (Ð) instead of a plus sign (+) in front of the number.

5. Mark that frame as the OUT point.

Now you will copy portions of one clip into shorter clips, called subclips. Subclipping is a great tool for organizing your footage into manageable units.

1. Double-click the tools clip in the Getting Ready to Edit bin.

2. Press the Home key to go to the start of the clip.

3. Scroll through the clip by clicking the Play button or dragging the blue position indicator, and notice there are two separate actions that can be copied into separate subclips.

4. Mark an IN point when the boatbuilder begins turning the auger drill.

5. Mark an OUT point 14 seconds later by typing +1400 in the numeric keypad and pressing Enter.

Actually, you have marked an OUT after 14 seconds and 1 frame, but thatÕs okay because you need not be so precise here.

6. Click the clip icon next to the clip name in the upper left corner of the Source monitor, and drag the icon into the Getting Ready to Edit bin.

As you begin dragging, the pointer changes to a hand attached to a small box.

A new item called tools.Sub.01 appears in the Getting Ready to Edit bin. The subclip has the name of the original clip, followed by

Sub.n, where n is the number of times the master clip has been cataloged to that bin. The name is highlighted.

7. Type drilling and press Return (or Enter on the numeric keypad) to name the subclip.

Clearing IN Points and OUT Points

1. With the tools clip in the Source Monitor, click the Clear Both Marks button under the Source monitor to clear IN and OUT points.

2. Mark an IN point in the clip when the boatbuilder begins hammering, after he takes a few practice swings.

3. Mark an OUT point at the end of the clip.

4. Press and hold the Option key and drag the clip from the Source monitor to the Getting Ready to Edit bin.

The clip name is highlighted in the Getting Ready to Edit bin.

5. Type hammering and press Return (or Enter on the numeric keypad).

YouÕve Þnished this lesson. You can go on to Tutorial: Rough Cut on

page

Closing the Project

To close the project:

1. Choose Close Bin from the File menu.

2. Choose Close from the File menu.

100, or end the session.

The bin closes.

The system saves and closes the project. A dialog box appears.

3. Do one of the following:

¥ Select an existing project.

¥ Create a new one.

¥ Click Quit.

Ending the Session

To end the session:

1. Choose Save Bin or Save All Bins from the File menu.

2. Click in the Project window labeled Boat Shop.

3. Choose Save All from the File menu.

4. Pull down the menu from under the Source monitor name and choose Clear monitor.

5. Do one of the following:

¥ Go to the next lesson.

¥ If you are ready to take a break, choose Quit from the File

menu to leave Media Composer, then click OK in the Quit dialog box.

The system returns to the desktop.

CHAPTER 6

Editing a Rough Cut

Beginning to edit involves moving around in the Avid Composer system. This is described in the following sections:

¥ Viewing Methods

¥ Navigating in the Timeline

¥ Displaying Source Material in the Timeline

¥ Using the Track Selector Panel

Tutorial: Rough Cut contains the following sections:

¥ Making the First Edit

¥ Splicing Video into the Sequence

Viewing Methods

You can work with clips and sequences in several different ways, depending upon your needs and preferences. Each method has its own uses and advantages, as follows.

¥ Viewing in bins: Frame mode shows you pictorial images of the

clips in your bins; Text mode shows you the clips listed by name.

¥ Viewing in the Source monitor: You can load clips and sequences

into the Source monitor to view and mark or subcatalog shots for use in a sequence that you build in the Record monitor.

¥ Viewing in the Record monitor: You can load a sequence into the

Record monitor to view, mark, or modify an existing sequence. You can Option-drag a clip or group of clips into the Record monitor to create a sequence.

Source monitor with clip loaded

Record monitor with sequence loaded

¥ Viewing in pop-up monitors: You can load clips into pop-up

monitors to view and mark one or several clips simultaneously in smaller, movable windows. (Enable a pop-up monitor by selecting Opens New Monitor for Clips in the Bin Settings dialog box.)

Two pop-up monitors with clips loaded

¥ Viewing in the Timeline: Use the Timeline to view individual

tracks for either a sequence or a source clip.

Timeline in Source mode for viewing tracks

¥ Viewing in full-screen: You can use the third, full-screen monitor

to view your footage in a larger screen format.

Navigating in the Timeline

The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can make changes in the Timeline format by using the Timeline Fast menu or choosing Timeline in the Bin settings scrolling list.

Using the Position Indicator

The position indicator (the vertical blue line) in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. For example, when you perform an edit, the system takes the location of the position indicator as the Mark IN in the absence of established marks.

When you move the position indicator in the Timeline, the smaller position indicator within the Record monitorÕs position bar also moves.

Using the Timeline Scroll Bar

The scroll bar functions like any standard Macintosh scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right.

Scroll box

Scroll bar

Displaying More or Less Detail

The scale box on the scale bar stretches and contracts the Timeline area centered around the blue position bar, allowing you to either zoom in to focus on a speciÞc area of your sequence, or zoom out for you to see your whole sequence. This is especially useful when you have a lengthy sequence with many edits.

As Timeline expands, a shadow position indicator appears

Scale box

Scale bar

The Timeline always expands or contracts proportionally on both sides of the position indicator.

¥ To see more detail, click and drag the scale box to the right.

As the Timeline expands, a second ÒshadowÓ position indicator appears next to the blue position indicator showing the end of a single frame, and the two continue to move apart as you expand the Timeline.

The position indicator and its shadow mark the beginning and end of each frame. The solid bar is the mark or edit point. You can click on either the bar or the shadow to move exactly one frame forward or backward.

In addition, the Timeline will split in half (or thirds) as it wraps through the sequence for you to see all the clips.

¥ To contract an expanded Timeline to see less detail but more of the

sequence, click and drag the scale box to the left.

Focusing the Timeline

Another alternative to the scroll and scale functions is the Focus button.

Focus

The Focus button allows you to center the position indicator quickly and expand the Timeline. Unlike the scroll and scale functions, the Focus button expands the Timeline to one frame per four pixels. The position indicator is centered in the window. When you click the Focus button a second time, it always returns the Timeline to its previous size.

Displaying Source Material in the Timeline

The Source/Record toggle button allows you to view a Timeline of the clips in the Source monitor. This is especially useful if you are editing multitrack effects.

By default, the Timeline displays only the source materialÕs tracks.

Source tracks

Source/Record toggle

When you click the button to display the source material, both the button and the position indicator turn green to indicate that you are viewing source material.

Button and position indicator turn green

This feature is particularly useful when you are editing a sequence or a subclip created from a sequence; you can also use it to look at the contents of any source clip in a Timeline display.

Heads or Tails views are disabled when you are displaying material from the Source monitor.

Using the Track Selector Panel

The Track Selector panel provides numerous controls for working effectively with multiple tracks. With this one resource you can select, delete, monitor, enlarge, reduce, lock, patch, and move any video or audio track.

The Track Selector panel also provides a quick display of track information. You can see which tracks (on the source or record side) are available, active, patched, monitored, or locked. The conÞguration shown below is just one example. The Track Selector panel may look very different depending on the nature of the source material or the work underway in the sequence.

Source track monitors Source tracks

Track lock indicators

Record tracks Record track monitors

Timecode track

The source side (left side) of the panel displays only those tracks available for the clip currently loaded and displayed in the Source monitor. For instance, a clip that has audio digitized for track A1 only does not display an A2 track in the Track Selector panel.

The record side of the panel displays only those tracks currently in use for the sequence. However, if you edit source material with a track selected that does not yet exist on the record side (A3 or V2, in the previous example), by default the track appears on the record side after the edit takes place.

Selecting Tracks

A clip (or sequence) needs to be loaded in the Source and Record monitors to display both track panels.

You can select tracks on either the record side or the source side as follows:

¥ You can edit selected tracks on the source side directly into the

sequence, assuming you have selected parallel tracks on the record side.

¥ You cannot edit deselected tracks on the source side into the

sequence, regardless of record track selections.

¥ You cannot edit deselected tracks on the record side, regardless of

source track selections.

There are four methods for selecting tracks:

¥ Click any deactivated Track Selector button to select it. Click any

activated Track Selector button to deselect it.

¥ Drag a lasso around multiple Track Selector buttons to select them

at once.

¥ With the Timeline window active, choose Select All Tracks from

the Edit menu to select all tracks on the record and source side.

¥ Click the Cycle Picture/Sound button on the Command Palette to

cycle among selection of the video tracks, the audio tracks, and all tracks.

For example, you might select the source and record tracks for V1, A1, and A2 to edit video and audio from the source clip into the sequence. Select only V1 source and record tracks to edit the video without sound. Or, select only A1 and A2 to edit the sound without the video.

Selected tracks change color.

Monitoring Tracks

There are also keyboard equivalents for selecting tracks. Check your keyboard or the Keyboard settings in the Project window Settings scroll list.

You determine the monitoring of tracks by clicking the monitor column of either the source- or record-side tracks to activate or deactivate the monitor icons. Video and audio monitors behave differently in some circumstances, as described in this section.

Video track monitors

Audio track monitor

Monitoring Video

Audio track monitor

The video track monitor determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback.

When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track. This is especially useful when you have multiple layers of video effects, and need to see one track without the additional layers.

If you reposition the video monitor, be sure to return it to the topmost track to view, render, or record all the tracks together. Unmonitored tracks are not included in playback.

Tutorial: Rough Cut

In this tutorial you begin editing the Boat Shop sequence. This section corresponds to the clips and sequence in the bin titled Rough Cut.

this tutorial.

Table 6-1 Starting the Tutorial: Rough Cut

If you have worked on the previous tutorial and Media Composer is still running:

1. Double-click the Rough Cut bin to open it.

2. Press the Option key and drag the sequence you were working on from the previous tutorial into the Rough Cut bin. Close the Getting Ready to Edit bin.

3. Drag the sequence you were working on from the Rough Cut bin into the Composer monitor.

Be sure to read the preceding overview sections of this chapter before you start

If you have worked on the previous tutorial but have quit the Media Composer system:

1. Launch Media Composer by double-clicking the application icon.

2. From the Boat Shop Project window double-click the Get-

ting Ready to Edit bin and the Rough Cut bin to open them.

3. Press the Option key and drag the sequence you were working on from the previous tutorial into the Rough Cut bin. Close the Getting Ready to Edit bin.

If you are just starting out with this tutorial and havenÕt completed the previous tutorials:

1. Launch Media Composer by double-clicking the application icon.

2. Click and drag the Rough Cut Sequence clip into the Composer monitor to begin the tutorial.

4. Drag the sequence you were working on from the Rough Cut bin into the Composer monitor.

100

Making the First Edit

In this section, you lay down the audio clip, which contains the sequenceÕs music and narration. You learn how to mark exactly one minute of the clip, which will be the duration of your Þnished sequence. First, you play the clip.

1. Double-click the Audio Track clip and play the clip in the Source monitor.

The clip displays as black because itÕs audio only.

2. Go to the head of the clip by pressing the Home key on your keyboard or clicking the Rewind button under the Source monitor.

Using Digital Audio Scrub

Digital audio scrub is used to locate a speciÞc frame of audio. Use it now to locate the Þrst frame of music in the audio clip.

1. Press the Caps Lock key to activate digital audio scrub.

2. Play the clip again and click the Play button to stop at the approximate place where the music begins.

3. Press the Step (jog) keys (1, 2, 3, 4 on the keyboard) to locate the Þrst frame of the music and click the Mark IN button.

When you use the Step keys, a frame of music or speech sounds scratchy or buzzlike. You might want to increase the volume of your speakers to hear the Þrst frame of music.

4. Press the End key on the keyboard.

5. Press the Step Backward key to Þnd the last frame of music.

6. Mark that frame as the OUT point.

7. Press the Caps Lock key again to exit digital audio scrub.

101

Pinnacle Systems Media Composer - 7.0 Quick Start Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Tables

Preface

Who Should Use This Manual

About This Manual

Symbols and Conventions

If You Need Help

Related Information

If You Have Documentation Comments

Introduction

Using this Guide

Using the Tutorial

What You Need

Turning on Your Equipment

Installing the Media Composer Tutorial Files

Installing AVR 3s Tutorial Files

Installing AVR 70 Tutorial Files

Launching the Media Composer Application

Specifying Audio Hardware

Electronic Licensing

How to Proceed

Using Online Help

Three Ways of Finding Topics in Help

Finding Topics with the Index

Searching with the Find Feature

Using Online Documentation

About Media Composer

About Media Composer

Editing Basics

About Nonlinear Editing

Editing Components

Starting a Project

Preparing to Edit

Editing a Sequence

Generating Output

Starting a Project

About Composer Projects and Avid Users Folders

Using the Bins Display

Using the Settings Display

About Settings

Reviewing Basic Settings

Using the Info Display

About Projects and Memory

Viewing Memory

Tutorial: Starting a Project

Starting the Application

Opening a Project

Creating a User

Selecting a Project

Digitizing

Selecting Settings

About the Digitize Tool

About the Audio Tool

About the Video Input Tool

Digitize Preparations Check List

Digitizing

Digitizing and Logging at the Same Time

Batch Digitizing

Redigitizing

Getting Ready to Edit

About Bin Display Modes

About Bin Views

Controlling Playback

Using Position Bars and Position Indicators

Using Buttons

Step Buttons

Using the Keyboard

J-K-L Keys (Three-Button Play)

Home, End, and Arrow Keys

Using the Mouse

Stepping with the Mouse

Shuttling with the Mouse

Marking IN and OUT Points

Creating Subclips

Tutorial: Getting Ready to Edit

Viewing Clips