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Media Composer video editing software is the industry’s best video editor and finishing software for movie, TV, and indie production. Get the details now. Avid Media Composer 6.x Cookbook. By Benjamin Hershleder. FREE Avid Media Composer has become the tool of choice by editing professionals worldwide. Avid Media Composer 6.x Cookbook: Computer Science Books eBook is available now and can be read on any device with the free Kindle app.

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Avid Media Composer 6. Released: June 13, Added: June 13, Visits: Released: June 22, Added: June 22, Visits: Released: December 12, Added: December 12, Visits: Released: November 03, Added: November 03, Visits: Released: September 18, Added: September 18, Visits: Released: August 19, Added: August 19, Visits: Added: October 17, Visits: Added: July 28, Visits: Released: December 08, Added: December 08, Visits: Released: October 13, Added: October 13, Visits: Released: December 22, Added: December 22, Visits: Belle Nuit Subtitler 1.

Released: August 12, Added: August 12, Visits: EditCodes 2. Released: July 16, Added: July 16, Visits: Released: May 01, Added: May 28, Visits: Media Composer 6: What’s New 1. Released: December 24, Added: December 24, Visits: Added: November 19, Visits: Added: November 14, Visits: Pro Media Tools 1. Added: August 28, Visits: MTS Converter 4. Released: April 24, Added: August 18, Visits: 2. Windows Software. BeOS Software. Macintosh Software. Linux Software. Released: December 08, Added: December 08, Visits: Released: October 13, Added: October 13, Visits: Released: December 22, Added: December 22, Visits: Belle Nuit Subtitler 1.

Media Press Plugins. Media Url Finder. Rss Script Show Media. Media Library WordPress. Media Center Software For Xp. Associated Press News Media Guild. Home Media Server Software. Zen V Series Media Explorer. This sequence is now linked to the Transcoded clips.

If you load the sequence into the Timeline , you’ll see that the clip names will also have the. Before consolidating a sequence, it is very highly recommended that you perform a small test of the process on an unimportant sequence to familiarize yourself with additional options and results. The steps of this recipe focus on only one specific result.

Consolidating a sequence or subclips simply means you’ll be making copies of only the portions of media files that are being referred to by your sequence or by the subclips. Essentially, Media Composer will take each shot used in the sequence, or each subclip, and make a brand new Master Clip for it. You’ll have the option to add handles. Handles are helpful in case, after Consolidating, you need to do some trimming within a sequence or need to add a transition effect like a dissolve.

You’ll also have the option to delete the original media after the Consolidate copy process is completed. Deleting the original source media would be helpful with a sequence if you had completed all of your editing and wanted to save drive space, or with subclips, if before you began editing you only wanted to keep portions of Master Clips. On the other hand, one use of not deleting the original media would be if you wanted to give a coworker a copy of your sequence or a portion of a clip to work with.

Before consolidating a sequence, it is always a very smart idea to make a backup copy of the sequence and place it into its own well-labeled bin for example, My Movie Before Consolidate.

This extra version will not only protect you in case you make an error, but will help keep your project organized for future reference not to mention bring you additional peace of mind. In the upper left-hand corner of the window, select Consolidate. In the Handle Length entry box, enter the number of frames you want added to the head and tail of each new Master Clip.

If you are Consolidating a sequence, be sure to select the Create new sequence check box. Even though I suggested earlier that you make a backup copy manually prior to the consolidate process, this provides an additional layer of protection.

For the Delete original media files when done choice, my instruction here will be to not select this check box. In other words, I am instructing you to not delete the original media files after Media Composer has completed making copies of just the portions of media that are being used by your sequence or subclips.

If you do indeed want to delete the original media, then you would select this option. Click on the Consolidate button at the bottom of the window. Master Clips that have the extension. The duration of each Master Clip will be only whatever it is in the sequence or subclip, plus the added duration of the handles. A new sequence with the addition of. Consolidated at the end. This sequence is linked to the. In the case of subclips, Media Composer creates new Master Clips that are the total duration including handles as well the as new subclips that are the duration of the original subclips.

Before Transcoding a sequence, it is recommended that you carry out a small test of the process to familiarize yourself with additional options and results. These additional options include, but are not limited to, Debayer settings found in the Media Creation settings for RED footage, which also need to be configured. The steps that follow focus on only one specific result. Some formats cannot be Consolidated copied using their original codec, and Media Composer will alert you that they will also need to have their codec also known as resolution changed during the copy process.

Transcoding a sequence simply means that you’ll be making copies of only the portions of the media files that are being referred to by your sequence. Essentially, Media Composer will take each shot used in the sequence and make a brand new Master Clip for it. Further, as it generates new media files, it will also be changing the media files’ codec. Unlike Consolidating, Transcoding does not offer the option to delete the original media files after it has completed the Transcoding process.

Before Transcoding a sequence, it is a very wise idea to first make a backup copy and place it in its own well-labeled bin for example, My Movie Before Transcode.

This extra version protects you in case you make an error, and will help to keep your project organized for future reference. First, review the information presented earlier in this chapter, in the Transcoding AMA Master Clips before beginning to edit recipe. In the Project Window select the Format tab. New clips created through the Transcode operation are in the project format. When you transcode a clip across formats, for example if you transcode a clip in a project, the Reformat bin setting determines how the clip is conformed to the new format.

For details on the Reformat option, see the Getting the AMA file’s image to display as desired recipe. Be sure to select the Create new sequence check box. Even though I suggested earlier that you make a backup copy manually prior to the Transcode process, this provides an additional layer of protection. Click on the Transcode button at the bottom of the window. The duration of each clip will be whatever it is in the sequence plus the added duration of the handles. Transcoded at the end.

We’re often given still images in formats such as. Further, there will be instances when you’ll need to import a QuickTime file rather than AMA link to it. For example, you’ve been given a motion graphic that contains an Alpha Channel transparency information that is meant to be composited on top of video. AMA linking will not recognize the Alpha Channel, so you must import it. See Avid Media Composer Help for additional information. The search term is BWF. What does Avid Media Composer mean when it uses the term Import?

In Media Composer, Import means that new media is created during the import process. The format of the media created is dictated by the settings in your Project Window’s Format tab. The resolution is dictated in your Media Creation settings.

For comparison, Adobe After Effects also uses the term import, except that in its case it is only pointing linking to the file rather than making new media as Media Composer does. If you want to animate within a still image often referred to as The Ken Burns Effect , you will most likely not want to import the image since that restricts the image size to that of your current format, which would mean having to scale the image up in order to pan and tilt across it.

Scaling up reduces the quality of the image. You may also want to investigate other plug-ins available for this effect from the Marketplace menu. Organize your files. Some suggestions are in the A strategy for Project organization at the desktop level recipe, earlier in this chapter. Project Window Format tab. Open the Media Creation settings using any of these methods:.

Tools menu Media Creation. Project Window Settings tab, and then double-click on Media Creation. In the Media Creation window select the Import tab. Click on OK to close the Media Creation window. In the Import Settings window, click on the Image tab. In the Image tab, you’ll select the appropriate options for your situation.

A brief explanation of these options is in the There’s more… section that follows this recipe of steps. Click on the OK button to close the Import Settings window. Method 1: Drag the file s from their location on a drive directly into a bin. All the settings you previously set will dictate how the media will be created and on which drive the media will be stored.

Once you drop the files into the bin, both the Master Clips and media will be created. Layered Photoshop files will open an additional dialog window. Those options are discussed after the There’s more… section that follows this recipe.

Method 2: Select an open bin. Then, either right-click within the bin and select Import from the Contextual menu or go to the File menu and select Import. Be aware that when using Method 2, note that in the Select Files To Import window you will have the ability to do the following:. Click on the Options button to access the Import Settings. In the Select Files To Import window, navigate to the file s you want to import. The Import Settings window can be a bit confusing, so let’s go over the options in the Image tab.

This selection relates to how the image will be scaled during the import:. Image sized for current format : This means that the file is the same frame size as the video format you are using. In other words:. On the other hand, if your project is DV and your graphic is x , then Media Composer will remove crop the extra six lines. By either padding or cropping, it means that your image will not be subtly distorted. Do not resize smaller images : Images smaller than your video format will not be resized and will appear in the center of the frame.

Images with an Alpha channel will have a transparent area surrounding them while those without will have black surrounding them. Resize image to fit format raster : Whether larger or smaller, the image will be scaled to fit within your video format’s size. If your image is longer horizontally, then it will be scaled until it reaches the left and right edges of the frame. If your image is longer vertically, then it will be scaled until it reaches the top and bottom edges of the frame.

Any remaining areas will be filled with black. Note that if your release of Media Composer is not allowing this to work within a 16 x 9 SD project, the workaround is to switch to an HD format, import, and then switch back. This section relates to how the luminance brightness and the chrominance will be interpreted during the import:.

Selecting this option tells Media Composer to adjust the image during the import so it fits properly into the broadcast levels. Specifically, the darkest value in the graphic is mapped to the level of video black for your video format and the brightest value is mapped to the level of video white. All other values are adjusted proportionately. If the file has fine gradients and you notice there is banding in the final imported image, try this.

The extra operation it performs adds some noise dithering that may help to reduce or hide the banding. For files created in other applications, such as Photoshop or After Effects, this will be infrequent. The following are the additional selections within the Import dialog window:.

Frame Import Duration : When you import a still image, you can tell Media Composer how long you’d like the duration of the Master Clip to be. Media Composer will only create a frame or two which Avid calls a Slide of actual media, so you can set any duration you like without worrying that the media will take up a lot of drive space. This simply instructs Media Composer to refer to the “slide” over and over again for the duration that you specify.

Autodetect Sequentially-Numbered Files : Choose this option if you are given a folder containing many files where each represents one frame for example, of an animation. They’ll be numbered in order sequentially. During import you would select only the first file in the folder not all the files. Media Composer will then automatically look for file number two, then file number three, and so on autodetection.

When the import is completed, Media Composer will have assembled all the files frames into one single Master Clip. Be sure to leave this option deselected if you are not importing sequentially-numbered files for the purpose of assembling them into a single Master Clip upon import.

Field Ordering in File : This is not to be confused with Field Dominance ; these options only apply to interlaced video formats.

If your video format is progressive, these options will not be displayed. Before you can know what to select here, it’s pretty helpful to know what the native field order is for different video formats:. With that knowledge, the details on the Field Order import selections, which follow, will be more useful:. Ordered for current format : Use this for still images without fields, and for importing still images and video files with fields that match the field order of your video format.

Odd Upper Field First : Choose this option if there is a mismatch between the graphic file’s field order and the video format of your project. Specifically, the file is a format with Odd field order and the project’s video format has Even field order. Even Lower Field First : Choose this option if there is a mismatch between the graphic file’s field order and the video format of your project.

Specifically, the file is a format with Even field order and the project’s video format has Odd field order. Alpha Channel : The Alpha Channel is grayscale and is used to define the opaque and transparent areas. This takes the grayscale Alpha Channel information in the file and inverts it to conform to how Avid Media Composer likes it black is opaque.

Ignore : The Alpha Channel information is discarded during import, and the file that is created will be opaque rather than a Real Time Matte Key. When you import a Photoshop file with two or more layers, Media Composer will give you an additional dialog window with the following options:.

It also assembles each Master Clip layer into a completed sequence just as in the Photoshop file. If you have applied Layer Styles, you’ll want to first duplicate your Photoshop file as a backup version. Then, within that duplicate, you will need to merge all the layer effects into the layers themselves before importing into Media Composer. Flattened Image : All the layers in the graphic file are married together into one single Master Clip. Select Layers : This feature allows you to choose just the layers you want from the file.

Each layer will become a separate Master Clip. Naming the layers in your graphic file will be very helpful if you plan to use this option. If your file also contains audio, then the Adjusting audio levels before editing , Adjusting audio pan settings before editing and Setting stereo-audio tracks recipes may be helpful.

There are a couple different methods to import audio files or files containing audio , which I’ll cover here. Check out the sections that follow for some additional audio tips and settings. Organize your files before importing. Some suggestions are in the A strategy for project organization at the desktop level recipe. Go to the Media Creation settings using any of these methods:.

From the Drive menu set a destination for the imported media. This is an optional step: adjust Import Settings as discussed in the Adjusting audio levels before editing , Adjusting audio pan settings before editing , and Setting stereo-audio tracks recipes. Then, either right-click and select Import from the Contextual menu or go to the File menu and select Import. When using Method 2 note that in the Select Files To Import window, you have the ability to do the following:.

Click on the Open button. The Adjusting audio levels before editing , Adjusting audio pan settings before editing , and Setting stereo-audio tracks recipes. There will be times when a Master Clip’s audio levels are too loud as is very often the case with imported audio or too low, and you want to adjust the level setting before playing it in the Source Window or editing it into your sequence.

There are three methods available. The steps that follow present one method, and the other two can be found in the There’s more None of the methods make any changes to the actual media file s. Each method just applies a setting for the Master Clip that can be adjusted at any time, including in the sequence. Clip menu Apply Gain. The following are two additional methods to adjust audio levels before editing clips into the sequence:. This is particularly helpful when importing music and sound effects, as they generally come in very loud.

I find that adjusting to a level of is a good starting point, as it can always be adjusted later:. If you want this setting to be applied only to audio coming from a CD rather than from all the audio files, check the box that says CD Only. Now, when you import an audio file or a video file containing audio , this level setting will automatically be applied.

Open the Audio Mixer tool from the Tools menu. This is done by clicking on the Audio Mixer Mode button in the upper right-hand corner of the Audio Mixer tool. With the Source Window active, the level adjustment you make to the Master Clip using the Audio Mixer will be applied before you edit it into your sequence.

This is particularly helpful when you have a mono clip for example, a voice over or separate mics on each channel of a multitrack clip for example, an interviewer on channel one and the interview subject on channel two. In these instances, there’s no need to edit the audio onto two tracks to make it play out of both the left and right speakers channels. Instead you can set the clip to split the one signal out to both the left and right channel, so you only have to edit it onto one track.

This panning operation goes by several names center pan, mid, or mono , but it all means the same thing. One thing to be aware of is that when you center pan a clip, the audio level will be reduced by about 3 dB due to the nature of how Media Composer deals with how we perceive audio levels when panned called the Pan Law. So, depending on your situation, you may find that after setting a clip to mid you will need to increase the level by 3 dB in order to return it to its level prior to being center panned.

There are three methods available to center pan a clip depending on your needs. This recipe presents one method, and the other two can be found in the There’s more None of the methods make any alterations to the actual media file s. This is just a setting that is applied to the Master Clip that can be adjusted at any time, including in the sequence.

This method is a fast and simple way to adjust one or more clips in a bin to center pan. It’s also important to note that this method will affect all the tracks in a Master Clip. Go to the Clip menu and select Center Pan. The following are two additional methods to adjust audio pan before editing clips into the sequence:.

This method affects only one clip at a time:. This method only works if the source audio file is mono to begin with. Now, when you import an audio file or a video file containing mono audio , this pan setting will automatically be applied. In Avid Media Composer, you can have Master Clips that are interpreted by the software as mono, stereo, 5. Each type can only be edited onto matching tracks in your sequence.

For example, a stereo Master Clip can only be edited onto a stereo track. There are three methods available, depending on your situation and needs. The recipe will present one method and you’ll find two alternative methods in the There’s more Go to the Clip menu Modify You may also right-click on the selected clips and choose Modify From the pull-down menu select Set Multichannel Audio.

From the menu below the tracks, configure how you want the audio tracks to be interpreted by Media Composer for example, as stereo. The steps that follow indicate how to set tracks to stereo using Import Settings :. In the section labeled Multichannel Audio , click on the button labeled Edit. From the menu below the tracks, configure how you want the audio tracks to be interpreted by Media Composer.

Now, when you import the clips containing audio, they will automatically be configured as you set. Following are the steps to set tracks to stereo during the capture from tape:.

From the menu below Audio Track Selectors , configure how you want the audio tracks to be interpreted by Media Composer. Benjamin Hershleder Hershleder. He teaches as an adjunct professor at the American Film Institute in Los Angeles, at Avid Authorized Training Partner institutions, and also provides private, customized training to individuals and facilities. Hershleder is an award-winning Producer-Director and accomplished Editor. Benjamin is currently completing the follow-up to this film.

His background in post-production also includes editing the indie-feature film “Hollywood Capri”, two years as an editor for E! About this book Avid Media Composer has become the tool of choice by editing professionals worldwide.

Publication date: December Publisher Packt. Pages ISBN Chapter 1. A strategy for project organization at the desktop level. How to do it How it works Understanding Media Creation settings. Getting ready. Select Media Creation. Drive filtering and indexing.

Video resolution. Media type. Mixing frame rates. The bin will open in your Project and you can access the contents. There’s more Duplicating clips. Select the clips you want to Duplicate. Go to the Edit menu. Move the clips that you just created to the new bin. Cloning clips. Select the clips you want to Clone. Sequences will never be Cloned. Motion Adapters.

Tape capture tip: Adding Markers while Capturing. Begin the Capture from tape the red light is blinking. Adding notes in a marker during capture. Type your comment. The markers will be visible once the capture is finished and the bin is saved. Tape capture tip: Making Subclips while Capturing.

Begin capturing red light is blinking. Begin typing to name the Subclip, if you want to. Logging clips tip: Logging from the keyboard. Open or create a bin. Open the Tools menu Capture Tool. Log clips using the keyboard. Go to the Project Window. Click on the Settings tab. Go to the Tools menu. Select the Command Palette. Click on the tab labeled Play. See also. The Logging clips tip: Keeping the Capture Tool active after logging a clip recipe in this chapter Chapter 2 , Customizing Your Work Environment includes an additional discussion of keyboard mapping as well as interface and work environment customization.

Logging clips tip: Keeping the Capture Tool active after logging a clip. Note Even though the name of the setting refers to capturing, this works for logging as well that’s why it’s a bit of a hidden tip.