Colorado Vidoegraphers
ColoradoFilmVideo Assoc
Denver Vista TV

Online Video Magazines
      EventDV (*)
       DV.com

     DV Info.net
  
 VideoMaker Video News



Avid MC:
AVID MC Active Forum


Other Creative Cow Sites

 Business & Marketing
 Event Videographers
 Audio Professionals
 Indie Film & Documentary 
 Cinematography
 Broadcast Video

Check These Out:
Learning Center
Video University

Digital Juice
WEVA
4EverGroup

 
   
   
 
 
 
 
   
 
 



 

 

       

MC5 Editing - Editing  (read me first)   (editing refresher)

Overview | Basics | Media Mgt | Editing | Shortcut Keys | Workflow  | Backup  | Effects | Titles  | Audio | Encoding

Editing - Read me first
 
Basic Timeline Commands
     Zooming timeline keyboard
     Copy clip(s)
     Move clip(s) vertically
     Finding Clip's Properties
     Send clip to Source Viewer

Add More Shortcut Icons to Timeline
CLIPS / SEQUENCES
Properties of  a CLIP
(findng mxf name, oriiginal media name/location, etc.)
PreComputes (rendered files)  See Media Mgt tab  
AutoSequence DURATION - changing clip    
Brightness (see effects) Restoring OffLine Media    
Collaspe (Containers) Opacity on a Clip QT & Ref Files   
Consolidate/Transcode FILLER - dealing with this monster ReLinking Media Off Line  
    Snapshot/Photos/Freeze Frame  
  Locators
      Go To the NEXT  Previous

 
Create Subclip in SOURCE  
  Leaders    AMA, MXf, OMF
  Moving Group of Clips Vertically on tracks   AMA - Media Manager
  Match Frame Trimmer M2V/HD/SD/AVI/AVCHD 

 

Delete (previous or next [section]  ) from Edit Mix Downs  TimeWarp  (see EFFECTS tab) VOB file conversions
Delete effect and clip Nesting   Resolution 
  Nudging Slip/Slide  Unlink a Clip Timeline-Red/Yellow lines
      Interface Colors
      Settings
      Right (& my) Computer
Duplicate     Trouble Shooting
Exporting     Plug Ins
      FREEWARE Programs

 


Read Me First
- THIS SECTION IS EMERGING as I learn MC5. It gets re-arranged and added to all the time right now. Most of these pages and links are cut and pasted from other people's creativity that I read and want to remember for my personal editing growth.  I try to give credit when I can - but sometimes the cut and paste just doesn't get that done - so my apologies to all for missing credits. ( LINKS For ME TO LOOK AT  (I need to read these and see if and where the info best fits. This is for me - not the reader)

MC5 is definitely different in many editing features over MC4.  If you are a Liquid upgrader, I really recommend moving to MC5 right away.  And don't miss these tutorials - NEW - Media Composer 5 - Getting Started  & Intro to Smart Tool

As I develop a workflow, I will try to put the "workflow helpers" at the top - but this will be reflective of my workflow and not yours - so I don't know how helpful it will be.
 

 
 
 
 
 
Learn the MODES - MC5 Smart Tools changes this, but you edit in modes - Trim Mode, Segment Mode, Source/Record Mode, Effect Mode, Splice in, Overwrite, etc.,  and the mode you are focused in determines your editing options and context menus.  With Smart Tool on, things work a bit different - so it really is a learning experience for even seasoned MCers.
 
Some Basic Timeline Moves  (Smart Tool active - see Intro to Smart Tool)   <top>
Some Pretty Cool statements from the forum:
About moving or copying a range of the timeline, including the filler.
      Never having been much of a cowboy with a rope or a select and drag kinda guy I wonder if trying a simple mark In and 0ut with a duration you want to move, make sure the appropriate tracks are selected cut would not be a far faster method.

But, then you'd have the inherent problem that arises in FCP regarding Filler... which is you can't add effects to a blank layer that will affect all clips below it.  I spend much more time adding effects to Filler and using Filler as a clip than I ever spend selecting a bunch of clips and moving them left of right

In Avid, I tend not to add effects to filler, but rather collapse the clips and add a common effect to the collapsed container. The FCP equivalent is nesting, which I avoid there, because of its inherent problems.

I think you had an interesting idea about moving some but not all selected clips with Filler in between. Perhaps what you need is  a "segment move amount memory", similar to the Trim amount memory which sticks to the Enter key on both the Source and Composer side. (hitting Enter after using the numeric keypad will add or subtract the same amount until you use the keypad again) With something like that, used to remember segment moves, you would be able to achieve what you want pretty quickly I should think.

Whenever I use the Select Left/Right tools in Avid, I always make an Add Edit at the point of my Playhead, then Select Right will only select everything to the right as I've split any Fillers that may intersect the Playhead. 

 

 

 
       
 
       
Send Source clip from Source Monitor to Timeline 
    Splice In or Overwrite
Set IN / OUT for clip in source monitor  (T marks the whole clip)
Use red (overwrite) or yellow (splice in) icons in middle of Source/Record
                or
V to splice in  /  B to overwrite
 
Send Timeline clip to Source Monitor
     
You may want to do this if you need to relink audio or video to the timeline clip.
 
Get the Properties of a Clip (location, size )
     

 
DELETE a clip on the timeline
    Lift or Extract
SELECT CLIP on TIMELINE
T for Mark Clip
Z deletes it and leaves a gap (Lifts)  or X (eXtract) deletes it and closes the gap
 

Note:  using the "delete key" will give you strange results - you generally have to do it twice - just don't use it
 

MOVE a clip(s) on the timeline
     
SELECT CLIP(s) on TIMELINE
             shift allows multiple clips to be selected (clips turns blue) 
         or ALT + drag (lasso) to select multiple clips
 

SELECT CLIP(s) on TIMELINE
T for Mark Clip  
 


or CTRL + X deletes it and leaves a gap (Lifts) - and puts a copy in the clipboard
so that you can CTRL + V  (paste in overwrite) at playline

 

     
SELECT CLIP on TIMELINE
Drag it to where you want it (use CTRL to snap to a edit line)
(Yellow Extract/Splice In) shifts clips to the right, Red Lift/Overwrite overwrites and leaves original clips gap

 

PUT TIMELINE CLIP into SOURCE MONITOR
      use MATCH FRAME  -  backslash key  (/)
or

select clip (focus on clip), make sure clip's track is the only one active, use T to select in/outs of clip on timeline, ALT + C to copy (what's selected from in/out on active track) it to the source monitor.

 

MOVE clip(s) vertically on the timeline
    CTRL + ALT
Select Clip and drag,

 

 
       
 
       
 
       
 
       
       
 
       
 
       
 
       
Adding more shortcut Icons to Timeline
      Go to your settings tab, and choose Composer, then look for "Second Row of Buttons"  this puts it on the composer window.
     

 

RENAMING a CLIP on the TIMELINE
     
 

 

Some mappings I use

Set IN / Out to segment selection - T key
Clear IN / Out - shift T  or G (default) key
Select IN / Out area  - U key

Clear In  -  shift+I
Clear Out  - shift+O

Go to Beginning of IN/OUT -  Q
Go to END of IN/OUT - W
 

Go to PREVIOUS Edit  - Actually called fast forward and fast reverse
(I don't like GOTO NEXT and GOTO PREVIOUS EDIT cause it puts the edit in trim mode.

Go to PREVIOUS Locater - Pg Dn
Go to NEXT Locater -  Pg Up

Step Forward/Back 1 frame - left/right arrows  (default)
Step Forward/Back 10 frames -  shift + left/right arrows

 

 

       
INSERT a TRACK between Tracks 
      CTRL + ALT +y for video, CTRL + ALT + u for audio.

That is correct Walter, and that is by design, because depending on how your tracks are organized, you could wind up with a keyed image UNDER it's background instead of on top of it. What you can do is insert a new track wherever in the stack you want it. CTRL + ALT +y for video, CTRL + ALT + u for audio.

 

 

       
How to move large chunks of the time line (like T command in FCP)
    The absolute quickest way to accomplish what you ask in the Avid software is to splice in clip 5 with sync locks active. Now that the sequence has been "Rippled" for the duration of Clip 5, use Async-Trim to drag the clips back to the point you want the tracks on 3&4 to begin. To make it simpler, you can even place a mark in at the point you want 3&4 to begin and snap your trim to that.

Much faster than the way you describe. Getting to know the trim tool better will negate most of the need for the "Select Left (or Right)" feature. I use that as a workaround for the missing Async-Trim in FCP but that's all it really is.

 

    Link 190  Copying Part of the Timeline  
    The old tried and true method (before "fancy-schmansy" buttons to do it for you)

1) CMD+A (Select All Tracks)
2)  H (Add Edit)
3) F5 (Load Filler)
4) V (Insert) 

Another way to lift clips out of the timeline for relocation is to mark the range on the timeline with the desired tracks active and ALT + lift. This will lift the marked region out of the timeline, leaving filler, and load it into the source monitor. Then just edit it into it's new position.

Slight variation on some other excellent suggestions.

Turn on sync locks for all tracks (which I have on most of the time anyway). Add an edit to an empty track. Trim one side out as far as you want, or type in a number in the trim tool. Eg +100. 

 

AutoSequence
    Lke many, I rely on AutoSequence at the early stages of editing: preparing multi-camera shoots on a multi-track timeline that mimmicks the time-of-day in which all two, three, four+ cameras were rolling. The beauty of AutoSequence, of course, is that any starts and stops in any particular camera (for tape/disk changes or due to depleted batteries, etc.) get "filled in" with Filler. Then, one camera's AutoSequence can then be quickly positioned on a larger, master timeline and synced up quickly to other camera's Autosequences
Properties of A clip
     

When a clip is displayed in a BIN, you really can't find out where it is

 

 
     
LINK / UNLINK a CLIP
    Using a standard mouse, CMD+CTRL+SHIFT click the clip to get to unlink.

Using a multi-button mouse, CMD+SHIFT and right click the clip to select unlink.

If AVID only relinks with a correct tape name, how can the tape name be modified

Right click on the clip, choose "modify..." and then "set source".

 
     
 
     
 
     
Modify  DURATION of a title or multiple clips  (such as pictures, etc.)
    Titles are really long when you create them with Title Tool.

If you have the clip in the source monitor, set an IN  and then + key so you can add a duration - like 4.00 - 4 seconds and 0 frames. Then set an OUT.  Now you can send it to the timeline.

If you have a ton of clips that are 10 seconds and you want them 3 seconds when you get them to the timeline, it's best to do this in a BIN.  You have to be in the Bin's SCRIPT view.

Now if you are changing 100 clips on the timeline, you first have to get them into a BIN. Of course you want to put them back in the same order that they were on the timeline.   


***
Forum:  "Though, to tell the truth if I had 100x 10 second clips in a sequence that suddenly needed to have each one be 8 secs, I'd

  1. park at the head of the first clip in the Seq
  2. type +800 Enter on the number pad, this will jump your Playhead forward 8 secs
  3. Then hit the Tail button, (which can be mapped to your keyboard, ie, F3).  Now your clip will Extract (ripple edit)  from your Playhead to the end of the Clip.  *make sure you only have the Video track selected here).
  4. Hit Enter to have it jump forward 8 secs again
  5. Repeat #3 & 4 until done.

So you'd theoretically only be hitting two buttons (F3 and Enter on the number pad) and you'll make short work of this process.

***

 Tutorial - http://community.avid.com/forums/post/406138.aspx

 

 

 

COPY / MOVE a clip
PUT A CLIP(s) that is on the timeline in the SOURCE MONITOR
      SELECT CLIP  (this may activate all related clip tracks)
T for Mark Clip
ACTIVATE /DEACTIVATE any TRACKS (if you want/don't want audio)
ALT+C    (for copy to Source Monitor)

ALSO can use MATCH FRAME (/) - go to 1st frame head of clip, then MATCH FRAME, then a W to go to 

 

Bob, what you decribe works as long as you use the standard keyboard layout. The actual shortcut for copy-to-clipboard-and-load-into-source-monitor is ALT-CTRL-C. ALT-C works, as long as long as the copy-to-clipboard function is mapped there. With ALT-CTRL-C you are actually using the CTRL-C Windows default copy function together with ALT, forcing the copy to load in the source monitor.

Also, step 3 is not required, since the copied elements in the source monitor will have no marks, and the cursor will be parked at the beginning of the selection.

ALT-C only works if you have the copy-to-clipboard function mapped to the C-key (it is by default).

ALT-CTRL-C works, because it is basically usin

You can also select a clip with your overwrite tool and then ctrl+c. Then in your source monitor go to clipboard contents and the clip will be loaded there to be moved around.g default Windows CTRL-C (copy) behaviour, and the ALT key forces to copy to load into the source monitor.


 

PUT A CLIP(s) that is on the timeline in a bin  (say you have trimmed clips on the timeline and now you want those clips in a bin)
     
Yes. First with the original sequence in it's own bin, click on the fast (hamburger) menu and go to "set bin display...". Then in the next window, activate "show reference clips". Now, all the source clips in that sequence will be listed. Create a new bin and ALT drag them to the new bin - ALT dragging in this manner forces the system to make copies of the pointer files. YOU ARE NOT duplicating the media files when you do this, so don't worry about eating into your storage space when you do it.
 
      If you right-click in the Bin (with nothing selected) and choose Set Bin Display>Show Reference Clips it will show you all of the clips used and referenced by the Sequence.

When I do this, I usually like to put the Sequence into a Bin by itself to keep myself from getting confused among other clips/references.

You could take those reference clips (which are actual clips, they just are called "References" because the sequence is using them).  So order them the way you like, enter Script View, make your adjustments and then Create a New Sequence and edit them in. 

 

Get the Properties of a clip that is in the timeline
       
       
Change the opacity of a clip on the timeline
      You need to either add a superimpose effect from the effect pallette or, if you are already using an effect on that clip, most keyed effects have a "foreground" pane that can be adjusted for an Opacity change.

You can use a superimpose effect or 3 d warp  (in the blend section) to adjust opacity.

 

       
     
 
 
       
       
MC5 (ST on)  - MOVE (Extract) (meaning ripple after the )
      When you extract a clip - you can delete it (lift it) with no ripple by using the ST
      You can lift it with a ripple (by using the
       
       
       
       
MOVE CLIPS vertically up or down timeline
      CTRL + ALT
       
 
       
Track Height - Grow Shrink the track(s) heights    
      CTRL + K (shrink) and the CTRL + L (grow or (L)arger)

Alternately you can also hold down CTRL and float the cursor over the track indicator until it turns into a "doublemint double arrow" icon, then drag a track to a new height.

re: Waveform - if you use CTRL + ALT + L or K, you can enlarge and reduce only the size of the waveform without changing the size of the track itself.

Select All Tracks - CTRL + A selects All tracks and A turns them off  (still experimenting with this though). A faster and better way  is click+drag through the track heading name areas - whatever you drag over flips the selection from on or off.

Want all the tracks at same height except for one, and they are currently all over the place in size ?  Select all tracks,  then hold CTRL+K  untill all tracks shrink down, then CTRL+ L to enlarge them all to one size, then select the track you want larger and CTRL+L it.  It's faster than the explanation.

And you can set up workspaces in the project window that will control the track heights
 

 
       
Grow Shrink the timeline  (More Detail Less Detail)
      The standard is CTRL + [  (left brakcet)  and CTRL + ] (right bracket).

Or use the SCALE BAR in the lower toolbar, or the focus button in the lower toolbar (H key on keyboard) -  or reassign "focus"  to any key you like.

I liked the up and down arrow of Liquid, so I mapped that to MC5.

Open the command palette (tools menu), and choose "menu to button" mode. Choose a button or key cap, then, from the timeline toolbar fast (hamburger) menu choose "more detail" and "less detail". Don't forget to remap "step in" and "step out" from the FX tab somewhere else...those are the default functions of the up and down arrow keys in MC

 

 
Finding Gaps (this does not work)
      the S key will take you to the next gap whilst the A key will take you to the previous
 
Floating in and out marks.
       
 If you already have an in or an out marked on a clip or sequence, parking the position indicator on a mark and holding down ALT while dragging will drag the mark along with the position indicator.

 

 

DELETE Previous or Next from Playline (called Top or Tail).  You have laid out a bunch of clips, and you are editing them down to size. cutting frames from the tail (edit line to end of clip) or the top of the clip (edit line back to beginning of clip).
      MC5 - map top (or tail) button to a key.  I map "top" to shift + dn arrow and "tail" to shift + up arrow.

If I want to delete the tail end of the clip starting at the edit line, shift + up.  If I want to delete the top (from the playline back to the start of the clip), I use shift + dn arrow

Use the Top to extract footage from the start of the clip or segment to the position indicator. This action is equivalent to the T-R-X keyboard command sequence: Mark Clip, Mark Out, Extract. (could be TOX also)

Use the Tail to extract footage from the position indicator to the end of the clip or segment. This action is equivalent to the T-E-X keyboard command sequence: Mark Clip, Mark In, Extract.  (could be TIX also)
 

    Delete Next Clip


Once you have the clips on the timeline,  you go through the clip and decide to cut some frames off the front end.
     ?    Add Edit   ( which creates the cut )  (I still like the shift + up arrow to add edit (cut)
     T - Mark the Clip
     X - Extract marked clip
 

    Delete Previous Clip Once you have the clips on the timeline,  you go through the clip and decide to cut some frames off the front end.
     ?    Add Edit   ( which creates the cut )  (I still like the shift + up arrow to add edit (cut)
     left arrow - move 1 frame to left (to get back to prior clip)
     T - Mark the Clip
     X - Extract marked clip   (or Z if you don't want to Lift the clip and leave a blank area - why would you want that ?) 
 
    Tutorial  Go to Next/Previous Edit without entering the Trim Mode 
 
GOTO Previous EDIT - just moving backwardds on the timeline to the previous edit point
       
 
         
Snapping
      Instead of turning snapping on in the settings, I think you'll find it much more convenient to turn snapping temporarily on just by holding down cmd or ctrl. In my six years of Avid editing, I've actually never turned snapping on in the settings
    tutorial .Link 150  Controlling Clip Snapping 
Delete from the cursor to the next/previous edit buttons
       
 
Fit To Fill
     
      Link 192  Duplicate the Timeline Sequence
Link 168  Fit to Fill - Revisited 
     
       
       
     
       
       

Moving the edit line from One event to Next Event

       
       
       
       
       
 
LOCATORS  - Add a locater (marker) to the audio track of a video clip using the waveform to identify a peak.    <top>

Deselect the video tracks in your sequence and have only the audio track selected. Mark locators as you describe but you still won't be able to see them until you have stopped playing.

Another way to do this is to add a new empty video track and map the Add Edit command to your keyboard. Select only the empty video track. Play the song on the timeline and tap the Add Edit key on the beat. When you have gone through the track you will see all the marks in the empty video track. You can now snap to them and use them for I/O points.

The joy of doing it this way is that you can make endless adjustments to the I/O points by trimming the Add Edit marks.

BTW this doesn't have to be an empty video track but can be done on a master take. The empty track just preserves those points for you when you might want to make any further adjustments.


SIMPLE MARKERS

 

 

You can map the locators buttons above the timeline if you want.

You can access those also by right clicking on the windows.

Right clicking at the rec monitor (right window) will give you the command for the timeline (1).

Right clicking at the preview monitor (left window) will give you the Locators for the preview.

If you right click at the Locators window you will get many other settings for the Locators (2).

 

Snap to a Locator  -

Thought about classic 3 point editing as an option?

Match frame cutaway from timeline to source monitor Use "go to previous locator" or go to next locator" (for me mapped to F2 and F3) Mark in (not required if you dont have any IO's in the timeline) insert or overwrite edit.

This method takes me 4 keys keystrokes and in 1 second my cutaway is exactly where I decided to place it

Go to your composer settings and under the "FF/REW" tab, activate "stop at locators". Now the fast forward and rewind commands will snap to locators.

 

You can also add locators on the fly while capturing using the F3 through F12 keys.
 
Go To The NEXT (Previous)  Locator
      I use Pg Up /. Pg DN
Brightness of a Clip
      The Color Effect has simple brightness/contrast controls.  You could also use Color Correction mode to adjust brightness & contrast.

There's a sharpness effect in BCC; it's called Unsharp Mask. It uses edge masking derived from soft (unsharp) edges in an image.  The mask is used to apply an overshoot then undershoot on those edges, creating a new, fake sharpening effect.

In the days of analog TV we use to call the analog equivalent aperture correction.

 
 
 
       
 
 
       
Relinking Clips  (Offline Media)  <top>
      Have a clip on the timeline or in a bin that shows up as Offline Media ?

Right Click at the clips and choose batch import.
Choose only offline files from the popup dialog.
Find them and re import them.

 

Does anyone know if there is a way to automatically match all subclips in a sequence back to the master clips rather than doing the old match match for every clip ?

Does the following work ? Put a copy of the sequence in a bin, and also place all original master clips in that bin. Select all, and Relink, and choose to Relink the sequence to selected media.

OR

Not sure on the process of bringing in a sequence from Premiere, but the re-link process is fairly simple. This is how I do it:

1) Ctl+Shift+Right click your target media in the Avid bin. Select unlink. This will break any of the original connections.

2) Right click the same media and select relink. A menu will pop up and you will need to decide what process will work best for your relinking. Click OK and you're media should now be relinked to the new files, providing the old files are hidden away and can't be found by the Avid.

For AMA you have to select your AMA files, right click and select 'Relink AMA Clips.' Then you will have to point each file to the new one idividually.

As always, duplicate your sequences before testing with this sort of thing!

OR

Here's what I would do:

1) Duplicate your sequence and place it in it's own new bin, let's say 'Bin A'

2) Decompose the sequence in Bin A

3) Sort the decomposed clips by framerate

4) If you have any clips that are 24, then batch import those while in this project

5) Create a new project for the other framerates (ie. to import 23.98 you will need to be in a 23.98 project, likewise for 59.94)

6) Go into these projects and open Bin A by going File->Open Bin and navigating to the original project.

7) Select the clips that match the new projects framerate and batch import those. Repeat this part with the different projects and framerates.

8) Go back into your original project and open the sequence in Bin A. It may have to be modified to allow Avid to play the clips, but I don't think it will. If it does, just let Avid do it's thing.

Now your sequence should all be there, but be sure to import everything at as high a resolution as you need, otherwise you will have to go through this process again to hi rez the video.

Hope this helps!

 

 
 
 
       
 
 
       
Nudging a clip (moving a clip a few frames left or right) (like a slide) (called Trim Right, Trim Left) <top>
      Overwwrite Segment choose Clip,  period or comma moves `1 frame right or left

forward slash  M key  moves 10 frames right or left

    tutoiral Link78   Nudge Nudge!
 
 
 NUDGING -Slide a clip - not changing the length of a clip, but moving it forward or back on the timeline, thus shorting or lengthening the adjacent clips on each side.  <top>
         
      Here's how it apparently works. Enter trim mode displaying standard double roller. Hover the trim roller cursor on the side of the clip targeted for slip trim and double click. Double click again and you're in slide trim. While in slip mode, you can double click on the inside of the next adjacent clip to move the slip trim up or down the timeline. On MC 5.0.0 at home.
Slipping a clip  - not changing the length of a clip, but nudging the video a few frames within the clip one way or the other without changing it's position on the timeline.      <top>
     

1. After selecting the segments (choose appropriate trim roller and double click)

  • Click any roller in the Timeline, drag the selected material to the left or right, and release the mouse button.

  • or Use the numeric keypad to enter specific frame-count or timecode values, and press Enter.

  • or Use the trim keys or buttons to shift the selection by 1-frame or 10-frame (8-frame for 24p) increments.

  • or Use the J-K-L keys.

2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops. A red bracket at the transition indicates the limit. After completing the initial slide, you can perform another slide in the same direction.

3. When you finish, exit Slip mode or Slide mode by doing one of the following:

  • Click another transition for trimming.

  • or Click either the Source/Record Mode or the Effect Mode button.

  • or Click the Trim Mode button on the Tool palette.

  • or Press the Escape key.
 
         
 
Nesting  <top>
     -

Yes, that's exactly what the nesting process does, combine 2 or more effects to the same clip in any timeline. Pre-compute files are rendered effects. They could be effects that you created and applied to a clip, or they could be rendered title clips or rendered matte key clips.

And yes, the order of separately applied effects filters in a nested composition can be changed, as can the source clip vertical order, but be very careful doing this, because you could wind up with a lower 3rd text clip underneath the source image instead of on top of it, where it belongs.

 

COMBINING EFFECTS - NESTING:

There are essentially 3 basic methods to combine multiple effects on a single clip, known as nesting.

1) Use the up and down arrow keys on the lower left of the timeline toolbar to "step in" and "step out" of an existing effect to add a new one UNDERNEATH the existing one. This will result in the new effect being constrained by the original. For example, stepping into a PIP effect and doing color correction will result in ONLY the PIP being color corrected without affecting the rest of the image.

2) ALT dragging a new effect ON TOP of an existing one. The original effect will now be constrained by the new one, which will affect the entire frame. ALT dragging is the only way to combine effects on a motion clip. You cannot step into a motion clip or timewarp effect and place an effect underneath. As above, you can step in and out of effects combined in this manner.

3) Creating a multi-layer composition and using the "collapse" function. This will "sandwich" the multiple layers into a single layer "sub master" effect, which is very useful for clean, global transitions from a multi-layered effect to a single master clip, and vice versa. And, as above, you can still step in and out to reveal and work with the original layers.

Up to 24 layers of nesting are possible within a single clip.  

 

 
       
 
2D or o3D Realtime Filter - for manipulating image
      3D Warp (in the blend group)
 
       
 
 Properties of a Clip or Segment  - You have a clip or segment or time IN/Out marked on the timeline, and you want to know how long it is, where the original clip is, etc.
    in Timeline  - CTRL + I  (GET INFO) -  tells you what clips are on the timeline, the name of the clip, the location of the clip in the AvidMediaFolder file.  
      
    Also USE "FIND BIN"
      If in timeline, Find BIN will find the location in BINs of the current Sequence.

ALT+ FIND BIN - will go directly to the bin containing the selected clip.
       
    How much time does clip or segment use
       
    Name of .mfx file in AvidMediaManagement folder
      With Clip in timeline, load it to the source monitor using Match Frame ("/" key in my case)
"Find BIN" highlights that that file in a bin
"right click" Choose "Reveal File
 
     
       
 
       
 
       
 
       
 
       
 
       
 
       
 
       
 
       
 
       
 
       
 
       
 
 
       
 
 
       
 
 
       
 
 
       
 
 
       
 
Using the Trimmer <top>
     

 

Larry Rubin- PLAYING IN REAL TIME WHEN IN TRIM MODE:

Another very useful option when in the trim mode is the ability to play a clip from it's trim point in real time either forwards or backwards to adjust the trim position. Go into the "trim" section of your user settings and make sure "J-K-L play" is activated.

 

A Trimming Tip.

When you go to trim mode (I do it by lasso between the two clips) (1)

you trim the one clip less and the other more (4).

If you click first on the right window (3) and you go to trimmer you trim only the right clip (2).

The same happens for the left clip if you first click on the left window (2).

If you click at the middle of the 2 windows and then on the clips you are going back trimming both again (4).

Now if you click at the right window (3) (or the left) and you hold Alt before you trim, you are trimming the clip

and you are leaving a filler before the right click (5) (or after the left one).

 
 SD HDV M2T M2V AVI issues  <top>
    SD or HD  - Have an HDV project and  to add some SD DV material 4:3  ?
    The workflow I generally use for SD deliverables from an HD project is to export a QT same as source, native frame size/rate (I usually use QT ref, but I know AMA doesn't support that-so a full QT would be necessary) then import the QT into an SD project at 1:1, then use that porject for final export. Maintains the best quality (IMHO
 
      Look at HD Workflow - or I will move it here later

HDV is a low-cost prosumer format that lets you record HD video onto standard DV videocassettes. This is achieved through the use of interframe compression, where a given frame in the video stream can be composed of information from adjacent frames. Frames are grouped into a sequence called a “Group of Pictures,” or GOP. Long-GOP (also known as IPB encoding) refers to the structure of HDV media.

HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about 25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at 1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976.

In some 1080i formats on qualified systems, you can reduce the data rate of the video before compression by setting the video display (raster) to resize horizontally from 1920 x 1080 pixels to 1440 x 1080 pixels or to 1280 x 1080 pixels. In contrast, 720p projects use the standard HDV raster size of 1280 x 720. A special resolution, DNxHD-TR (for Thin Raster), improves the performance of 1080 HDV editing. This resolution matches the 1080i HDV raster size, reducing artifacts that would come from repeated compressions when rendering effects and graphics.

A basic workflow for an HDV project is as follows:

1. Select one of the following Avid project types depending on the format in which yourHDV camera records and the project types available for your input/output hardware:  720p/23.976 - 720p/25 - 720p/29.97 - 720p/50 - 720p/59.94

2. Click the Raster Dimension menu, and select the appropriate raster size.

3. Do one of the following: - Capture HDV material. - Import an HDV file. The media is brought in as one video track and two 48-kHz audio tracks.

4. Edit the material.

5. Select the sequence.

6. Output the sequence back to the HDV device using the Export to HDV Device dialog box. You can also export the file in other formats or use Windows Media 9 for export to a third-party HD-DVD authoring system, see “Exporting HDV as Windows Media” on page 1384.

 

since HDV is not native to Avid, many users have found that the workflow is much smoother and less prone to errors if immediately after ingesting the HDV material you transcode it to a DnX resolution and edit your project that way.

To send your edited HDV sequence back to an HDV device, you need to use a transport stream. You can use an existing transport stream or create a new one. To create a digital cut to go out to other devices, you need to first render and transcode the sequence.

You cannot render to an HDV resolution. However, you can render or transcode the HDV sequence to an HD compressed format

720p/29.97

DNxHD 75, DNxHD 110, DVCPro HD

 

720p/23.976 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD
   
   

 

 
      Hi Thomas

For SD I import AVCHD in to bin using Video resolution 25 420i MXF.

For HD I use Video resolution XDCAM35

If clip already in Bin, Transcode to 25 420i MXF

Allan

And by the way Thomas.

Your next step towards your DVD might be to export your final sequence to a (QuickTime Movie same as Source), and her you will run in to an AVID MC 5 buck preventing you from doing so.

To overcome that problem see: 

http://community.avid.com/forums/t/88962.aspx

 

Allan

 

 
       
M2V
      M2V is a mpeg2 file - Liquid creates this file when it captures from HD camera.  MC does not want to import

 

 

       
M2T
       
       
       
       
      Importing to an DNxHD codec, edit, render and send out a qt ref might be the preferred workflow
 
       

 

 

      Capture setting is the same as Standard DV. Open a seperate DV Project and capture your footage onto that. From there on you have many choices as to how to get that video into a HDV Project.

1 open the DV from inside the HDV project and Edit the footage to your timeline which will then be horizontally stretched. Then you can apply PIP or UpRez to correct the aspect ratio of the footages.  or

2 You can Convert Your footages to HDV in a converter like ProCOder or TMPG or Squeze and import that in to your HDV Project.  or

3 You can export QT from your DV bin and link to that with AMA.  or

4. Apply "Reformat Filter"  and 4:3 sidebars. 

       
       
     
 
      Isn't the HDV1080i codec (resolution) a native one inside MC4?

And to work with DNxHD 120 or 185 needs more resources.

Maintaining HDV throughout the course of a project has proved problematical for many users, with significant stability issues and crashes having been reported. Transcoding to DnX has proven to be a more reliable and stable workflow.  - Larry Rubin
 

    Importing Liquid M2V files  / M2T
     

I used HDVSplit to read in the file and then export it. This imported into MC5 without a problem

Use the latest ffmpeg or TMPGEnc Xpress 4  to convert it to dnxhd. And then "fast" import it to your avid. (tmpgenc will convert a *.m2v file to an uncompressed *.avi which can be exported via qt pro to an avid dv50 codec for 4:2:2 editing.)

Also - Another option is Cinematize.  I've used it to convert DVD video to Quicktime, and it works very well.  good luck,Carl

Also - http://www.erightsoft.com/SUPER.html  check out super it's free. i encode DVDs to huffyuv AVI to import into avid with it

Also - Look into a piece of Software called MPEG Streamclip. I believe (not 100% certain) it can convert those files of yours into the Quicktime of your choice. It's free software, so you can't beat the price! Lots of luck

 I have tried removing the wrapper using TSMuxer and changing the format  from .M2v to .m2t or .ts, but MC still doesn't like it.   Forum Post to read  And Another

Rename the .TOV extension to m2t and dragged it into Squeeze, then exporte to a DNxHD 145.  Remember to use rgb for export, you might test what works best when importing into Media Composer,  601/709 or Rgb.

 

 

         
    What about AVI files - I have DV AVI files that I want in MC5.
       
      You can convert the raw DV files to Avid Complient QT files which will fast import into MC, but why do that.  There is a simple way - on a PC with MC5, link native dv-avi files without conversion or renaming, with AMA.

Open the bin you want the link to appear in, and then right click in an empty space in the bin and select "Link to AMA file" from the context menu.  You will see a file open dialouge box appear, fairly similar to what we were used to when we did an import in Liquid.
 
    HD vs SD issues - Adjusting aspect ratio for DV and HDV or AVCHD on the same timeline
       
      This goes with Mixing HD and SD on the same timeline.  I notice that Douglas advices to downconvert HD to an SD timeliine.  Haven't read much more on this in Liquid it was the opposite.  So I need to research this a bit.

starting to keep track here

Link to Forum:  You cannot do that in MC. I think the best result would be to flip your project to HD, do the blow-up there, then switch back to SD. Otherwise, the resize happens _after_ the downconversion to SD. If you have Boris BCC installed, look for the BCC UpRez effect, a pretty good rescaler, with several sharpening/smoothing algorithms.
 

       

 

DELETE A CLIP and it's EFFECT at same time
  CTRL-X. Or CMD-X (Mac). It's called Power Delete.
 
Displaying a Clips Properties
  Displaying a clip's properties and bin location can be very helpful when you run into issues. Some of the properties can be displayed on the clip in the timeline by using the timeline Hamburger icon and checking CLIP TEXT TwirlDown.

The quickest way to get to the properties of a clip on the timeline is to place the clip in the source monitor (Highlight it and CTRL+ALT + C)  OR  BETTE YET,  place the playline in the clip and MATCH FRAME  (I use the forward slash key "/"  and then choose FIND BIN - I use the Shift + forward slash "/" key.  Takes you right to the bin that that clip is located and highlights the file.

 
Match Frame   (/  forward slash key) with Find BIN  (shift + /)     <top>
Match framing is one of the most powerful and time saving tools in the Avid tool shed. It's the easiest way to reload a particular clip in the source monitor without hunting through bins and it's the easiest way to re-establish sound sync when necessary. Also, check out "reverse match frame". Map it to your source monitor, and if the clip in the source monitor is used in the sequence, it will park the position indicator on that clip in your timeline.

A note about clip colors. The color bright red is reserved to indicate offline status. It's a good idea to save a custom timeline view with offline color active. This will allow you to see at a glance whether or not you have offline issues in your timeline. For more complex longer timelines with a lot a short cuts, you may need to magnify the timeline to see those offline indicators.

 
A very strong yet simple (command) button you have to map above your timeline is Match Frame.

Wherever you park your position indicator click Match Frame and it will find the exact frame at the clip you are on.

Instead of searching among hundreds or so clips to find something just use Match Frame.

 

 

Trouble Shooting
    MC LAGS - Forum Post
   (Rubin) Like I said prior though, I don't think the issue is the Analog or DX hardware. Disconnecting it is not gonna help.  Try loading your sequence into the source side and dropping the whole thing into a fresh sequence.  Try putting that fresh sequence in a fresh bin.  Is this a project brought up from a pre-MC 5 version of Avid?  If so, perhaps starting a fresh MC 5 project and moving your bins to it.  Try deleting the .avs file from your project.

Try setting your playlength to 1 or 2... that helped me on a PC system I was using a while back.  - wow, the play length button made a huge difference. No lag at all when its on.   However, in older versions, we could change the playlength by going to the console window and typing (without the quotes) "playlength2" which would cue up one minute before and one minute after the position bar's current position. "Playlength0" restores the timeline to normal function.

 

    Controls Grayed Out
  things to check - What frame rate is the master clip and what frame rate is the project?

On clips with "grouped" audio selection in the capture tool (creating a single stereo track) features such as freeze frame, export, and traditional motion effects, where unavailable. Doing a video mixdown, or re-capturing where the work arounds. Hope this gets acknowledged as a bug and addressed in future releases.

Are you using user settings brought forward from MC4, or are they clean ones created with MC5?

 

   
    Resetting Site Settings
   Try rebuilding your site settings files, they may have become corrupted. Quit the application, and from the settings folder C:\Documents and Settings\All Users\Shared Documents\Avid Media Composer\Settings, delete the following: MC State, Site_Settings.AVS, Site_Attributes.
    Empty Layers on Timeline
  Getting to the point - I recently found out from Avid that any blank layers (filler layers) below effects will multiple the memory usage of that particular effect. Meaning, every blank layer directly below an effect will basically mirror the effect above it (in memory).

Not totally believing that it would make that big of a difference, I tried it out. I took a sequence that was 130,000k and moved all of my graphic supers, titles, etc., down so they were sitting just above the picture. No extra filler layers between. (Note, I didn't remove any effects, just moved them). My sequence was now 70,000k. A huge difference. That same bin now opens faster and takes up less memory on opening.

 
     
   
 

What is the best method to adding subtitles in MC5?

  Look under FX>Generator>SubCap. Drop it on a clean track, cut it up and simply copy and paste the titles where you want them. All titles can be modified and changed at the same time without re-doing them. Great tool for subtitles. Read more  by pressing F1
 
 
 
 
         
       
 
Pre-Computes (Rendered files)  (forum link)      <top>
The Render files are known as "Pre-Computes" in Avid and they are stored to whichever drive that you select when you render or wherever you have set your Media Creation settings "Render" tab set to. 

You need to manually clean up (they don't auto delete because if you hit Undo it goes back to the previously rendered state. 

You use the Media Tool to clean up Pre-Computes and any other media files on your system.

 

If you delete precomputes - In general, you will just have to Re-Render dissolves and effects etc.  However, Matte Keys (ie, Imported files with Alpha) and Titles will also be Offline because they too are Pre-Computes.  

You can Mark In/Out on the Sequence and choose Re-Create Title Media to get your Titles back and then use Batch Import to get the imported files back.  

Or you can sift/sort the Media Tool and avoid deleting any thing with Title and/or Matte in the name in the first place.  

 

This is extremely useful because as you are working you might create Titles at lo-res until the cut is approved.  Then you can Re-Create Title Media and choose your finishing resolution and all the titles will be up-rezzed. 

I often have my render settings set to a low-res during the cutting, then I up-rez them by deleting the Pre-Computes and Batch Importing graphics, Re-Creating Title Media and Rendering (with the render settings set to my finishing rez).

 

 
 
 
MATCHING BACK TO PRE-COMPUTES:

Well, actually, you can't - at least not directly. But you can fool the application with this neat workaround. Park on the pre-compute in your timeline you want to match to. Mark the entire clip, and then CTRL + ALT + c will copy that pre-compute to the source monitor. You can then extend the duration of that pre-compute if necessary. One thing to note here, the "find bins" command will not function.

This technique is also very handy to copy a marked region of your timeline (any number of tracks) to the source monitor and edit it back into your sequence at a later or earlier position, something the software will not allow you to do directly (Can't edit a sequence into itself, the error will say). If you want to extract the marked region, use CTRL + ALT + x. You can also save that marked region as a sub-sequence by dragging it to a bin.

Many thanks to the late Joseph "sep" Mehr, who first posted this technique back in 2005. We miss you very much, Sep.

 

How to perform an overlap edit (also known as a split edit or "L" cut) in a single step instead of two separate steps. See this tutorial.
 
 
 
       
       
   
       
       
 

 

       
       
       
       
       
       
  Selecting timeline to the left/right of the cursor 
       
  Tutorial Selecting timeline to the left/right of the cursor  Link40     
    Select Left Or Select Right.

Just like by hitting U in Liquid, you could select everything after the scrubbing bar in timeline,

by assigning those 2 buttons (1) at your keyboard as I did to mine, you can not only

select all (depending on which tracks you have enabled in timeline) after the bar (a) but also before (b).

 

 

  This is how you can export multiple pics from MC's timeline with only one export.

Apply locators to the exact frames you need to export as any image format.

Then follow the image.

(Can't be simpler than that. I thought in Liquid was very easy but this is a piece of cake.)

 

FILLER - dealing with this monster     <top>
    Change behavior of blank timeline media

 

Multicam   <top>
   
    The multicam in MC4 even for Mixed Formats (!) is so easy you start to think it's a toy. Yes so robust and unbelievable powerful. Forget everything else and combine even photos!!!

Select 2 clips. Any 2 clips (or even more)
(1). Click at the Fast Menu (Hamburger Menu) of the bin and choose Group Clips
(2). Choose how you will sync the clips. If no timecode then choose Inpoints and click OK
(3). At your bin MC will create a Multicam clip
(4)
.Drag this to timeline
(5).Click the Quad Split button (I have mapped it above timeline)
(6).(You can access this from the Fast Menu of the preview monitor as well.) After this the preview monitor will change to multicam view so you could choose between the clips in RT
(7)
At the keyboard with the F9 F10 F11 F12 you can choose which clip will be on at multicam
(8)
.Just play the timeline and at Real Time choose the clip (by F9 F10 in this case) that will be on. You can see which clip is on by the green line below it
(7)
. When you hit space again and stop playing the timeline, you will see the multicam cuts
(9).The different colors are because the one clip is SD and the other HD (9).

 

       
SNAPSHOTS, Photos, Freeze Frames    <top>
 
Snapshot - Capturing a Frame as a picture  & Photos (below)
    Liquid and MC are two different beasts.  In Liquid, capturing a still bmp is a click of the mouse on the camera icon.

Avid gives you numerous options.

1.Park on top of the IMAGE you want to export. FILE > EXPORT > near EXPORT SETTINGS select OPTIONS > where it says EXPORT AS select GRAPHIC > where it says GRAPHIC FORMAT select the format you want to export as (you also have sub-options such as width x height.. color levels etc.. etc.. click SAVE > name your file and click SAVE.

If you are just using the photo for the timeline as a freeze frame, the timeline format size should be adequate.  If you want to pan and scan, then a bigger size would be appropriate.

To use a still picture in MC you have to import it.

OR

2. Freeze frame image INSIDE MC (clip loaded in the SOURCE WINDWO). 

FILE > IMPORT > OPTIONS > where it says FRAME IMPORT DURATION input how long you want the still image to be.

OR
go to the clip menu, pull down to "freeze frame", pull out to the length of time you want, and choose an appropriate field option

It can be one click if you map it to your keyboard (Menu to Button mapping)

SHIFT+PageUp gives me a 10 sec Freeze Frame every time. - Larry Rubin

 

 

  Freeze Frame   (tutorial)
    FREEZE FRAME can only be done in THE SOURCE MONTIOR.

When you go to the clip menu and pull down to "freeze frame" a side window opens with time durations and at the bottom "field options". Pull down to that and another side window opens with the field choices that the freeze frame can be constructed with.

make sure you match frame first the frame you want so that the clip is in your source monitor. Keyborad shortcut I use is "forward slash" - "/".   You cannot make freeze frame directly from your timeline.  if you attempt to freeze frame from timeline it will be greyed out, but if you freeze frame from source monitor it will be there

Also, you cannot make a freeze frame from a grouped stereo audio clip. This is now a known issue at Avid QA. It is in their bug list.

 

       
  Photos 
  MC automatically scales down the stils to fit the project settings. This is just how it is. You have to use the pan and zoom effect to do scaling like you want.

In MC, even still images are converted to MXF format video files when you import them. Thus, you need to mark an in and out with enough leeway for the dissolves. Also, it is the reason that if you want to do pan and zoom on images, that must be done by bringing the image into the pan and zoom editor first instead of just unscaling it on the timeline. Very different from Liquid.

Community Discussion - http://community.avid.com/forums/p/81075/454122.aspx#454122
 

Tutorials Link 176  Importing Images and keeping their sharpness   
 
   
   
Interface / BIN Colors   <top>
  From Larry Rubin  I know I sure do. They are WAY to pastel and washed out. But what to do? Hold down the ALT key and KEEPING THE LEFT MOUSE BUTTON DEPRESSED, click on the timeline fast menu, go to track color, pull out into the pastel color palette, keep the ALT button down and release the mouse. You will now get the traditional color picker tool. Gosh, do you think they could have done a better job completely camouflaging and hiding away a choice we have had for years? Thanks to Douglas for his assistance on this.
 
  Re: BIN Colors:   Nope, Interface settings are wrecked. Bins will default to the background color your Project window has, which is determined by the Darker-Lighter slider in the crippled Interface settings. Apparently, this is a first (and crude) step towards a serious makeover of the interface.
   
 
Modify multiple clip lengths
  If you right-click in the Bin (with nothing selected) and choose Set Bin Display>Show Reference Clips it will show you all of the clips used and referenced by the Sequence.

When I do this, I usually like to put the Sequence into a Bin by itself to keep myself from getting confused among other clips/references.

You could take those reference clips (which are actual clips, they just are called "References" because the sequence is using them).  So order them the way you like, enter Script View, make your adjustments and then Create a New Sequence and edit them in. 

Though, to tell the truth if I had 100x 10 second clips in a sequence that suddenly needed to have each one be 8 secs, I'd

  1. park at the head of the first clip in the Seq
  2. type +800 Enter on the number pad, this will jump your Playhead forward 8 secs
  3. Then hit the Tail button, (which can be mapped to your keyboard, ie, F3).  Now your clip will Extract from your Playhead to the end of the Clip.  *make sure you only have the Video track selected here).
  4. Hit Enter to have it jump forward 8 secs again
  5. Repeat #3 & 4 until done.

So you'd theoretically only be hitting two buttons (F3 and Enter on the number pad) and you'll make short work of this process.

 

can I "import" existing mxf files? Not sure what to do

 
  filename.avp = Avid Project File

filename.avb = Avid Bin

filename.avs = Project Settings, and can be trashed.

Create a folder that matches "filename", and place it in your Avid Projects folder, where all your other projects are.  Copy the .avp & .avb files into it.

The numbered sub-folders inside the provided Avid MediaFiles\MXF folder can be copied to your media drive.  If the numbers already exist in your MXF folder, simply rename these new folders to any other number.  If there are media database files (msm's) inside the numbered folders, trash those.

Launch Avid.  It should automatically scan & index the folders with the new media.  Youl should be able to see the new project.  Open it.  Then, open the Bin.  The media should be linked to the Master Clips.  If not, you can use Media Tool to see the clips, and then drag the Master Clips into another Bin.

 
   
   
 
   
   
   
Preparing to Export a Sequence
 


       

   
   
Collaspe  (Containers)  <top>
 
  The function is called "collapse" in Media Composer and is one of several nesting techniques. See point three. And you will find the collapse function in the command palette (tools menu) under the FX tab. You can then map it to a button on the interface or a key on the keyboard (button to button mode).
   
Consolidate/Transcode  (from a BIN)  <top>
  The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new media files that use a different resolution. If you have a sequence composed of clips that use different resolutions, you can use the Transcode feature to create a sequence in which all clips use a single resolution. The Transcode option also lets you convert from OMF to MXF, and from MXF to OMF, except in HD projects where MXF is the only available format.
 

New clips created through the Transcode operation are in the project format.
 

  1. Select a clip or sequence in a bin.
2. Select Clip > Consolidate/Transcode.
   
 

Try transcoding the files to an Avid Native format.  I've always felt that AMA editing is for "Quick and Dirty" edits, and for previewing only.  for long form stuff, using an Avid Native format works best.  Also, some formats require more horse power to play, scrub, etc.  one of those being H264.  another reason to transcode.  

You also don't HAVE to transcode, you can consolidate.  Consolidating formats like XDCam and XDCamEX don't change the actual format of the media, it just re-wraps it with an Avid MXF Wrapper.  this way you get the benefit of using the Media Tool to help manage your media, or if you're working in a shared storage/shared project environment everyone can see the media in your bins and work collaborativly.

Well, the advantage is that you can load up your material with AMA, make selects, organize your footage, subclip takes/b-roll etc, then Consolidate/Transcode just those bits, saving your tremendous drive space.  Versus:  Importing it all in and using more drive space.

 
   
   
   
 
Mixed Down  (Fuse)  (Audio and Video)  <top>
  see also Encoding
 
 
 
 

A video mixdown is a new master clip and associated media file of the active video tracks of your sequence, with the video monitor icon placed on the highest active track. Effectively, it transforms a multi-layer timeline into a single clip, and generally makes for exports with the fewest problems - problems that can result when attempting to export a complex, multi-layer, effects intensive timeline.

It is similar to collapsing tracks into a single submaster layer, EXCEPT that a video mixdown track can never be uncollapsed back into it's original timeline layers. It is a direct replacement, with no references back to the original source clips the sequence was built from. Therefore, IMO, you should always keep a copy of your original "layers intact" sequence, should you need to make changes at a future date.

A mixdown creates a new .MXF file, which includes all the elements that you've selected to be mixed down.  For example, you can mark an in and out around a portion of your sequence and only mix down the marked portion.  If you have a sequence with 5 tracks, you can choose to only mix down tracks 1 & 2.  You get the idea.

It's a good idea to make a duplicate of your sequence before mixing down so you'll have it if you need to go back to the original sequence and make changes.

Many times video mixdowns are placed on the upper track, thus allowing modifications to be made to the original, highlight those tracks and create another mixdown that can replace that segment's area on the top track.

There seems to be + and -'s of using a mixdown.     Some Hate It and Some Love it. (forum)

1. Mixdowns take up disk space.  Do one, make modifications, do it again, over and over - you may have many .Mxf files in your AvidMediaFiles folder - maybe even spread across several drives depending on your setup.  So you want to keep track of the mixdown names so you can delete the excess ones.

2. If you have a complicated timeline with effects, etc., creating a mixdown can relieve a lot of required processing that can make things go slow.

3. Export errors  might be eliminated by substituting a mixdown.
 

 


** Sequences containing AMA and HDV clips will not export as a QTref - even IF you do a Mixdown and only enable the Mixdown tracks.  So, dupe the seq, and delete all the tracks except the Mixdowns.

 

 
No matter what version of Composer or what format and resolution you work at, it has been many users standard procedure to do a video mixdown of a finished sequence for exporting. Attempting to export an multi layer unrendered effects intensive sequence can be problematic at best. Mixdowns put a lot less number crunching strain on the system.
 
  A simple example for Video Mixdowns (1).

No matter at what project format you are working on, if you change the type of the project or the raster type (2,3,4,), you can have mixdowns with different resolutions.

If you change the Raster Type to Thin Raster (HD) 1440x1080 (2).

If you change the Raster Type to Full Raster (HD) 1920x1080 (3).

If you change the Project Format (SD>HD or HD>SD) (4).

Experiment will help you get the idea and the difference in quality.

I always create a bin which I call Mixdowns, so when it asks me the bin to save the mixdown, I select that bin.

Also at the resolution selection you can see the Disk Space required in mb for the selected resolution.

P.S. Those resolutions and project formats are on MC 4.0.5.

 

  I use Mixdowns quite often  (Kenton)  posting

My main reasons are:

  • when I do a QTref export, my exported QTref file only has to reference 3 files (the video mixdown media file and the two audio mixdown media files)  That alone can prevent a lot of headaches.
     
  • Another reason is that I found that when I  exported a QTref without a V/A Mixdown sometimes my encoder of choice wouldn't handle the Filler or any Titles properly. 
     
  • If I need to send a review cut to a client (or even get ready to start Onlining a cut), a Video Mixdown of my cut placed on a new blank track will give you a nice reference to make sure you're stuff is lined up.  If I embed a TC burn in my client review file the client then makes their notes based on that TC.  If I take their notes and cut out a bite or shot and shorten the piece, then the rest of their notes make no sense as the TC numbers would be off.  But, if you put the VM on the upper track then it'll have the TC burn embedded into the video and it won't ever change if you Extract or shift something around. 

You will rarely find anything that can "improve" the quality of video.  You can certainly apply effects that will alter the footage and possibly make some footage a little more palettable, but by and large all anyone can ever do is "maintain" the quality as much as possible.
 

  Video and Audio Mixdowns are actually special because if you do happen the delete the media for these elements you will have no way to Batch Capture or Batch Import them.  The only way to "re-create" a video or audio mixdown is to re-do it.
 
 
From HELP  Video mixdown is similar to the Collapse feature, but the end result is different:

 
With the Collapse feature, you collapse the tracks into a Submaster effect. After you collapse the tracks, you are still able to step in to the Submaster effect and work on the individual elements.
 
 
With video mixdown, your end result is a new master clip made up of all the tracks you built on different layers. Those tracks become one clip. You cannot separate the tracks to work on them or step in to the sequence.

 

  Im cutting a feature doc in version 4.0. %75 of my material is 29.97 (59.94) and the other %25 is 23.98.  It all cut together beautifully in a 1080 59.94 timeline. But I need everything in 29.97 (59.94) for the online edi

If it looks good, what's the issue?  Step through field by field and check. 

I have converted almost all of the 23.98 footage to 29.97 (59.94) by cutting it to an HDCam tape and re-capturing it at 29.97 (59.94) using the 3:2 pulldown on the deck. Most of it worked great.  Problem is I have a few clips that just wont convert properly.

When I do a video mixdown of the problem 23.98 clips, in my 59.94 sequence, it says my new clip is in fact 29.97.  So my question is, does a video mixdown actually give the 23.98 clip the proper 3:2 cadence? I mean, it looks fine, but it just seems too good to be true that  mixdown can do that.   The mixdown would be a simple solution to fix these 5 clips, if it actually does do the conversion properly. I just can't find anyone who knows this answer for sure. 

Nromally with v4, you would grab these clips in a 23.98 project, then open that bin in your 59.94 project.  MC's Motion Adapters would take over and convert those clips to 59.94.

 

 

I always transcode to DNxHD 120 (some others as Dom Q Silverio proposes DNxHD 220) after I link to my Canon 550D's files.
 

QuickTime Reference Files   <top>
  Definition  - these files are used to avoid rendering, particularly when time is of essence.  You first mix down the selection (in/Out and selected tracks), then export as a QT Reference - then replace the mixed down files.  Recommended that you duplicate sequence to keep an original as backup.

They are essentially references back to the original movie clips - so in essence it is a list of references to your timeline clips - the main issue here is that they are always the same quality as the clips in your timeline so there is no encoding or loss of quality in your export - you need to be careful when using them as you cannot copy them to another machine that does not have access to the original files.

Also if you have made audio adjustments always ensure that you also export the audio file otherwise you end up using the original audio from the clips and all your audio effects are lost.   adamsonn
 

a) QT Ref is a reference of the timeline using the codec you want to use.

QT Ref with avid.dv codec is a reference of the timeline using Avid DV codec.

In MC you can use almost any codec the program understands as you wish to export by altering the export settings to your likeness.

b) This depends on the project format you are working.

If you are on an SD project you can use the MC's SD codecs to make a mixdown (video/audio).

When you are on an HD project MC lists the codecs that you can use for the mixdown.

For example if you are on a 1920x1080 project and by XDCAM EX format project you can't make a QT ref because Long GOP isn't supposed to be able to do that. Then you can use a DNxHD codec to make the mixdowns so that you can be able to do the QT ref.  - sverkalo

 

  Then, i want to export them. I'm coming from Liquid, so surely i'm missing something.

If i transcode them to dnxhd prior of editing (as with mc4, for example) i can send to sorenson squeeze via qt reference.

if I use ama native files, it's not possible to export a qt reference with linked files. So, I must transcode the sequence to dnxhd then send a qt ref to squeeze.

Reading pdf files on ama, there is one thing that's not clear (for me): is there a way to import without transcoding?

Or, how can I have a native export?

the only way to the end of the workflow is to transcode to dnxhd? 

Another thing is not clear: is it possible to use multirez without interplay? And if so, to use interplay I need an unity or similar server?

 

   
   
   
AMA  (Avid Media ACCESS ) using files without importing  <top>
  Link  -  Stop transcoding, rewrapping, importing, and/or copying media and start editing now. AMA (Avid Media Access) is a revolutionary plug-in architecture that greatly accelerates your tapeless video workflows, including RED, QuickTime, XDCAM, P2, GFCAM, and Canon XF. With AMA, you can simply connect a supported card/disc or device and begin viewing and cutting footage right away — no need to transcode media or use other software to view or extract the clips.

It is a great feature but you have to understand how to handle it and how Avids Media Management works. The workflow is to do a rough cut using AMA link and after that do a consolidate to your editing codec, preferabilly an Avid Dnxhd codec. In this way you will get a very fast first look of all your media and you don´t need to waste unneccesary time and discspace for encoded media that you don´t need. 

The only time you have associated media files (MXF or OMF) to delete is when you either use the standard capturing and importing workflow, or if you have consolidated a sequence that had previously been AMA only. Think of AMA as an elaborate remote control of your media files while they're still outside the project so that you can see them and edit with them inside the project. At that point, however, they are NOT Avid media files in your project, therefore no media files to delete. You are accessing them remotely.

 

MXF and/or OMF 
  .MXF files are proprietary associated media files created by Avid when using the standard capturing or importing workflow, or when consolidating a currently AMA only sequence (or clips) permanently into the specific Avid project. At this point, Avid associated media files are created on a media drive and linked to your pointer files (master clips in bins)

To VIEW an MXF file
   1.   Make sure the mxf file is located in a \AvidMediaFiles folder on one of the drives.  You can move .mxf files into the avid media folder.

   2.  Open a project, open Media Tool, find the file.  One method I use is to look for duration - , and drag it to a bin.  You can not view that mxf file in the source monitor.

More: 

There is a more convenient way how to make a bin full of clips from new media files:

- Create new Avid MediaFiles folder. For example \\Avid MediaFiles\MXF\999 (even when Avid is running)
- put new media files into this folder
- make Avid to catalogise it. (Just switch to Avid if its running)
- in your new folder "999" locate the file msmMMOB.mdb
- drag this file into new bin in Avid
- all files from that folder will appear as master clips in the bin.

( To clarify, the media files need to be in a numbered folder, like this ... Avid MediaFiles\MXF\1  The folder can be any number.  You might want to create a new numbered folder to simplify things.  Once Avid launches, it will detect the new media, scan & index them, and create 2 new media database files.  An alternative to using Media Tool, especially if the new media is isolated in a separate folder, is to simply drag the newly created MMOB media database file into a bin.  The Master Clips will be automatically generated.  )

So, to understand this well, I have Avid opened with a new bin open and I drag the new MMOB file FROM WINDOWS EXPLORER into the bin?

Additionally -  Use the media tool.  Select current project and then high light Masterclips.  All the maasterclips for the current project will be displayed.  Next, highlight your sequence and choose select media relatives/  Now all masterclips used in the sequence will be highlighted.  Lastly, go back to the list of all masterclips shown by the media tool and choose reverse selection.  The masterclips not used in your sequence will now be highlighted and delete the unused masterclips

 


 

More on opening copied Project and MXF files    <top>
 
  Avid projects by default are stored in C:\mydocuments\AvidProjects folder

filename.avp = Avid Project File

filename.avb = Avid Bin

filename.avs = Project Settings, and can be trashed.

Create a folder that matches "filename", and place it in your Avid Projects folder, where all your other projects are.  Copy the .avp & .avb files into it.

The numbered sub-folders inside the provided Avid MediaFiles\MXF folder can be copied to your media drive.  If the numbers already exist in your MXF folder, simply rename these new folders to any other number.  If there are media database files (msm's) inside the numbered folders, trash those.

Launch Avid.  It should automatically scan & index the folders with the new media.  Youl should be able to see the new project.  Open it.  Then, open the Bin.  The media should be linked to the Master Clips.  If not, you can use Media Tool to see the clips, and then drag the Master Clips into another Bin.

 

 

CONVERSION OF VOB files
  Using Sorenson Squeeze to convert it to MOV and keep the same quality, I use Avid 1:1 myself, DV 50 might also be a good choice, both of them will fast import into Avid  (MJ)

To get some ideas about how to setup Squeeze, you might want to follow the link from this post, the tutorial is for HD but the settings could as well be adjusted for SD and will also make it possible for you to get a grip about codec and aspect settings  View this post at http://community.avid.com/forums/p/89880/510476.aspx#510476

When converting .vob to .mov, I have found that freeware MPEG_Streamclip www.squared5.com produces significantly superior results in much faster time as compared to the same process in Sorenson Squeeze. To put it briefly, with my Streamclip settings, coverting a 1GB .vob yields a 2GB .mov of superb quality. I convert to QuickTime (.mov) selecting the Apple Photo codec with settings at default including the 50% Quality then select 720x480 unscaled with bottom field dominance. Works GREAT for me!

 

 

 

 
   
 
   
 
   
 
   
 
   
 
   
Some recommended Plug-Ins    <top>
 
  And if you have the budget, here are two plug-in packages I highly recommend and both have free tria l downloads:
Sapphire    SpiceMaster      Larry Rubin 

Free ClockDisplay AVX2 - Harold Linke  - forum link

 

 

 
       
   
     
       
       
       
       
Capture Issues    <top>
 

DV Capture Problems - The port "OHCI" is busy and cannot be used - which means that the firewire connection to the DECK (the camera if connected by firewire, or the tape deck) has 2 or more channels open when only 1 channel can be supported), so you have to modify the DECK settings.....

1. Click the Settings tab in the Project window.
2. Double-click Deck Configuration. - the Deck Deck Configuration dialog box opens.  You will probably see two or more Channel Settings.
3. Click the name of the current configured channel and deck in the display area. The entire display area should have a red border.
4. Click Delete. 
5.  Repeat selecting and deleting all the channels or Decks on at a time
6. Click Apply to complete the changes and close the dialog box.
 
 
       
       
   
Best Computer Setup and MY COMPUTER SETUP   <top>
  Media Composer basic system requirements, or see this PDF for Windows systems?. 

The system requirements list what components/configurations will work, and there's a list of specific systems that are guaranteed to work.

The system requirements on the website page represent the minimum stats that are necessary for MC 5 to run successfully. The system recommendations in the sticky post help the user to match his specific needs and workflows to the best platform configuration to achieve those tasks, so it's more detailed than the base specs on the requirements website page.

 

  Everything now goes flawless: i can link my qt files and edit without problems or slowdowns. (i upgraded my pc from amd64 x2 4200+ and 2 gb of ddr2 to phenom2 x4 965 and 4 gb of ram, if someone is interested)
 
  NOTEBOOK and Notebook Video Cards  and Audio
  http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=367331&Hilite=

Disabling the nVidia Display Driver Service
To use Media Composer, the nVidia Display Driver Service should be disabled.

To disable nVidia Display Driver Service on Windows XP:
1 Right-click My Computer, and choose Manage.
2 Double-click Services and Applications.
3 Double-click Services.
4 Right-click NVidia Display Driver or NVidia Driver Helper Service.
5 Click Properties.
6 Select Startup Type > Disable.
7 Click OK.

I bet it's video card related, You'll have to find the right driver and nVidia control panel settings, I'd do a forum search for GTX 285 and/or GeForce to see how other users got that card to work

Dave M - personally I have a Dell XPS with a nvidia GeDirce 8700M GT Driver Version 6.14 with 512MB.




From Forumn - This laptop has a Geforce 9600M GT graphics device with 512MB. The driver version is 195.62 (WHQL) with a driver date of 12/04/2009. You will have to select Beta and Archived Drivers from the "Download Drivers" tab on the Nvidia site to locate this driver. The laptop itself has a Core 2 Duo @ 2.4Ghz with 6GB of ram running Win7 64bit.

AUDIO - I have a SIGMATEL High Definition Audio Codec  - My audio for DIGI32 (computer properties) does not seem to be working.  I uninstalled the digi drives  I think before I installed MC 5.03 - but something seems wrong.

My Legacy Audio drivers - audio for Digi32 says there are no devices of this class installed on this system

 

 

  NOTEBOOK
  You'll pay more, but there's comfort (and efficiency) in "Qualified" ...

HP Elitebook 8740w
HP Elitebook 8730w
HP Elitebook 8540w
HP Elitebook 8530w

 
   
Resolution    <top>
  Resolution seems to be more important in MC than it was in Liquid... although maybe there are just more options in MC and maybe that is one of the reasons Liquid was not updated.  Liquid liked avi's - MC likes quicktime and DNxHD - and is not big on HDV.  HDV is LongGOP, if you're using this material then you will have to Transcode the footage (or sequence). Or do a Video and Audio Mixdown of the Seq, then export that.  With MC, you export with Animation codec or one of the DNxHD codecs when going to Quicktime.

In MC you may find the resolution of the clip may effect how MC handles effects, particularly the motion effects.  

There are a few groups, and their requirements and specifications are in the MC Help document.

There's the JFIF group, basically the classic Meridien resolutions, which are expressed in a compression ratio (e.g. 2:1) and they can be divided in the progressive types (35:1/28:1/14:1/3:1/2:1/1:1/1:1x), the interlaced types (20:1/10:1/3:1/2:1/1:1/1:1x) and the one-field half raster ones (15:1s/4:1s/2:1s). All are 8-bit except for the ones labeled "x", which are 10-bit.

Then there's three flavors of DV, which are DV25 and DV50 (both SD) and DVCPROHD (HD, basically DV100). DV25 also has its progressive incarnation.

Then there are MPG 30/40/50, which match Sony IMX-type devices.

Then there's DNxHD, which - depending on the format and framerate - has several compressions available, expressed in datarate (ergo DnxHD185 means 185 Megabits/second). There are also 10-bit flavors (labeled "x"), there are Thin Raster variants (labeled "TR") and there's of course Uncompressed HD (both 8-bit and 10-bit flavors, and since v5 there's also an RGB [4:4:4] flavor).

Which one to use is highly depending on your sources and of course the destination of your projects.

job ter berg

In PAL that would read "Then there's four flavors of DV, which are DV25, DVCpro25 and DV50 (all SD) and DVCPROHD (HD, basically DV100).  DV25 and DVCpro25 also have progressive incarnations."

DV25 uses 4:2:0 sampling and DVCpro 25 uses 4:1:1.  Both are 25 Mbit/s formats.  Neither are exactly "new resolutions", though.

 

If I edit AVCHD footage from a GH1, MC5 automatically transcodes it to DNxHD 145.  Would I be better off choosing DNxHD 220 X ?  as I want to output at the highest quality possible? My fear is that I will edit the entire feature at 145 and wish I had done it at 220 X

I would recommend that you transcode a 30 second clip from AVCHD to each DNx resolution available and see at what resolution is there no additional improvement to the picture quality. If DNx220 doesn't look any better than DNx145, you might as well stick with 145. - Larry Rubin

If that's the case, just Batch Import from your sequence and choose 220x.  It'll re-import everything used in the Sequence and up-res it.  Kenton VanNatten

 

To modify the format of a sequence:
1. (Option) Duplicate the sequence.
2. Select the sequence you want to modify.
3. Select Clip > Modify.
4. Select Set Format from the top list.
5. Select the format to which you want to convert from the Format menu.
6. Click OK.

A message box tells you whether the sequence has been duplicated or modified.

 

 

 

 

   
   
   
   
SETTINGS     <top>
Go into your audio settings, set the pan default the way you want it, then from the "special" menu, open the site settings window. Drag that user setting from the project window to the site settings window. That, and any other user parameter you customize and drag there, should apply to every new project you create from that point forward
   
 
   
   
 
   
   
Finding Duplicate Clips in Timeline       <top>
  Media Composer has that, too.  If you turn on Dupe Detection (timeline fast menu) you'll get various colored lines on top of clips indicating which parts of the clips are duplicated in the timeline.  Red, though, is not a dupe color; it's only used for partially rendered effects.
   
   
Red / Yellow lines on timelne    <top>
  Understanding Real-Time Playback Information in the Timeline When your Avid editing application is unable to maintain real-time playback of an effects sequence, colored bars appear in the timecode track of the Timeline when playback ends. The following illustration shows a typical set of colored bars. These bars provide you with information about the difficulties your Avid editing application had during playback. You can use this information to help you render only those parts of the sequence necessary to achieve real-time playback.  
Bar Color Description
Red Marks the ranges where your Avid editing application was unable to display frames. The ranges marked by red bars are ranges that your Avid editing application recommends for rendering to achieve successful real-time playback. If you mark IN and OUT points around these ranges, use the ExpertRender In/Out command, and then render the recommended ranges, your Avid editing application can preview your material successfully in real time. For more information, see ExpertRender.
Yellow Marks the ranges that caused difficulty for your Avid editing application during playback because of processing power. No frames were dropped during play. This is only a warning.
Blue Marks the location of frames that caused difficulty for your Avid editing application because of disk speed limitations. No frames were dropped during play. This is only a warning.
 

AFAIK, RT Red playback only happens in green/yellow mode, or yellow/yellow mode, not in full green mode

 

   
   
 
   
   
 
   
   
 
   
  EVERYTHING BELOW HERE NEEDS TO BE RELOCATED
       
  BREAKING THE GROUND RULES

Avid fully understands virtual drives on PC's.

Virtual drives allows you to make any folder into a virtual drive.

You must then follow the "GROUND RULES 1) & 2)" inside the virtual drive

Ground Rule 3) has now changed to allow you up to 20 (PC drive lettering limitation) different valid Avid "virtual" drives available on a single Avid Media drive.

I find virtual drives invaluable for PROJECT based media managment and PROJECT based archiving.

 

  LR- SAFE COLOR LIMITER EFFECT:

If you work in broadcast and have quality control inspections of your products before they hit the air, this tutorial is for you. Learn how to use the Safe Color Limiter Effect in Avid editing applications to ensure that your programs meet any color limits that might be required for broadcast and distribution.

 

  ChromaKey and SPECTRAMATTE EFFECT:

The chroma key effect in Avid is useful, but has it's linitations that many find annoying and unacceptable when attempting green screen compositing. The spectramatte effect often yields noticably better results. Here is a tutorial on the use of this effect.

   
   
  Turning off VGA Acceleration.

Testing GPU performance in relationship with MC.  As Dom Q. Silverio proposed if you hold O and G while MC loads,  it will ask you to disable the accelaration for the VGA.  This is the best thing I have heard side by side with Quick Transitions from Larry Rubin.  You can remember it as G (GPU) O (Off).

 

  EXPORT Creating Export Templates.

Go to Settings, right click to an Export Template and choose Duplicate (1).

Double click at the newly created Export Template to open it (2).

Then choose the details you want to change and click OK (3).

When you go to export you will find the new Export Template to the drop down list (4).

By this way, you can create any Export Template you need to have.