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Switcher’s Quick Guide to the Avid Media Composer V6 ©

Steve Mullen Ph.D.
A radically easy step-by-step migration guide to Avid Media Composer
Be immediately productive using your drag-and-drop Final Cut Pro, Premiere, and Edius editing skills Perfect for Avid’s Free Trial Download http://home.mindspring.com/~d-v-c

Not for classroom, seminar, or event use without author present.

Table of Contents
Chapter 1: Getting Started with Media Composer........................................ 7  
Real-Time Performance .................................................................................................... 7  
Effects Computation ................................................................................................................. 8   Render Precomputes ................................................................................................................ 8   Delete Precomputes ................................................................................................................. 8  

Chapter 2: Working with Projects ................................................................ 11  
Starting a New Project ..................................................................................................... 11  
Delete a Project ...................................................................................................................... 12  

Chapter 3: Working with Bins ....................................................................... 13  
Bins.................................................................................................................................. 13   Clean-up a Bin ................................................................................................................. 21   Bin Objects ...................................................................................................................... 21   Delete a Bin ..................................................................................................................... 22  

Chapter 4: Media Import ................................................................................ 23  
Import Media Files ........................................................................................................... 24  
Import AVCHD ........................................................................................................................ 25   Import H.264/AVC .................................................................................................................. 27  

AMA ................................................................................................................................. 29   Checking Installed codecs ...................................................................................................... 30   Access Files ........................................................................................................................... 30   Import and Transcode Clips ................................................................................................... 33   Importing Audio under OS X ................................................................................................... 35  

Chapter 5: Source Trimming Clips ............................................................... 37  
Create Subclip ................................................................................................................. 37   Find a Clip’s Bin............................................................................................................... 37   Alter a Clip's Speed ......................................................................................................... 38   Create Freeze Frame ...................................................................................................... 39   Aligning “Separate System” Audio and Video.................................................................. 40  
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Chapter 6: Sequences and Timelines ......................................................... 41  
Create a Sequence ..........................................................................................................41   Record Track Locking ......................................................................................................41   Record Track Monitoring .................................................................................................42   Source Tracks ..................................................................................................................42   Open a Sequence ............................................................................................................43   Delete a Sequence ..........................................................................................................43   Insert a Sequence into a Timeline ...................................................................................43   Composer Display Information ........................................................................................44   Fixing Timeline Audio Behavior .......................................................................................44  

Chapter 7: Ripple Insert into Timeline ......................................................... 45  
Drag-and-Drop Insert .......................................................................................................45   Precision Insert ................................................................................................................46  

Chapter 8: Timeline Operations ................................................................... 49  
Match Frame....................................................................................................................49   Add Edit ...........................................................................................................................49   Locators ...........................................................................................................................50   Real-Time Fades .............................................................................................................51  

Chapter 9: Ripple Extract .............................................................................. 53  
Extract Clips.....................................................................................................................53   Extract Gap ......................................................................................................................55  

Chapter 10: Non-Ripple Place Clip into Timeline ....................................... 57  
Precision Place a Clip ......................................................................................................57   Fit-to-Fill Video Clip .........................................................................................................59  

Chapter 11: Non-ripple Lift ........................................................................... 61  
Lift Clip .............................................................................................................................61  

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Chapter 12: Timeline Trimming .................................................................... 63  
Ripple/Non-ripple Clip Trim ............................................................................................. 63   Dual Clip Trim .................................................................................................................. 67  

Chapter 13: Moving Clips .............................................................................. 69  
Clip Ripple Move ............................................................................................................. 69   Clip Non-ripple Move ....................................................................................................... 71   Move a Group of Clips ..................................................................................................... 72   Copy/Paste Move ............................................................................................................ 74  

Chapter 14: Color Correction........................................................................ 75  
ChromaCurve: Color Adjustment ..................................................................................... 78   ChromaCurve: Black Compress/Stretch .......................................................................... 80   NaturalMatch ................................................................................................................... 81   Save a Correction ............................................................................................................ 86   Paste a Correction ........................................................................................................... 86   Save a Correction Effect to a Bin .................................................................................... 86   Delete a Correction .......................................................................................................... 87  

Chapter 15: Working with Video Filters ....................................................... 89  
Add Video Filters ............................................................................................................. 89  
Filter Keyframes ..................................................................................................................... 91   Modify a Filter ......................................................................................................................... 92   Delete a Filter ......................................................................................................................... 92  

Chapter 16: Using Transitions ...................................................................... 93  
Replace a Transition........................................................................................................ 94   Setting Transition Color ................................................................................................... 95   Remove a Transition ....................................................................................................... 96  

Chapter 17: Working with Audio .................................................................. 97  
Rubberband Audio Gain .................................................................................................. 97   Three-band EQ Tool ........................................................................................................ 99  

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Chapter 18: Adding Titles ........................................................................... 103  
Create a Title .................................................................................................................103   Place a Title in a Timeline..............................................................................................105   Modify a Title .................................................................................................................106   Fade-in a Title ................................................................................................................107   Fade-out a Title..............................................................................................................107   Remove a Fade-in or Fade-out ......................................................................................108  

Chapter 19: Export to File ........................................................................... 109  
QuickTime DNxHD Export .............................................................................................109   SD QuickTime Codec Export .........................................................................................114  

Appendix A: Composer Settings ............................................................... 119  
Toolbar Setup ................................................................................................................127   Keyboard Setup .............................................................................................................128   Creating Toolsets...........................................................................................................129  
Source Edit Toolset Setup ....................................................................................................129   Effects Edit Toolset Setup ....................................................................................................132   Audio EQ Toolset Setup .......................................................................................................134   Color Correction Toolset Setup.............................................................................................136  

Appendix B: Timeline Settings .................................................................. 137   Appendix C: SD Settings ............................................................................ 143  
Media Creation Settings ................................................................................................143  

Author ........................................................................................................... 145  

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Conditions of Use
ALL MATERIAL COMPOSING THIS TUTORIAL MAY NOT BE COPIED OR REPRODUCED, EITHER IN WHOLE OR IN PART, BY ANY MACHINE OR HUMAN READABLE TECHNIQUE—EXCEPT AS NECESSARY TO DOWNLOAD THE FILE AND/OR TO PRINT THE DOCUMENT. ALL OPINIONS EXPRESSED ARE THE AUTHOR'S OWN. NO MALICIOUS INTENT EXISTS IN THIS DOCUMENT OR IS INTENDED BY THE AUTHOR. THE AUTHOR ASSUMES NO RESPONSIBILITY FOR EITHER CONTENT OR TYPOGRAPHICAL ERRORS. NO STATEMENT OF FITNESS FOR ANY PARTICULAR PURPOSE IS INTENDED, INCLUDED, OR EXISTING WITH RESPECT TO THE CONTENTS OF THE HANDBOOK. IT IS SUPPLIED “AS-IS.” THE READER ASSUMES ALL RESPONSIBILITY FOR HIS OR HER ACTIONS WITH REGARD TO ALL CONTENT CONTAINED IN THIS HANDBOOK. ANY PRODUCT OR COMPANY NAMES USED IN THIS MATERIAL MAY BE/ARE TRADEMARKS OR COPYRIGHTED NAMES OF THE RESPECTIVE COMPANY THAT OWNS THEM.

COPYRIGHT 2012/2013 BY STEVE MULLEN
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Chapter 1: Getting Started with Media Composer
Real-Time Performance
1. Yellow bars in the Timeline show where Composer had a slight difficulty during playback. No frames were dropped. ♦ Blue bars under the Timeline show where Composer had playback difficulty because of disk speed limitations. No frames were dropped.

♦ Red bars under the Timeline show where Composer dropped frames during playback. 2. If you encounter dropped frames and it disturbs you, you have several options: 3. The Video Resolution Toggle button at the bottom of the Timeline normally is Yellow and Green. (50% of the pixels and 50% of the lines.)

Medium-resolution Draft

4. Click it to Low-resolution (maximum performance) mode. (25% of the pixels and 25% of the lines.)

Low-resolution Draft

5. Click it to High-resolution (minimum performance) mode.

High-resolution

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Effects Computation
When effects are computed during Timeline playback, source files are decompressed and up-sampled to 4:2:2 or 4:4:4 (if necessary) and mixed together as 8-bit or, if you choose, 16-bit video. Render results are converted to 8-bit, 4:4:4 color-sampled RGB and displayed on your computer’s monitor.

Render Precomputes
When you request effects be rendered, the results are saved to a file. The saved values are called “precomputes.” Computation can be done using either 8-bits or 16-bits. Although the precomputes can be compressed to, for example, DVCPRO 50, DVCPRO HD, or DNxHD—they are never encoded to a long GOP format. When you play rendered areas, any new sources and/or effects you have added are decompressed and combined together with the precomputes and displayed.

Delete Precomputes
During export, you can make use of precomputes to save time, or delete them thereby forcing all source media to be decompressed from scratch. 1. Issue the Tools > Media Tool command. 2. Select the disk and Project. 3. Select Precompute Clips.

4. Click OK to bring-up a list of precompute clips. Chapter 1: Getting Started with Media Composer
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5. Select the Precomputes you want to delete.

6. Press delete.

7. Click OK.

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8. Click Delete. 9. Close the Media Tool.

OpenCL, used to increase effect performance, is not available with MacBooks utilizing Intel 3000 or 4000 GPUs.

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Chapter 2: Working with Projects
Starting a New Project

All information about your project can be found in: /users/you/Documents/Avid Projects Avid has two types of definitions: those that are specifically defined using Settings control and those on-the-fly changes you may make dynamically as you setup or work on a project. Consider the former to be static and the latter dynamic definitions. Static definitions are primarily made using the Settings tab in the Project window. (Capture settings are static definitions.) Static definitions also include Toolbar and Toolset definitions. Dynamic definitions include Timeline characteristics and the positions of all four types of Bins (Brief, Text, Frame, and Script). As you make changes to Static Settings, these changes are recorded in your User Profile.

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You can make a copy of your User Profile, move it to another system, and load it for your use. To Export a Profile, select the Settings in tab in the Project window. Issue Export User or User Profile.

On the other system, issue Import User or User Profile. Dynamic changes are not recorded in your User Profile. They do, however, become part of the current project. New Bins and each new Sequence’s Timeline will take on the characteristics of the last opened Bin and Timeline.

Delete a Project
Browse to the Avid Projects folder and delete it.

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Chapter 3: Working with Bins
Bins
Open the First Bin In the Project window, click the New Bin button.

The header of a new Bin will be created. See the green rectangle above. Now drag the Bin and position it in an open space.

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Open Additional Bins In the Project window, click the New Bin button.

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Drag the new Bin’s tab into the tab area of the existing Bin(s). The new Bin will pop into position within the existing Bin’s window.

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Copy a clip from one Bin to another

Drag the clip to the tab for the other Bin.

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A Version 5 Frame Bin is shown below.

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A Version 6 Frame Bin is shown below.

The upper red circle shows a frame. You can play the video by using the J-K-L keys. The middle red circle provides the clip name that you can edit. The red-circled selector at the bottom of a Bin window enables you to switch between views.

This replaces the Version 5’s four small tabs shown below.

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Below a Version 6 Text Bin is shown (Windows OS).

The upper red circle shows the how Version 5 Bin tabs have been replaced. When you create and name a Bin in Version 6 you can select a Frame, Text, or Script view. Just like Version 5 Bins, you can place and size the Bin window. When you open additional Bins, name them and select their view mode. Now you can drag the new Bin window into an existing Bin window of the same view type. The new Bin window will be “fit” within the existing Bin window. At the same time the new Bin’s name will become a tab on the window. This new capability replaces SuperBins, yet provides the same functionality. Top select a Bin, click on its tab.

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Below a Version 6 Script view Bin.

The upper red circle shows the name of the single Bin within the window. The middle red circle indicates the box where you enter a comment. The red-circled selector at the bottom of a Bin window enables you to switch between views. You can close a Bin window using the window Close button.

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When a Bin window cannot show all tabs, as shown by the long red circle, do one of the following. ♦ Click the Previous Bin [  ] button or the Next Bin [  ] button to shift the tab view to the left or the right. (Upper right red circle.) The Bin tab display adjusts to display the next Bin either on the left or the right. Click the Tab menu, and then select the name of the Bin you want to view.

You can organize a Bin, by clicking the tab of a Bin you want to move and drag it to a new position in the Bin tabs row. You can close a tabbed Bin by clicking the X on its tab. To move a Bin into another Bin ♦ Click the tab of the Bin you want to move. ♦ Drag it to the target Bin. To move a Bin into separate window: ♦ Click the tab for the Bin you want to move, and drag it to a clear region of the application interface. ♦ The Bin displays in a separate window. Version 6 no longer offers a Brief view.

Clean-up a Bin
Select Bin’s Frame tab. Issue the Bin > Fill Window command or right-click and select Fill Window to distribute the clips. Issue the Bin > Align to Grid command.

Bin Objects
A Bin “object” can be an audio clip, a video clip, a title, graphic file, a Sequence, or a Bin. Chapter 4: Working with Bins
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♦ You can select an object in a Bin by single-clicking it. ♦ You can add objects to those selected by shift+clicking one or more of them. ♦ You can lasso multiple objects visible within a Bin. ♦ You can delete an object by selecting it and pressing delete.

Delete a Bin
If the Project window’s Trashcan is not visible, single-click the Bin you want to delete. Click on the FAST menu and select Delete Selected Bins. At this point the Trashcan will appear. The Bin you deleted will be in the Trash. ♦ From this point onward, you can simply drag a Bin to the Trash to delete them. ♦ To empty the Trash, click on the Bin’s FAST menu and select Empty Trash. ♦ After opening the Trashcan, you can drag a previously deleted Bin back to the Project.

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Chapter 4: Media Import
You can bring media into Media Composer Bins in many different ways. ♦ Camcorders or decks with FireWire output enable to you to capture DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, HDV, and XDCAM. ♦ Media Composer can access ProRes 422 media using AMA. When you import media, two channels (A1 and A2) are written to two files. When these channels carry stereo, follow these steps to create a single stereo channel (A1):

Under the TEXT tab, select all imported clips

Right-click and select Modify…

Under Set Multichannel Audio, click the Link button
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Import Media Files
Media Composer can import graphics such as JPEG. Composer also supports a wide range of HD formats: DVCPRO HD, XDCAM, XDCAM EX, XDCAM 422, P2, ProRes, AVCHD, and H.264/AVC. Some HD formats are imported without any conversion to DNxHD (e.g., DVCPRO HD); others are imported (e.g. H.264/AVC) and transcoded to DNxHD during import. Avid describes the combination of frame-size, frame-rate, bit-depth, and compression level as “resolution.”

Typical import resolutions for 4:2:2 color sampled video. Chapter 4: Media Import
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Import AVCHD
1. Issue the File > Import… command or right-click in a Bin and select Import…. 2. Set Enable: [Any] or [Any Documents]. 3. Navigate to the .MTS files and select them.

AVCHD employs 4:2:0 sampling: use DNxHD 90, DNxHD 110, DNxHD 115, DNxHD 120, or DNxHD 145.

4. At the time of this writing, Media Composer does not support 1080p50 and 1080p60 AVCHD. (Both p50 and p60 are allowed in the AVCHD 2.0 specification.)

5. Use the drag-down to select the codec. Chapter 4: Media Import
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6. Click the Options button. 7. Choose 601/709. 8. Pixel Aspect Settings: ♦ When importing 720p, confirm “Maintain, square” is selected. ♦ When importing 1920x1080, confirm “Maintain, square” is selected. 9. Field Order Settings: ♦ When importing 720p, confirm “Non-interlaced” is selected. ♦ When importing 1920x1080i, confirm “Odd (Upper Field First)” is selected. ♦ When importing 1920x1080p, confirm “Non-interlaced” is selected. 10. 11. Click OK. Click Open.

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Import H.264/AVC
1. Issue the File > Import… command or right-click in a Bin and select Import…. 2. Set Enable: [Any] or [Any Documents]. 3. Navigate to the .mp4 files and select them.

H.264/AVC employs 4:2:0 sampling: use DNxHD 90, DNxHD 110, DNxHD 115, DNxHD 120, or DNxHD 145.

4. Media Composer can import 1080p50 and 1080p60 H.264/AVC. Only every other frame (1080p25 or 1080p30) can be exported from a p50 or p60 progressive Sequence. You can, however, edit 1080p50 and 1080p60 in an interlaced Sequence and export as 1080i50 or 1080i60. There will be no time differences between fields. 5. Use the drag-down to select the codec. Chapter 4: Media Import
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6. Click the Options button.

7. Choose 601/709. 8. Pixel Aspect Settings: ♦ When importing 720p, confirm “Maintain, square” is selected. ♦ When importing 1920x1080, confirm “Maintain, square” is selected. 9. Field Order Settings: ♦ When importing 720p, confirm “Non-interlaced” is selected. ♦ When importing 1920x1080i, confirm “Odd (Upper Field First)” is selected. ♦ When importing 1920x1080p, confirm “Non-interlaced” is selected. 10. Click OK. 11. Click Open.

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AMA
AMA can be used to access ProRes (.mov), H.264/AVC files (.mov), and MotionJPEG (.mov) without the need to import them that requires a conversion to DNxHD or Avid DV25 or Avid DV50. Native editing long-GOP H.264/AVC will present a huge load to your computer. Image quality will be low – possibly unusable – and performance will suffer. ♦ The QuickTime movie must contain video using only a single codec. ♦ The QuickTime Audio and Video tracks must be the same length. QuickTime Audio must be uncompressed (PCM) and either 44 kHz or 48kHz. Movies must contain MXF Avid media. A maximum of 24-audio tracks are supported. ♦ Supported QuickTime file types include ProRes, Animation, Motion-JPEG, H.264, and AVCHD codecs. Double-click AMA settings, define as shown below:

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Checking Installed codecs
Issue the Tools > Console command. Enter: AMA_ListPlugins

If you want to work with a device that records, for example, QuickTime ProRes files, confirm that the MVP_MSP_QuickTime plug-in is present.

Access Files
Select or create a Bin. Set the Bin to TEXT mode. Right-click in the Bin, and issue File > Link to AMA File(s).

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Select .mov or .m4v files.

Click Open. The active Bin will receive a list of yellow marked clips. Yellow indicates the files are stored on the connected device.

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If the clips carry stereo audio, select them.

Right-click on one of them and select Modify….

Drag-down and select Set Multichannel Audio.

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Click on the Link button and then click OK.

As long as these files remain on the your computer, or the external drive holding these clips is connected, you can edit these files into a Sequence just as you do with captured or imported clips.

Import and Transcode Clips
To import and transcode these AMA clips to DNxHD, DV25, or DV50, select them then right-click and select File > Consolidate / Transcode….

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Select Transcode. Select Codec and set as shown below:

Select the Target drive, set as shown above, and click Transcode.

The transcoded files will be named “new.”

Now select all the device clips and press delete. The clips will be deleted from the Bin—but not deleted from the device. Clips used in a Sequence will automatically be connected to the new clips. You can now delete the AMA clips. Chapter 4: Media Import
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Importing Audio under OS X
Many times, you’ll want to add music to your production from a CD. That means the clip you double-click into the Source monitor will come from a CD you own. 1. Load your CD into the CD-ROM drive. Close iTunes if it opens. 2. Double-click the CD to open it. 3. Drag your file selection(s) to the Desktop.

You can also import .mp3, .mp4, .mpa, and .wav files you own.
4. Issue the File > Import… command or right-click in the Bin and select Import…. 5. Set Enable: Audio Documents or Any Documents. 6. Navigate to the Desktop or folder and select the file(s) you need. 7. Click the Options button. 8. Click the Audio tab.

9. Confirm “Convert source sample rate to project sample rate on import” is selected. 10. Click OK. 11. Click Open. 12. During import, any non-48kHz audio will be converted to 48kHz. 13. In the Bin, clips will receive icons. Chapter 4: Media Import
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14. Lasso imported clips in their Bin, right-click and select Modify…. 15. In the Modify box, drag-down and select Set Multichannel Audio. 16. Click on the Link button and then click OK.

17. Double-click an audio icon and the clip will open in the source monitor.

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Chapter 5: Source Trimming Clips
Double-click a clip from the Bin into Composer Source window. Engage the caps lock and you will hear (scrub) audio when using the left- and right-arrow keys or the Step Backward and Step Forward buttons. Avid’s keyboard-driven j k l Shuttle control is another fast way to look at a clip:
j k l Reverse (each press increases speed) Stop Forward (each press increases speed)

Create Subclip
To create a subclip of the material between an In-point and an Out-point click the Source MakeSubclip button.

The subclip will be placed into the currently selected Bin. It will automatically be named ….Sub.…. Subclips are not directly linked to source media. Each is linked to their Master clip. Each Master clip, in turn, is linked to media files. Therefore, you can delete a Subclip without losing any original footage.

Find a Clip’s Bin
To find the clip’s Bin, click the Source Find Bin button.

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Alter a Clip's Speed
If the clip is in a Bin, simply double-click it into the Source monitor. Set In- and Out-points. Click the Source Motion Effect button.

You can alter play speed by simply specifying the “% Speed.” The default is 50.00. You can specify values greater than 100% to speed-up playback.

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Click the Create and Render button. The clip will be tagged with “FPS.” Naturally, audio will be removed from the clip.

Create Freeze Frame
You can create a Freeze Frame as follows: If the clip is in a Bin, double-click it into the Source monitor. Set an In-point at the frame to be frozen. Click the Source Freeze Frame button.

Enter the desired time.

Click OK. Select the drive for the render.

Click OK. The new clip will be rendered into the currently active Bin and be tagged as “FF.” Chapter 5: Source Trimming Clips
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Aligning “Separate System” Audio and Video
When you capture audio separately, follow this procedure: 1. Double-click Video clip into the Source monitor. 2. Mark-in when the clapper is seen at the bottom of its swing. 3. Double-click Audio clip into the Source monitor. 4. Mark-in when the clapper is heard at the bottom of its swing. 5. Command+click the two clips in the Bin. 6. Issue the Bin > AutoSync command to lock the audio and video tegether. 7. Select “Sync using Inpoints.”

8. Click OK. 9. Place the Video clip in the Timeline as decribed in Chapter 7. 10. Place the Audio clip in the Timeline as decribed in Chapter 10. 11. Remember the clips, although in sync, are not locked together. When working in a Timeline use Sync Lock as described in Chapters 7, 9, and 11. Chapter 5: Source Trimming Clips
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Chapter 6: Sequences and Timelines
Create a Sequence
Single-click the Bin that to you want to hold your Sequences. Create a Sequence by right-clicking in a Bin and selecting New Sequence. An empty Sequence will open in a Timeline window. An icon representing the Sequence will be placed within the currently active Bin. Sequences cannot be placed in a Project window. Media Composer may crash if you move a Sequence between Bins.

Record Track Locking
To prevent any changes to a track you need to lock it. Right-click on a track you want to lock and select Lock Track.

Padlock indicates the track is locked.

Right-click on a track you want to unlock and select Unlock Track.

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Record Track Monitoring
Click to toggle on and off.

Only video in V1 will be visible

Source Tracks
Once a clip is in the Source Monitor, you will see its tracks placed to the left of the Record tracks.

Monaural Audio in A1

Stereo Audio in A1

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♦ When you want video and audio from the Source, click the Source and Record V1 and A1 buttons.

♦ When you only want video from the Source, click the Source and Record V1 buttons. ♦ When you only want audio from the Source, click the Source and Record A1 buttons.

Open a Sequence
Double-click on a Sequence icon.

Delete a Sequence
Click on the Sequence icon. Press delete.

Insert a Sequence into a Timeline
You can insert a Sequence, via the Source monitor, as though it were a clip.

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Composer Display Information
Click in location shown above and drag down to make selection. ♦ Source Monitor: Source V1 Clip > Absolute. ♦ Record Monitor: Sequence > Timecode > TC1 > Mas.

Fixing Timeline Audio Behavior
Should audio disappear, click triangle button shown below.

Confirm these settings.

Now click the triangle button shown above. Chapter 6: Sequences and Timelines
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Chapter 7: Ripple Insert into Timeline
Historic Term Avid’s Term Action My Term Film Style Segment: Splice-in Ripple Insert After an insert, clips ripple right Move clips into a Timeline If there is a clip in same track where a clip is inserted, it will be divided Video Style Segment: Overwrite Non-ripple Place After a place, clips do not ripple right If there is any part of a clip where a clip is placed, it will be Overwritten

Drag-and-Drop Insert
♦ If you make the settings described in Appendix A, Composer will launch into Ripple mode (yellow Extract/Splice-in mode Smart Tool). ♦ Clicking either of the upper two Smart Tools will toggle the other off. 1. Click yellow Extract/Splice-in button in the Toolbar.

2. Use the yellow Extract/Splice-in cursor to drag a clip into the Timeline from a Bin or the Source monitor. 3. Be sure you watch the outline of the clip to be sure it is going to be inserted into the correct track(s). Drag past the final clip.

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Precision Insert
After trimming a clip in the Source monitor. Enable the Source Tracks: V1+A1 or V1 or A1 Disable all Record tracks by clicking the Toolbar Deselect All Tracks button.

Enable the Record Tracks to receive the clip: V1+A1 or V1 or A1

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When a Timeline has clips above V1 and/or below A1, you want all clips downstream of the insert point to ripple right. Enable Sync Lock by clicking in the box next to TC1 as shown below.

Click the yellow Splice-in button between the Composer windows to insert the clip into the Timeline. { press v }

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Chapter 7: Ripple Insert into Timeline
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Chapter 8: Timeline Operations
Engage the caps lock and you will hear (scrub) audio when using the left- and right-arrow keys or the Step Backward and Step Forward buttons.

Match Frame
Use the Match Frame function to load into the Source Monitor (and mark as an in-point). Place the Position Indicator on the Timeline frame you want. Enable only the track containing the clip that has the frame you want. Disable all other tracks. Click the Recorder Match Frame button.

The clip holding this frame will appear in the Source monitor with the chosen frame marked as the in-point.

Add Edit
When you are playing through a clip and realize it has two or more “sections” you can divide the clip by clicking the Toolbar Add Edit button. { press \ }

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Locators
In the Source monitor, you can flag an important event by clicking the blue locator.

In the Record monitor, you can flag an important event by clicking the red locator.

You can skip to the previous and next blue or red locator by using these buttons.

When you can see a locator, you can remove it by pressing delete. When you have a pair of locators and they define the beginning and end of an area where you want to insert or place video or audio: ♦ Place the Time Indicator within the area defined by the locators. ♦ Click the Composer Toolbar Mark Locations button to auto-set Mark-in- and Mark-out-points.

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Real-Time Fades
Create Real-Time Fade-in
♦ Be sure there is some space before the clip you want to fade-in. ♦ Enable only the tracks to fade. You can fade video and/or audio. ♦ Disable all other tracks. ♦ Place the Position Indicator at the spot where the fade-in should be completed ♦ Click the Toolbar Fade-up button.

Create Real-Time Fade-out
♦ Be sure there is some space after the clip you want to fade-in. ♦ Enable only the tracks to fade. You can fade video and/or audio. ♦ Disable all other tracks. ♦ Place the Position Indicator at the spot where the fade-in should be completed ♦ Click the Toolbar Fade-down button.

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Chapter 8: Timeline Operations
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Chapter 9: Ripple Extract
When you want to remove a clip from a Timeline, you can do it in two ways: You can lift a clip; removing it and leaving a gap. (Covered in Chapter 11.) You can Extract a clip between clips in a track, which removes it and causes clips to the right to ripple leftward.
Historic Term Avid’s Term Action Remove clips from a Timeline Film Style Segment: Extract Ripple After a delete, clips ripple left Video Style Segment: Lift Non-ripple After an erase, clips do not ripple right and a gap opened

Delete all filters from clips before using Clip Extract.

Extract Clips
1. Disable all Record tracks by clicking the DT button in the Toolbar.

2. Click the yellow Extract/Splice-in button in the Toolbar or Smart Tools.

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When deleting a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

When a Timeline has clips above V1 and/or below A1, you want all clips downstream of the delete point to ripple left. Enable Sync Lock by clicking in the box next to TC1 as shown below.

3. Use the yellow Extract/Splice-in cursor to click on a clip.

You can shift+clip additional clips. 4. Record tracks are auto-selected. 5. Press delete.

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Extract Gap
1. Disable all Record tracks by clicking the DT button in the Toolbar.

When a Timeline has clips above V1 and/or below A1, you want all clips downstream of the delete point to ripple left. Enable Sync Lock by clicking in the box next to TC1 as shown below.

2. Enable the Record Track(s) that has the gap. 3. Click Fast Forward or Rewind button to locate a gap’s left edge. 4. Mark-in at the beginning of the gap. { press i } 5. Click Fast Forward button to locate a gap’s right edge. 6. Mark-out at the end of the gap. { press o }

7. Click the Toolbar Extract button. { press x } Chapter 9: Ripple Extract
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8. Clips in the selected tracks after the deleted gap will ripple to the left.

9. Be sure to click the Record monitor’s Clear Both Marks button.

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Chapter 10: Non-Ripple Place Clip into Timeline
Avid’s Term Historic Term Action Segment: Splice-in Film Style Ripple After an insert, clips ripple right Move clips into a Timeline If there is a clip in same track where a clip is inserted, it will be divided Segment: Overwrite Video Style Non-ripple After a place, clips do not ripple right If there is any part of a clip where a clip is placed, it will be Overwritten

Precision Place a Clip
1. After trimming a clip in the Source monitor. 2. Disable all Record tracks by clicking the DT button in the Toolbar.

3. Drag—an arrow will appear—the Source (left), for example, V1 icon to the V2 (right) Record Track icon. This will auto-disable V1 and auto-enable V2. 4. Place In- and/or Out-points in the Timeline as shown below where two points have been set in the Timeline. A highlighted segment will appear between the two Timeline marks as shown below.

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5. Set In- and/or Out-points in the Source Monitor. 6. You will place only a single In- or Out-mark in the Source Monitor. This single mark will determine either the start (defined by a Mark-in) of the clip to be added or the end (defined by a Mark-out) of the clip to be added. Alternately, you can set only single point in the Timeline. It will determine either the start (defined by a Mark-in) of where the clip will added or the end (defined by a Mark-out) of where the clip will added. In either case, you must define the clip’s duration using two points in the Source Monitor. You can determine either the first (using a Mark-in) or the last (using a Markout) frame of video to be added. The latter, is called a “back-timed” insert. Set no more than 3 points, total, among Source and Record monitors 7. Click the red Overwrite button between the two Monitors to precisely place a video clip into the Timeline. { press b }

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Fit-to-Fill Video Clip
1. After trimming a clip in the Source monitor. 2. Disable all Record tracks by clicking the DT button in the Toolbar.

3. Drag—an arrow will appear—the Source (left), for example, V1 icon to the V2 (right) Record Track icon. This will auto-disable V1 and auto-enable V2. 4. Mark-in the beginning of the gap. { press i } 5. Mark-out the end of the gap. { press o } 6. Now you will see the selection area, as shown below.

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7. Click the double-arrow Fit-to-Fill button between the Composer windows to insert only video into the Timeline. The source clip’s speed will be altered so that it fits into the gap.

8. You will need to wait for the effect to be rendered.

The inserted clip will also be placed into the Source monitor. 9. Be sure to click the Record monitor’s Clear Both Marks button.

Chapter 10: Non-ripple Place Clip into Timeline
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Chapter 11: Non-ripple Lift
You can Extract a clip, which removes it and causes all clips to its right to ripple leftward. No gap will be left. (Covered in Chapter 9.) You can Lift a clip, which removes it and leaves a gap.
Avid’s Term Historic Term Action Segment: Extract Film Style Ripple Mode After a delete, clips ripple left Segment: Lift Video Style Non-ripple Mode After an erase, clips do not ripple right and a gap opened

Delete all filters from clips before using Clip Extract.

Lift Clip
1. Disable all Record tracks by clicking the DT button in the Toolbar.

ü Clicking either of the upper two Smart Tools will toggle the other off. 2. Click the red Lift/Overwrite button in Smart Tools.

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When deleting a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

When a Timeline has clips above V1 and/or below A1, you want all clips downstream of the delete point to ripple right. Enable Sync Lock by clicking in the box next to TC1 as shown below.

3. Use the red Lift/Overwrite cursor to click on a clip, or the video or audio portion of a video-with-audio clip.

You can shift+clip additional clips. 4. Record tracks are auto-selected. 5. Press delete. 4. Click the yellow Extract/Splice-in button in the Toolbar.

Chapter 11: Non-ripple Erase
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Chapter 12: Timeline Trimming
Engage the caps lock and you will be able to hear (scrub) audio when using the leftand right-arrow keys or the Step Backward and Step Forward buttons.

Ripple/Non-ripple Clip Trim
1. Click the red Non-ripple Trim button—so the button turns blue.

2. Click the yellow Ripple Trim button— so the button turns blue.

3. The Smart Tool panel should now look like that shown below.

Both trim modes are active

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4. Disable all Record tracks by clicking the Toolbar Deselect All Tracks button.

When trimming a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

5. Position the cursor near the top edge of a clip.

6. An out-going clip’s edge (upper) or an in-coming clip’s edge (lower) red Non-ripple roller appears.

-- OR --

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7. Position the cursor near the bottom edge of a clip.

8. An out-going clip’s edge (upper) or an in-coming clip’s edge (lower) yellow Ripple roller appears.

9.

As you drag the yellow or red roller cursor, the Composer Record window will enter Trim Mode. (Relevant Record tracks are auto-selected.)

Drag left or right on the out-going edge—shown by green indicator

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Drag left or right on the in-coming edge—shown by green indicator

10. Hold-down the command key to snap to clip Head or Mark-in/Out or Position Indicator. -- OR -11. Hold-down the command and option/alt keys to snap to clip Tail or Markin/Out or Position Indicator. 12. Yellow cursor: As you drag, clips will ripple to prevent a gap opening. -- OR -Red cursor: As you drag, a gap will be opened as you trim. 13. To exit Trim Mode, click the Toolbar Source/Record Editing (SE) button or click the SE button.

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Dual Clip Trim
1. Disable all Record tracks by clicking the DT button in the Toolbar.

When trimming a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

2. Position the cursor near the middle edge of a clip between an out-going and an incoming clip.

3. The cursor will become white roller.

4. As you drag with the roller, the Composer Record window will enter Trim Mode. (Relevant Record tracks are auto-selected.)

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5. Hold-down the command key to snap to clip Head or Mark-in/Out or Position Indicator. -- OR -6. Hold-down the command and option/alt keys to snap to clip Tail or Markin/Out or Position Indicator. 7. As you drag the roller, Sequence length will not change. 8. To exit Trim Mode, click the Toolbar Source/Record Editing (SE) button.

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Chapter 13: Moving Clips
Clip Ripple Move
1. Disable all Record tracks by clicking the DT button in the Toolbar.

2. Click the yellow Extract/Splice-in button in the Toolbar.

When deleting a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

3. Scroll the timeline or zoom-out to see all of the clips you want to move. 4. Click on a clip with the yellow Extract/Splice-in cursor.

5. Record tracks will auto-select.

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6. Hold-down the command key while dragging with the yellow cursor to snap to clip Head or Mark-in/Out or Position Indicator. -- OR -7. Hold-down the command and option/alt keys while dragging with the yellow cursor to snap to clip Tail or Mark-in/Out or Position Indicator.

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Clip Non-ripple Move
1. Disable all Record tracks by clicking the DT button in the Toolbar.

2. Click the red Lift/Overwrite Smart Tool.

When deleting a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

3. Scroll the timeline or zoom-out to see all of the clips you want to move 4. Click on a clip with the red Lift/Overwrite cursor.

5. Record tracks will auto-select. 6. Hold-down the command key while dragging with the red cursor to snap to clip Head or Mark-in/Out or Position Indicator. -- OR -7. Hold-down the command and option/alt keys while dragging with the red cursor to snap to clip Tail or Mark-in/Out or Position Indicator.

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Move a Group of Clips
♦ When you want to move a group of clips, e.g. a Segment. ♦ When you want to close or create a gap at a location. 1. Disable all Record tracks by clicking the Toolbar Deselect All Tracks button.

When deleting a clip that has both video and audio, confirm the Link Selection Toggle button is blue.

6. Click the red Lift/Overwrite button in Smart Tools.

2. Click within the leftmost clip of the segment you want to select to move. 3. Shift+click within all tracks above and below the selected clip. 4. Record tracks will auto-select.

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5. Click the Select Right button in the Toolbar.

6. You can now drag the segment with the red cursor.

7. Hold-down the command key while dragging with the red cursor to snap to clip Head or Mark-in/Out or Position Indicator. -- OR -8. Hold-down the command and option/alt keys while dragging with the red cursor to snap to clip Tail or Mark-in/Out or Position Indicator.

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Copy/Paste Move
1. Scroll the timeline or zoom-out to see all of the clips you want to move. 2. Disable all Record tracks by clicking the DT button in the Toolbar.

3. Enable the Record Tracks that contain the clip(s). 4. Place the Position Indicator above the clip to move. Click the Mark Clip Toolbar button.

-- OR -Mark-in { press i } at the Head of the first clip to move. Mark-out { press o } at the Tail of the last clip to move. 5. Press the Command-C key. 6. Optionally, to remove the copied clip, click the Toolbar Extract or delete button.

Ripple

Non-ripple

7. Place the Position Indicator at the insert point. 8. Press the Command-V key to ripple insert the clipboard’s contents. (After pasting, clear In- and Out-Marks.)

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Chapter 14: Color Correction
Confirm that Trim settings, under the Features tab, Special > Render on the fly is checked. Click the Toolbar Color Correction (CC) button.

Enable the video Record Track with the clip to be corrected. Click the clip to select it. Bring-up the Vectorscope (left) and the Y Waveform (right).

To see the video on a second monitor to check a correction. ♦ Connect the second monitor. Typically it will be an HDTV connected by an HDMI cable. Audio will be sent via HDMI. ♦ Set to Non-mirror and calibrate the second monitor. Then set to Mirror. ♦ Click the SE button. ♦ Click the Recorder’s Full Screen (FS) button. ♦ Press space and video will appear on your computer monitor and HDTV. ♦ To return to SE mode, click on your computer’s monitor. ♦ Click the SE button to return to the correct window arrangement. ♦ Click the CC button to return to the color correction mode. Chapter 14: Color Correction
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1. Place the Position Indicator over the clip at the frame. 2. Click to the HSL tab. ♦ Click Controls. ♦ Set Saturation to zero so you see a grayscale picture.

3. Switch to the HSL Hue Offsets tab.

♦ First, adjust Setup so black is at, or near “16” (0%). ♦ Second, adjust Gain so white peaks at “235” (100%) for broadcast productions. In some cases, you may allow peaks to 105%. ♦ Gamma should be 1.000 or adjusted as desired for mid-range brightness.

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4. Click the HSL tab. ♦ Adjust Saturation to taste. 5. Switch to the HSL Hue Offsets tab. ♦ Slide each of three  controls in the direction opposite to the predominant color you want to reduce. For example, if the image is too blue, slide the  toward yellow. ♦ Adjust the Shadow  cursor so objects that should be “black” are devoid of any tint. ♦ Adjust the Highlights  cursor so objects that should be “white” are devoid of any tint. ♦ Set Midtones by dragging the Midtone  cursor until the picture looks as you want. Setting Midtones in this manner shifts the grayscale to a tint. 6. If a person is in the scene, switch back to the HSL Controls tab. adjust the HUE (chroma phase) slider so skin tone is aligned along the I-axis (RedishYellow — Bluish-Cyan). The other axis is called Q. Making hue adjustments using the HUE slider avoids tinting the grayscale.

To return to editing, click the Toolbar Source/Record (SE) button.

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ChromaCurve: Color Adjustment
Bring-up the clip in the CC monitor. Click the Curves tab.

Note the Intensity of Blue in the Sky

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Note the Intensity of Blue in the Sky

Click on a curve to set a point (One of up to four.) Now slide a point to adjust the relation between the input signal (x-axis) and the output signal (y-axis). In this example, the blue signal from zero to about 75IRE has about a 1:1 relation. From 75IRE to 95IRE, the relation accelerates so as the blue input signal increases the output signal increases faster. This results in the blue component becoming stronger than it would be if the relation were 1:1. This causes the sky to become more intensely blue. To return to editing, click the Toolbar Source/Record (SE) button. Chapter 14: Color Correction
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ChromaCurve: Black Compress/Stretch
Bring-up the clip in the CC monitor. Click the Curves tab.

Using the Master Curve to Create “Black Stretch”

Using the Master Curve to Create “Black Compress”

To return to editing, click the Toolbar Source/Record (SE) button. Chapter 14: Color Correction
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NaturalMatch
This original image from an Avid document, is very blue and shows poor skin tones.

Uncorrected Image

The RGB values for a point in the center of the man’s forehead are R:173, G:181, and B:180—a bluish gray. The image below, from an Avid document, shows better color including good skin tones and a better color for the tent canvas.

Reference Image

You can use the reference video to correct the uncorrected image. You can also place a photo or graphics into the Timeline and use it as a reference. A reference image can be color modified before be used as a reference. Chapter 14: Color Correction
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1. Bring-up the reference clip in the CC monitor. If necessary, color correct this clip. 2. Click the Curves tab.

3. Click the Correction Mode Settings button.

4. In the Correction Mode Settings dialog box, select “Eyedropper 3 x 3 Averaging.”

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5. Place your cursor over the right color swatch where it will switch to an eyedropper. ♦ Press and hold the mouse or trackpad and drag the eyedropper to the image area in the monitor from which you want to select an Output value.

♦ Release the mouse/trackpad button to complete the selection. The Output color appears in the right color swatch. (R:176, G:123, B:117)

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6. Bring-up the uncorrected clip in the CC monitor. Choose the uncorrected frame. ♦ Place your cursor over the left color swatch where it will switch to an eyedropper. ♦ Press and hold the mouse or trackpad and drag the eyedropper to the image area in the monitor from which you want to select an Input value.

♦ Release the mouse/trackpad button to complete the selection. The Input color appears in the left color swatch. (R:173, G:181, B:180)

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7. Click the Match Type button (green), and click NaturalMatch.

8. Click the Match Color button to make the correction.

Corrected Image

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Save a Correction

Press ALT or Option and click one of the C# buttons to save a correction.

Paste a Correction
Click one of the C# buttons to apply one of the saved corrections.

Save a Correction Effect to a Bin

Drag the correction icon to a Bin.

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Now you can drag a correction onto any video clip.

Delete a Correction
Enable the video Record Track with the clip. Disable all other Record Tracks. Place the Position Indicator over the clip.

Click the Toolbar RemoveEffect button.

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Chapter 14: Color Correction
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Chapter 15: Working with Video Filters
Add Video Filters
You can add video filters in two ways. 1. To apply a filter that has no parameters, click the FX tab in the Project window.

Click the Toolbar Effects Editing Toolset (EE) button.

Drag an effect from the Effects Palette onto a clip. To return to editing, click the Toolbar Source/Record (SE) button. Chapter 15: Working with Video Filters
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2. To apply a filter and set its parameters, click the Toolbar Effects Editing Toolset (EE) button.

Now drag an effect from the FX folder in the Project window onto a clip.

A Flare effect, for example.

Confirm the Edit Effect button is blue.

Set the filter’s parameters using the Effects Editor.

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Filter Keyframes
Not all filters support keyframes. Example: the Avid Resize filter creates 1920x1080 from 3840x2160 (4K2K). Enable the video Record Track with the clip. Disable all other Record Tracks. Expand the Effects Editor panel to show the keyframe area, as shown below. At the point where a pan begins, set-up the Position parameters and then click the Toolbar Keyframe button.

Scaling at 200 x 200 places a 1920x1080 window within 3840x2160 frame.

Move to the end of the point where a pan ends. After you set-up the Toolbar Position parameters, click the Toolbar Keyframe button.

Image halfway between keyframes.

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Modify a Filter
Click the Toolbar Effects Editing Toolset (EE) button. Enable the video Record Track with the clip. Disable all other Record Tracks. Single-click the clip with the filter to select it. Confirm the Edit Effect button is blue.

Modify filter parameters. To return to editing, click the Toolbar Source/Record (SE) button.

Delete a Filter
Click the Toolbar Effects Editing Toolset (EE) button. Enable the video track with the clip. Disable all other tracks. Single-click the clip with the filter to select it. Click the Toolbar RemoveEffect button.

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Chapter 16: Using Transitions
✔ Enable the video Record Track to receive a Transition: Dissolve, Dip-toColor, Fade-from-Color, Fade-to-Color, Film Dissolve, or Film Fade. ✔ Enable the audio Record Track(s) to receive a dissolve. Disable Record Tracks not to receive a dissolve. Place the Position Indicator at the cut point between two clips by: ♦ Drag or click the Position Indicator near a cut point. ♦ Clicking the Recorder Fast Forward button. ♦ Clicking the Recorder Rewind button. Click the Toolbar QuickTransition button.

Enter the transition desired: e.g., Dissolve. (Whichever you choose will become the default type.) Enter the transition Type: Centered on Cut. Enter its Duration. Click the Add button. Chapter 16: Using Transitions
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Replace a Transition
Place the Position Indicator at the transition point by: ♦ Dragging or clicking the Position Indicator near a cut point. ♦ Clicking the Recorder Fast Forward button. ♦ Clicking the Recorder Rewind button. Enable the Record Track with the clip. Disable all other Record Tracks. Click the Effects tab in the Project window. Click to open the Blend or Film folder. Drag the new effect you want onto the existing transition.

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Setting Transition Color
When you choose a Dip-to-Color, Fade-from-Color, or Fade-to-Color transition, the automatically chosen color will be black. To change this color: Place the Position Indicator at the transition point by: ♦ Drag or click the Position Indicator near a cut point. ♦ Clicking the Recorder Fast Forward button. ♦ Clicking the Recorder Rewind button. Enable the video Record Track with the clip. Disable all other video Record Tracks. Click the Toolbar Effects Edit (EE) button. Confirm the Edit Effect button is blue.

Click in the Color Box and select a color. Click OK.

Click the Toolbar Source/Record Editing (SE) button. Chapter 16: Using Transitions
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Remove a Transition
Place the Position Indicator over the transition. Enable the Record Track with the clip. Disable all other Record Tracks. Click the Toolbar Remove Effects button.

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Chapter 17: Working with Audio
Engage the caps lock and you will be able to hear (scrub) audio when using the left- and right-arrow keys or the Step Backward and Step Forward buttons.

Rubberband Audio Gain
1. Click the Keyframe Toggle to toggle it to blue. Now you will be able to adjust audio keyframes any time you want.

2. Enable only the audio Record Track(s) with clip(s) you want to adjust. 3. Disable all other Record Tracks. 4. Place the Position Indicator where you want a node. 5. Click the Timeline’s Focus button to magnify the area.

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6. To create a node, set a keyframe by clicking the Toolbar Keyframe button. { press TAB }

7. To adjust audio to multiple levels within a clip, set additional nodes.

♦ Using the finger cursor, adjust clip gain by dragging a node up/down. ♦ Using the finger cursor, keyframes can be slid sidewise by dragging while holding down ALT or Option.

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♦ Using the finger cursor, keyframes can be selecting and then removed by pressing delete.

Three-band EQ Tool
Click the Toolbar AE button to use audio EQ tool.

1. Place Position Indicator over the clip to be adjusted. 2. Enable audio Record Track(s) with the clip(s) to EQ. 3. Disable all other audio Record Tracks. 4. Click Recorder MarkClip button. 5. Click on the EQ tool to set the EQ for a clip.

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6. Choose the channel to EQ.

7. Adjust EQ.

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8. Available presets.

9. Click the Audio LoopPlay button.

10. Adjust EQ parameters until the audio sounds correct. It may take several seconds for changes to become audible. ♦ Click Bypass to make before/after comparisons. ♦ Some audio effects must be rendered before you will hear them during playback. To render: ✔ Enable all audio Record Tracks with content—making sure they are all “monitored.” ✔ Disable all other Record Tracks. 11. Press the spacebar to stop play.

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12. Click the Audio EQ Tool’s Render button to render the effect.

13. Click the Toolbar Source/Record Toolset (SE) button to exit from the Audio Toolset.

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Chapter 18: Adding Titles
Create a Title
1. Place the Position Indicator over a video frame that best represents the video that will flow under the title. 2. Issue the Tool > Title Tool command.

3. Now create a title: ♦ The green V button in the Title Tool is pre-selected. Therefore, the title will be superimposed over video. If you do not want a title over video, click on the V button. ♦ Click the green T button within the Title Tool window. ♦ Click in the Title window about where you want the first letter of your title. ♦ Now enter the text. ♦ Drag through the title text. Chapter 18: Adding Titles
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♦ Select Font, for example “Copperplate.” ♦ Select Font Size, for example “72.” ♦ Select Justification (Left, Centered, or Right) using the Title Tool ♦ Select Style (Bold, Italic, or Both) ♦ Click on Fill Color Square to bring-up a color selector. Select the color for the text and click Close. ♦ Click on the Pointer button ♦ Use the Pointer tool to move the text-box exactly where you want it. To correct a spelling error, or change a title, click the green T button within the Title Tool window and drag through the text to highlight it. Now you can make the change.

➢ When you finish a title,

File > Save As, and enter its name.

➢ Chose the Bin into which the title will be placed. ➢ Click Save and wait for the title to be rendered. A title is considered an
“effect.”

➢ Close the Title Tool unless you have more titles to create. ➢ You will see your title in the current Bin.

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Place a Title in a Timeline
1. Enable the top video Record Track. 2. Disable all other Record Tracks. 3. Monitor the top video track. 4. Mark-in { press i } and a Mark-out { press o } to define a segment in the Timeline where the title should be placed. A highlighted segment will appear in the top video track. 5. Click the Lift/Overwrite Smart Tool.

4. Drag the title—which will be represented by a white box—from the Bin to between the In- and Out-marks.

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5. Release the drag and the title will be placed.

6. Click the Recorder Clear Both Marks button.

Modify a Title
To modify a title, issue the Tool > Title Tool command and drag the title to be modified from its Bin into the title window.

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Fade-in a Title
Enable the Record Track with the title you want to fade-in. Disable all other Record Tracks. Place the Position Indicator at the spot where the fade-in should be completed Click the Toolbar Fade-up button.

Fade-out a Title
Enable the Record Track with the title you want to fade-in. Disable all other Record Tracks. Place the Position Indicator at the spot where the fade-in should be completed Click the Toolbar Fade-down button.

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Remove a Fade-in or Fade-out
Enable the Record Track with the title. Disable all other Record Tracks. Place the Position Indicator over the fade-in or fade-out.

Click the Toolbar Remove Effects button.

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Chapter 19: Export to File
QuickTime DNxHD Export
1. Select the Timeline. 2. Set In- and Out-points appropriately in the Timeline. 3. Select only Record Tracks with content—making sure the top-most video track is “monitored.”

4. Issue File > Export… that will bring-up the Export As… dialog box. 5. Set Export Settings to: Send To QT Movie.

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6. Click the Options… button.

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7. Confirm Export As: QuickTime Movie. 8. Select both Use Markers and Use Enabled Tracks. 9. Select Video and Audio. 10. Select the Audio Format tab and select Stereo. 11. Select the Video Format tab. 12. Confirm 1280 x 720 or 1920x1080. 13. Select Size to Fit. 14. Select 601/709. 15. Select 16:9 square pixel (…). 16. Check Create Preview. 17. Click the Format Options… button. 18. Select the codec using Video Settings….

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19. Make the codec settings you desire. 20. Click OK. 21. Set Size… as appropriate.

22. Click OK.

23. Confirm Sound… settings are as shown above. 24. Click OK to close the Movies Settings box. Chapter 19: Export to File
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25. Click Save to close the Export Settings box. 26. Name your movie.

27. Click Save.

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SD QuickTime Codec Export
1. Select the Timeline. 2. Set In- and Out-points appropriately in the Timeline. 3. Select only Record Tracks with content—making sure the top-most video track is “monitored.”

4. Issue File > Export… that will bring-up the Export As… dialog box. 5. Set Export Settings to: Send to QT Movie.

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6. Click the Options… button.

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7. Confirm Export As: QuickTime Movie. 8. Select both Use Markers and Use Enabled Tracks. 9. Select Video and Audio. 10. Select the Audio Format tab and select Stereo. 11. Select the Video Format tab. 12. Confirm 720 x 480. 13. Select Size to Fit. 14. Select 601/709. 15. For interlace DV25 or DV50, select Even (Lower Field First). 16. Select Native dimensions (720 x 480). 17. Check Create Preview. 18. Click the Format Options… button. 19. Select the codec using Video Settings….

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20. Make the codec settings you desire. 21. Click OK.

22. Confirm Sound… settings are as shown above. 23. Click OK to close the Movies Settings box. 24. Click Save to close the Export Settings box.

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25. Name your movie.

26. Click Save.

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Appendix A: Composer Settings
Choose the Settings tab in the Project window. Double-click Bin settings, define as shown.

Double-click Composer settings, define as shown below:

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Double-click Effect Editor settings, define as shown below:

Double-click General settings, define as shown below:

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Double-click Media Creation settings or issue the Tools > Media Creation command.

1080p25 and 1080i50 Options

Options for 720p50, 1080p23.976, and 1080p24: DNxHD 175 MXF. You can select the next lower DNxHD resolution to save space.

720p60 and 1080i60 Options

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Appendix A: Composer Settings
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Double-click Timeline settings and then under the Display tab, define as shown below:

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Next, under the Edit tab, define as shown below: Double-click Trim settings. Under the Features tab, define as below.

Issue the Tools > Locators command. Click on the Locator’s FAST menu and set as shown: Disable Locator Popup when Adding.

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Toolbar Setup
Issue Tools > Command Palette and modify the Toolbars so they appear as shown below. Click on a Command Palette button and hold the mouse button down as you drag to a Toolbar button.

Make your Toolbar look the one below. (DT may, during editing, become De.)

Left Half

Right Half Modify Toolbar MakeSubclip button by dragging the Option Button over this button (red) after it is in the Toolbar.

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Switch from the green circled “Button to Button Reassignment” to the bluecircled “Menu to Button Reassignment.” Click on a Command Palette button. The cursor becomes a white square. Click the cursor on the desired menu item. ♦ Edit > Deselect—All Tracks ♦ Edit > Undo ♦ Edit > Redo

Keyboard Setup
Choose the Settings tab in the Project window. Double-click Keyboard settings. Issue Tools > Command Palette and modify the keyboard so it appears as shown below. Click on a Command Palette button and hold the mouse button down as you drag to a key.

When you are in Color Correction mode, use the [ or ] keys to move frameby-frame left or right, respectively.

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Creating Toolsets
When a project is opened, multiple windows will open. Single-click the automatically created Bin to open it.

Source Edit Toolset Setup
Arrange the Project, Composer, Bin, and Timeline windows as shown below.

Source/Record Edit Arrangement for 16:9 Video

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When you need to edit 4:3 video, change two aspects of the arrangement: 1. Right-click in either monitor and set the Composer aspect-ratio to 4:3 as shown below.

2. Vertically expand the Timeline to fit under the Composer. To return to a 16:9 arrangement, right-click in either monitor and set the Composer aspect-ratio to 16:9 as shown below.

Vertically compress the Timeline to fit under the Composer. Appendix A: Composer Settings
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Issue Toolset > Save Current to preserve this window arrangement. To return the Toolbar Source/Record arrangement, click the SE button.

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Effects Edit Toolset Setup
Issue Toolset > Effects Edit. Click the Effects tab in the Project window and then size and position it as shown below. Then size and arrange the Effects Editor, Composer, Bin, and Timeline windows as shown below. Click the Edit Effect button.

The Effects Edit Arrangement

Issue Toolset > Save Current to preserve this window arrangement. To return the Source/Record arrangement, click the Toolbar SE button.

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The first time you use the EE arrangement, the EE button should auto-select. If it does not, click it.

Effects that work with keyframes utilize an area to the right of the standard Effects Editor panel to display keyframes. If an effect can use keyframes, drag the edge of the Effects Editor to cover the Source monitor.

Issue Toolset > Save Current to preserve this window arrangement. To return the Source/Record arrangement, click the Toolbar SE button.

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Audio EQ Toolset Setup
Issue Toolset > Audio Editing. Size and arrange the Project, Audio EQ Tool, Composer, Bin, and Timeline windows as shown below.

The Audio EQ Arrangement

Issue Toolset > Save Current to preserve this window arrangement. To return to the Source/Record arrangement, click the Toolbar SE button.

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When working with 4:3 video, you can add the Audio Mixer

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Color Correction Toolset Setup
Issue Toolset > Color Correction. Size and arrange the Color correction Display, Project, Color Correction panel, and Timeline windows as shown below.

The Color Correction Arrangement

Issue Toolset > Save Current to preserve this window arrangement. To return to the Source/Record arrangement, click the Toolbar SE button.

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Appendix B: Timeline Settings
Click the Timeline Fast menu (hamburger-icon) button and enable these Timeline settings:

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Check Clip Gain and optionally, Waveform

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New Sequence Timelines in this Project will have these properties. The lower portion of the FAST menu can be used to quickly control the Timeline.

Right-click in the Timeline and select New Video Track as needed. Right-click in the Timeline and select New Audio Track as needed. ♦ To pre-define the number and type of tracks that will appear in all new Timelines, click the Settings tab in the Project window and double-click Timeline. Now click the Edit tab and specify the number of video and audio tracks. Click OK.

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At the bottom of the Timeline there is an “untitled” zone in which you should now click and hold.

The first time you do this, click Save As, type Timeline, and press enter.

Now the current Timeline uses the Timeline settings.

For subsequent Sequences, including those created in a new Project, simply choose Timeline to use these settings.

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Appendix C: SD Settings
Media Creation Settings
Choose the Settings tab in the Project window. Double-click Media Creation settings or issue the Tools > Media Creation command.

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When Importing DV files

When Importing non-DV files

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Author

Steve Mullen Ph.D. has over 45 years experience working with high technology. For over a decade he was a Contributing Editor for Video Systems magazine. He has also written for the Adobe Premiere Newsletter, A/V Video, Camcorder, DV, Etown.com, millimeter, The Perfect Vision, Video Pro, and Video Review. He now writes for Broadcast Engineering. Steve taught digital video production at Rutgers University and Electronic Cinematography at the University of the Arts. And, at Harvestworks in NYC, he taught Media 100 editing. For two decades, Digital Video Consulting has provided consulting services, training, and seminars on digital video production. He has written a number of Digital Production Guides, including imMEDIAte 100 for the Media 100, the Premiere Primer (Adobe Premiere), Express Xpress DV (Avid), and the highly successful Panasonic AG-DVX100A Production Guide. Steve’s Switcher’s Quick Guide to the Avid Media Composer joins his other very successful eBooks: The Ins and Outs of iMovie 11, Shoot Great Video with Sony NEX Cameras, The Ins and Outs of iMovie 09, The Ins and Outs of iMovie 08, the JVC ProHD Handbook, the JVC GY-HD100 Handbook, the JVC GZ-HD7 Handbook, the Sony HVR-V1 and HDR-FX7 Handbook, and the Sony HVR-Z1 and HDR-FX1 Handbook. http://home.mindspring.com/~d-v-c

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