Expert Connections | Powered by Avid Training Services

The Avid GPS/SatNav

JGalui — Thu, 18 Jun 2009 06:12:00 GMT

I’m currently sitting in a hotel room in Odense, Denmark whilst visiting the TV news station, TV2 Fyn. Yesterday I was in Holstebro, Denmark to visit TV2 Midt Vest and the day before in Munich for Creation Club, Germany. 9 days, 3 customers, 3 flights, 3 hotels, 1 hire car and thankfully a GPS to find my way around. Last month I spent a great deal of time in Dubai at MBC, where again, thank goodness, the car I was being transported in was fitted with a GPS/SatNav system as well. For those of you who have ever visited, or read about Dubai, you will know it is a constantly changing and developing landscape, whereas Denmark has a long established infrastructure.

So, are there any similarities? Well, yes… all four of these customers produce news, sport, trailers, commercials and features. They shoot, edit, produce, transmit and archive video and audio, albeit in different formats and resolutions. They all strive to be the best they can be and to serve their audiences across multiple platforms. And, best of all, they all use Avid products to create, publish and archive their content.

All of these customers also made a move from a familiar landscape of Media Manager on Unity to ISIS with Interplay. Not as big a ‘leap’ as they initially made from tape to Avid, but nonetheless they were moving into new territory, and needed a guide who had been there before: enter the Avid Workflow Consultant, or the ‘Avid GPS/SatNav’.

‘At the next junction remember to delete unchecked-in avid assets folder contents. These will quickly fill with rendered effects not used in checked-in final sequences’

As you can hear, the GPS system keeps reminding me of what to do/say along the way…

Instinct features heavily in the MBC newsroom workflow, voice over is done at the desktop and the majority of the editing is done by the journalists, who in the past would have used Media Browse to prepare edits, which would be finalised by an editor using Avid NewsCutter.

‘In 1 mile, keep left and remember to duplicate an Instinct sequence in the NewsCutter bin before finishing it off’

Occasionally, Instinct edits are finished off by NewsCutter operators if effects are required, duplicating the sequence in the NewsCutter will break the link with the original iNews story and means that if the journalist were to open their original story from inside Instinct again, that they will not overwrite anything the editor has checked-in.

Yesterday, I had an editor capturing video at a central ingest point to a NewsCutter bin. They, of course had to wait until the 30 minute capture was finished until they could begin to edit. They have 2 x NewsCutter Nitris DX systems that they use as capture devices.

‘At the next junction, pin a folder in Interplay, and you can capture directly to that folder and return to your NewsCutter and frame chase edit’

Pinning the folder and capturing to it, allowed the editor to begin cutting from the ingested tape, as they would from an AirSpeed ingest, frame chase editing. They finished the story earlier than expected because of this and this allowed the news gallery a little more time for a rehearsal before they went live with their new programme using an Interplay workflow.

‘Turn right and you have arrived at your destination’

Last night TV2 Fyn went on air with their news programme using a full Interplay workflow. In a day or two we will be deleting media from the ISIS that is no longer needed for news using Interplay Access, so deletion and protection rules are very important. What if a master clip that was captured yesterday is going to be used again tomorrow? What are the rules, and who will protect the media? These decisions need to be made by the customer, with the guidance of a Workflow Consultant from Avid.

A joint decision was taken to permanently reserve all projects that get checked-in to Interplay. Deletion is then done on a project by project basis…

‘When clicking delete at the next turn, you should never override a reservation, as this will override all reservations for that clip’

If a newsroom journalist user creates a new NewsCutter project and bin from the NRCS tool and drags a master clip in to the bin from a project that is about to be deleted, and checks that bin in, it will be automatically permanently reserve the master clip again. Why? Well, the workflow for TV2 Fyn is that we have created a site setting for each machine that ‘points’ every new project created into a subfolder of ‘Projects’ called ‘Projekter’ (Danish for Projects). ‘Projekter’ is permanently reserved, which means they have a similar workflow to the one they had with Media Manager, in that association with a project protects the media, until the project is deleted.

We have also created a folder in Interplay called ‘Trash’. When a NewsCutter project has been checked-in and is no longer needed, the deletion cycle is 3 days here at TV2, then the project is cut and pasted into the trash folder, where the reservation is removed from the folder and the project folders and associated media is deleted.

Summing up, there are many considerations when designing a workflow with a customer, and for me workflow is not just about how the media gets from camera to screen to archive, that’s what I would call ‘media flow’. Workflow is about people; journalists, editors, designers, anchors, camera operators, librarians, viewers and advertisers. There are always two sides to every project; is this a technology project that involves people, or a people project that involves technology? My view is the latter. Technology may drive the change, but managing that change involves a symbiotic effort between the customer and Avid, this is why having been a customer and operator of Avid products (as well as ‘other’ providers), the Professional Services Workflow Teams can approach and work with customers and understand their needs from a real-life newsroom perspective.

Article by Richard Bentley, Avid Professional Services Consultant, EMEA.

One Avid Workflow and Training

JGalui — Wed, 03 Jun 2009 17:06:00 GMT

Pro Tools and Video work in tandem to deliver customer success at Channel 4 UK

Located at Channel 4’s offices in Westminster, London, the Red Bee Media Production centre provide post production facilities to the Channel.   Red Bee have a mixture of Media Composers, Symphony Nitris, Digital Tape suites and 2 Pro Tools suites, one housing a D-Command and the other a Command/8.

Although the significant change ahead for Channel 4 and Red Bee Media Production was the migration of playout from in-house facilities to an offsite facility – a more local challenge was to upgrade their current Avid installation to include an Interplay database and extend the viewing and logging application to production areas located elsewhere in the building.

The team were also adopting a new audio workflow – moving sequences seamlessly between the final picture edit and the final audio mix – and back again, with numerous versions to contend with.   All using Interplay with a Video Satellite in the dubbing theatre.   This required careful workflow planning with their senior operational stakeholders and entailed subsequent user training.

For the first time Avid presented a united workflow and training offering with Claire Humphries (EMEA, Training and PSG) providing workflow and training for all things video and Interplay and Andy Baker (formerly of Digidesign) providing workflow and training for Pro Tools 8.0, Media Composer Video Satellite and the Pro Tools/Interplay workflow.

Claire and Andy presented a united workflow session to the team which enabled a clear, transparent and efficient workflow to be designed across both departments. Editing stakeholders were encouraged to attend, and vice versa; the dubbing mixers had a say in the final edit preparation of the video workflow.

Not only did this engage both craft departments, ensuring that all technical and creative requirements were represented, but the customer was delighted to see Avid working as a team.    Formerly, customers saw Digidesign support and training as a totally separate offering to Video workflow consultancy and training. Now the customer sees a One Avid approach helping them to achieve success in their programme making.

What is Avid’s ACSR Certification Program?

Avid Community Team — Thu, 23 Apr 2009 10:51:00 GMT

Avid Certified Support Representative (ACSR) Program participants are trained and certified by Avid with the knowledge and skills necessary to perform installations, upgrades, diagnostics, troubleshooting and support in the post, workgroup production or broadcast environment. This multi-certification program is designed to ensure the highest level of technical proficiency with Avid products.

The first tier of the ACSR program covers our editing systems. As an Avid Certified Editing Support Representative you will thoroughly understand the technical and operational aspects of Avid Media Composer and Avid Symphony on both the Windows and Macintosh platforms. This certification also offers access to Avid's Senior Escalation Team and connects you directly to the community of certified ACSR Support Representatives worldwide.

The second tier of the ACSR program covers our storage systems. As an Avid Certified Storage Support Representative you will thoroughly understand how to install and maintain the technical, operational, and administrative aspects of either or both of Avid's Unity MediaNetwork and Unity ISIS shared storage systems.

The third tier of the ACSR program covers our Interplay management system. Once you have achieved this level of certification you are recognized as an Elite member of the Certified Support Representatives. As an Avid Certified Elite Support Representatives you will thoroughly understand how to install and maintain technical, operational, and administrative aspects of Avid's editing systems, storage systems and the Avid Interplay management system.

What follows is a diagram outlining the ACSR paths and some of the main course pre-requisites.

If you’d like to learn more please visit: http://www.avid.com/training/acsr.asp
Or e-mail any questions to Avid Global Training at: ACSR_Certification@avid.com

Here Come the Trainers....

Avid Community Team — Tue, 07 Apr 2009 20:14:00 GMT

The catch phrase used to be "Change your mind without losing it" back in the day. That particular time was 1991, the year I first started with Avid as the 4th Customer Support Representative and then the first full time Instructor for Avid Technology. In that time I traveled the country and more than a dozen countries training editors on the Media Composer. In 1998, I went to IBM as a training manager giving me broader exposure to the education business and how it can be run on a large scale while still maintaining product quality and measured results.

Fast forward to 2008. Avid is enveloped in New Thinking, new management and unification across the corporate brands. We have harnessed the power of our counterparts around the globe and are working to bring modern training methods and concepts to Avid customers in a consistent and intelligent fashion. During this time of evolution and cohesion as a company, it makes perfect sense to align the training organization in the same way, and this will be the first time the company has had a truly worldwide training organization. Recently I was given the opportunity to return and I jumped at it, as I enjoy fostering the fire of education through new challenges and approaches. And what opportunity better than to return to the company I helped to grow globally and to take public, now with the largest and most talented customer base in the industry. Just look at those who walk away with recognition at each Clio, Emmy, Grammy and Academy Award presentation.

Our team is now aligned with Avid Worldwide Training on a cross-brand, One Avid organization led by Carolyn Lightner. As the Manager for the Americas Training Delivery Team, I work with driven individuals who collectively have an amazing amount of talent and industry knowledge that we would like to share, and this forum is one of many vehicles where we would like to offer some of our knowledge to you on a global basis. Collectively, our instructors have years of broadcast experience in various aspects of production, film and post-production experience, and are skilled in creative arts, technology and the sciences. My delivery management counterparts in APAC and EMEA, Anna Lockwood and Jason Plews respectively, will also bring their team's skills and experience to this forum for perspectives on training, equipment and methods from around the planet.

We hope that you enjoy and benefit from the entries that will be forth coming, and as always, thank you for your support as Avid customers and users!

Cheers,

AJ Steffenberg
Training Manager, Americas Services Group

Upcoming Certification Courses

Avid Community Team — Wed, 18 Mar 2009 08:47:00 GMT

If you are interested in obtaining Avid Certified Support Representative (ACSR) certification, please note the following dates for the pertinent offerings. Recertification dates are also included for those who already hold current certifications which are about to expire. To enroll, contact the Avid Training Coordinator at 800.867.2843 or at trainingservices@avid.com.

WG433 Avid Interplay ACSR Certification - April 6-10 - Tewksbury, MA
WG433 Avid Interplay ACSR Certification - May 18-22 - Tewksbury, MA

WG422 Avid Unity ISIS ACSR Certification - April 27-May 1 - Tewksbury, MA
UN442 Avid Unity ISIS ACSR Recertification - May 4-5 - Tewksbury, MA
UN442 Avid Unity ISIS ACSR Recertification - June 22-23 - Tewksbury, MA

UN402 Avid Unity MediaNetwork Certification - May 11-15 - Tewksbury, MA
UN412 Avid Unity MediaNetwork ACSR Recertification - May 7-8 - Tewksbury, MA
UN412 Avid Unity MediaNetwork ACSR Recertification - June 25-26 - Tewksbury, MA

400 WIN Avid Editor ACSR Certification - May 18-22 - Tewksbury, MA
410 WIN Avid Editor ACSR Recertification - May 6-7 - Tewksbury, MA
410 WIN Avid Editor ACSR Recertification - June 24-25 - Tewksbury, MA

ALEX Survey Winners Announced

JGalui — Sat, 28 Feb 2009 00:28:00 GMT

Avid Worldwide Training would like to congratulate the following winners in our Avid Learning Excellerator (ALEX) survey contest:

Peter Tanner
Roland Sjösten
Shaun Williams
Plus 2 others who would like to remain anonymous

These individuals were randomly chosen from hundreds of survey responses regarding the future of e-Learning at Avid. Each winner has received 12 months of access to all training course available through ALEX. Please rest assured that all of your feedback is being reviewed and you are being heard loud and clear. We are confident that together, we will take Avid Worldwide Training to the next level. Thank you again to all who participated.

Take our e-Learning survey and win 49 ALEX® online courses!

avid_a.k. — Mon, 22 Dec 2008 09:19:00 GMT

We are listening and now is your chance...

We are evaluating our e-Learning strategy for the future and we want our customers to lead the way. Let us know what you want to see in the next generation of Avid training.

Five lucky respondents who complete this survey will win an ALEX® Enterprise Package! That's access to all 49 ALEX® online courses for 12 full months! To enter, simply complete the survey below before February 1, 2009 at 12am.

Take your existing Avid skills to the next level, or expand your horizons and learn something new.

For more information about ALEX®, please visit http://www.avid.com/training/alex.asp.

Now is the time to be heard.

Expand your workflow with Avid MetaFuze - Part 2

avid_a.k. — Thu, 11 Dec 2008 14:08:00 GMT

In this tutorial, Avid's Steve Holyhead delivers the second part of this series on Avid MetaFuze. He explores how to use MetaFuze to start creating Avid-ready media for editorial.

Additional Resources:

Download Avid MetaFuze or sign up for Avid MetaFuze workflow updates.

Expand your workflow with Avid MetaFuze - Part 1

avid_a.k. — Wed, 10 Dec 2008 15:31:00 GMT

In this tutorial by Avid's Steve Holyhead, you will learn how Avid MetaFuze automates the conversion of formats such as DPX to Avid DNxHD media for HD offline or finishing workflows.

Download high quality QuickTime for offline viewing (41MB)

Additional Resources:

Download Avid MetaFuze or sign up for Avid MetaFuze workflow updates.

Avid Content Manager teams with iNEWS and Newscutter to deliver to the web

avid_a.k. — Sun, 07 Dec 2008 23:22:00 GMT

Active Content Manager (ACM) has been developed to be the turnkey solution that Avid broadcast users have been waiting for. Because now, you can write in iNEWS and edit in NewsCutter, and everything will automatically link together for the web.

Let's take a look at how it all works:

A journalist creates a script in iNEWS for a story, as part of a normal newscast. The script may contain device instructions for graphics, video servers and prompters. The script becomes available in NewsCutter via the NRCS tool. The NRCS tool offers a full view of the script as it was created in iNEWS.

From the NRCS tool, the editor creates a timeline and a bin, which are automatically named the same as the script to which it is linked. The editor now creates the media, which will be aired with the script during the newscast. When the clip is finished, the editor will post the media on the Avid Airspeed clip server. This will also report back to iNEWS that the clip is available and online.

At this point, the editor will press the Post to Web button in th NRCS tool, which will launch a window that offers the ability to modify the script to match the look used on the website. All machine instructions have at this point already been removed.

Assigned Video and Images

Under the template tab, there are two options.

Text Fields: Allows you to add more information about the story (i.e., Abstract, Sub-headline, Keywords)
Video Fields: Allows you to add media to your story (i.e., Sequence and Images to be used on the website)

Now the editor decides what sequence he or she wants to be assocated with this story and drags it form the local bin to the Post to Web window.

To associate an image, the editor follows the same procedure, making sure to choose the image first in Frame View. Whatever image is displayed as the head frame in the bin is the image sent to ACM.

Sending to NewsPoller

When all the data has been entered and the package is ready to send, the editor will go to the Post tab and select the export method.

In ACM

As soon as the encoding process has finalized, a notification will be sent to ACM. The system will now automatically import all assets related to the story. This means that the video files and the images are imported in the assets database and the script will be included in the story database. All links between video, images and scripts are maintained.

The story is now searchable in ACM with the assets linked and the story ready for approal.

Post by James Cooper
Broadcast Field Instructor, Avid Training Services

Get your Avid Interplay ACSR -- 20% off

avid_a.k. — Sun, 23 Nov 2008 17:05:00 GMT

If you've been putting off immersing yourself in the world of Avid Interplay, here is your last chance for 2008...at a discounted rate!

The December Interplay ACSR series of classes still has a few open seats. We are offering a 20% discount on each of the three classes that earn you Interplay ACSR certification. The full two-week series runs from December 8-19 in our Tewksbury Training Center. It includes: the WG213 Interplay Admin, WG112 Avid Networking and WG433 Interplay ACSR. The full value of the courses is $6,500. With the 20% discount, you can save $1,300 by booking now for $5,200!

All courses have ample hands-on time built-in and one-on-one instruction, as needed, to offer the complete training experience.

Course Highlights

WG213

Extensive hands-on and lab time with all Interplay Applications
Install and use Interplay Access, Assist and Interplay-enabled editors, i,e, Newscutter or Media Composer
Create and customizing an Interplay database
Learn the basics of the Interplay Engine, Framework and Media Indexer

WG112

Acquire basic networking knowledge and skills for design and troubleshooting
Learn to configure Avid-supported switches (Cisco 4948 and Foundary X424) in hands-on lab time.
Learn about routing configurations and dedicated and virtual router interfaces.

WG433

Learn the Interplay and Avid Workgroup pre-sales and installation process
Setup Microsoft Active Directory and DNS servers required for Interplay and Interplay clusters
Install both single and clustered Interplay Engine systems from scratch with your lab team
Get inside the Interplay system with hands on experience for back up and restore processes
Learn how to properly spec, install and configure Interplay Media Indexers (32 and 64-bit)
Gain invaluable hands-on troubleshooting skills!

Customers must have current Unity MediaNet or ISIS ACSR certification to be Interplay ACSR certified.

Please contact trainingservices@avid.com (978-275-2071) to book your seat(s)!

Avid Interplay: Not For Just Your Avid Media

avid_a.k. — Mon, 10 Nov 2008 07:36:00 GMT

One of the overlooked features of Interplay is the ability to bring all sorts of "non-Avid" files under your control and make them available for all your users (or a select few) to collaborate on. That's right...the Interplay Access application can track any kind of file, in addition to all those Avid masterclips, subclips, sequences, effects, etc. Beyond that there is also native support for Adode Photoshop and the entire Microsoft Office Suite of products: you can actually check in and out files from these products, into Interplay, from their file menus.

Microsoft Word with the Interplay Plugin

The workflow for using these assets is simple:

Create the file on your local system.
Import the file into your Interplay database using Access or Avid Interplay plug-in for Microsoft Office or Adobe Photoshop.
When you want to edit the file, check it out of Interplay using Access, Office or Photoshop.
When you are done editing the file, check it back in to the database using Access, Office or Photoshop

At this point, other users on Interplay who have been granted the proper "roles" or permissions could view and edit the files. There are somewhat different rules for file assets as opposed to Avid assets in Interplay. For example, with file assets, a user can do an 'exclusive checkout' meaning no one else can open the file for editing. There are also features with allow for version control of the assets where you can look at the history and differences between different versions of a file, for example some color correction to a Photoshop file. There is actually one use of this versioning aspect which you could use for Avid assets. Different versions of Avid sequences get checked into Interplay and you can use this version control to view and rollback to previous version of a sequence.

For system administrators, there are some consideration for implementing use of this non-Avid assets workflow. First, you must get an idea of just how popular it will become once your users catch on. I've already mentioned Office and Photoshop files, which are supported natively, however MP3s and other audio files, QuickTime movies, Windows Media files, JPGs, GIFs, etc. can all be imported and tracked in Interplay. So, if you are going adopt Interplay for a 'graphics' workflow which may entail large files...where are these files going to be stored? By default, they go to Interplay Engine server and depending on whether you are on a single or clustered Interplay system and using an SR2400 or SR2500, the available space will range from 70GB up to a little over 900GB on the raid array that comes with a cluster. My recommendation for anyone who thinks they may want to use this workflow is go with the 'split database' method. It's easier to do this before your system has been installed and in use for awhile. So if you are just getting an Interplay system be sure to tell your Avid installer or reseller this is something you want to do. They will create a separate workspace on your shared storage system where these 'non-Avid' assets will get stored.

Administrators will also want to know how to configure certain types of assets to open up when launched from Interplay Access. You can do this from the Tools->Options->Asset Types in Access. For a .JPG for example, while you can view head frames in Access, you may want to have it open in a specific external application. That's configurable with Access. You can even chose different applications for viewing and editing.

You can play non-Avid Video directly in the Access window and play audio files there as well:

To use file assets, there are no special bits to run at install time. The Office and Photoshop plugins come standard as well with all Interplay systems. However, you do have to install the plugin. Not all sites and installers are aware of this. Make sure you do a custom install for Access from Interplay installation DVD and choose the plugins you want. After that, any future upgrades should automatically pickup the plugin from the local machine's registry and upgrade it accordingly.

Post by Stacy Saveall, Avid Training Services Instructor and Curriculum Developer

Improved Delete Behavior in Latest Interplay Release

avid_a.k. — Sat, 25 Oct 2008 06:52:00 GMT

Many editors are familiar with the “Lock Bin Selection” option in the editor to protect their media from being deleted.

For those that have adopted the Interplay workflow, however, locking clips in a bin is not the recommended best practice. Reservations are time-based permissions applied to folders in Interplay Access, and should be applied to protect media.

If a user locks a clip in his bin and forgets about it, Interplay doesn't have a way to delete the media file off the system. Media Managers would likely see the following error when trying to delete certain files off the system.

The file gives an “access denied” message because it is in a “Read Only” state on the Windows level and even an Interplay Administrator cannot override this permission. We’ve seen several sites in the past that have hundreds of clips appear in the “Orphan Clips” folder in the Interplay database that could not be deleted because of this. The possible workarounds would be to drag the clips into a bin and unlock them from the editor, or to hunt through Windows Explorer to find the “Read Only” files and remove the flag. Both options could prove time consuming.

With Interplay 1.4.2, we have included a new Site setting called Delete Behavior.

This setting allows the Administrator to decide how to treat media that has been locked in the bin. As you can see from the setting below, Administrators can leave it up to the delete user’s discretion, or create a default setting for everyone.

Allow user choice in Delete dialog: Two options are available in the Delete dialog box: “Skip” and “Force delete.”
Always skip (default): In the Delete dialog box, the “Skip” option is shown but cannot be changed.
Always force-delete: In the Delete dialog box, the “Force delete” option is shown but cannot be changed.

Now when a Media Manager plans on deleting assets he or she will see the following “Delete Options” dialog:

Note that an Administrator will always have the option to Force-Delete or Skip locked media.

Remember, it is a best practice to apply Reservations through Interplay Access to protect media from being deleted. However, if media had been locked in the bin and was never unlocked, Media Managers now have a much easier option to purge that media from the system once it is no longer needed.

Post by Ryan Nadeau — Field Trainer, Avid Training Services

Run useful reports on your clips and sequences in Media Composer 3.0.5

avid_a.k. — Tue, 21 Oct 2008 00:36:00 GMT

Media Composer has some brand new ways that you can quickly look up information about your source material, clips and effects. By running reports on your metadata, you can easily find things as you edit, and prepare for finishing (online) or confirming sessions. These reports can be saved, searched or emailed. (This feature was introduced in Media Composer 3.0, but has received some user-interface enhancements in 3.0.5.)

These reports are:

Source Clip Summary: lists all tape sources used in a timeline, and all graphics used in the timeline with their original paths
Clip Summary: lists all clips in the sequence or subclip
Effects Summary: lists all effects in a timeline, including a list of Plugins used

There are two ways to generate these reports: via the Console or via the Report Generator window.

Console

To run an individual specific report on either source information, clip information or effects information, type one of the following commands into the console:

dumpsourcesummary
dumpclipsummary
dumpfxsummary

-dumpsourcesummary

-dumpclipsummary

-dumpfxsummary

To run a complete default report (that contains source, clip and effect information), drop a clip, subclip or sequence into the Console window. The default report will contain all information from the above separate reports.

Report Generator Window

In Media Composer 3.0.5, these reports can now be run from the new Report Generator window. This can be accessed from two locations:

From the Composer Window: Load an object (subclip, clip, sequence) into the Composer window and then right click on that wndow and choose "Get Info" to open the Report Generator window.
From the Bin: right click on an object in the Bin and choose Get Info to open the Report Generator window
Note: The Report Generator gives you several additional options,
such as using In/Out marks, showing specific types of effects,
showing offline sources only, etc.)

You can either send the report to an output file, or run it in the console, as above.

Immerse Yourself: Get the Training. Get Media Composer.

avid_a.k. — Tue, 16 Sep 2008 13:06:00 GMT

Now is the best time to immerse yourself into the world of Avid Media Composer.

Experience a full-week course and receive your own copy of Media Composer in one special package! Two new classes added — one on each coast — for the end of the year.

MC 108 Media Composer Immersion

This course gives you a "total immersion" experience in Avid Media Composer, the nonlinear editing system used to create the large majority of today's professional films and videos. And at the end of the week, you'll take home your own copy of Avid Media Composer version 3.0 software. You'll learn how to edit, create effects, manage media, import and export media, and more! Session time is divided between demonstration and hands-on practice, with ample time for experimentation with sample documentary, dramatic, and graphic material. Enrollment is this course also includes ALEX online courses on Avid Marquee Title Tool and Input and Output Essentials.

To request more information or register, please contact Avid Training Services at trainingservices@avid.com or 1-800-867-AVID.

Topics Include:

Preparing for editing
Working with bins
Basic editing techniques with sync and non-sync material
Fine tuning (Trimming)
Customizing your workspace
Trimming with sync material
Creating titles with Avid Marquee
Working in the Timeline
Working with audio
Performing Media Management tasks
Creating vertical and horizontal effects
Creating motion effects
Nesting effects
Importing and exporting
Working with SD, HD, HDV, P2, and HDCAM material

___________________________________________________________________

Contact:
Avid Training Services
1-800-867-AVID
trainingservices@avid.com

Instructor:
Ashley Kennedy

Course Details:

Avid Technology in Burbank, CA:
October 13 - October 17, 2008
Avid Technology in Tewksbury, MA:
December 1 - December 5, 2008

Registration fee:
$2495 includes Media Composer software or $2295 for Media Composer upgrade from Avid Xpress Pro v5.5

___________________________________________________________________