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How To Create and Edit Open Captions with AVX Effects

Avid Community Evangelist — Tue, 19 Aug 2008 12:00:00 GMT

Let's take a look at the Avid AVX SubCap Generator effect.

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As international distribution becomes the norm, open captioning is essential. Open captioning is a common industry term the refers to captioning that is always visible to the viewer. With the Avid AVX SubCap Generator effect you can easily input or import text which is then automatically composited into the video material along with any background effects such as drop shadows or background boxes. The text can be entered manually or imported from files in standard captioning formats and becomes a permanent part of the finished video material. The text created by the SubCap Generator is a form of open captioning and edits to the open captions can be re-exported to update changes in an iterative workflow. The subcap effect is typically used for two different types of text information. Text that provides a translation of the spoken dialogue in a program. In this case we're assuming a viewer can hear the audio for the program, but cannot understand the language in which it is spoken. Alternatively we may be working with text that provides a full description of all of the audio content in a program. Here we're assuming a viewer who cannot hear the audio for the program and needs a description not only of the spoken dialog but also for the sound effects, the character of the music and so on.

You might use the SubCap effect to create text that becomes part of the finished program. Alternatively, you might use the SubCap effect to create text the provides a preview during your production process but that is then replaced in the finished program by closed caption text encoded in the video signal.

The SubCap effect has the following main features. Support for the EBU N19 (.stl) and the Avid DS caption file format including the storage of metadata such as contact and program information. Support for Unicode text entry. Parameter control over many aspects of text appearance including fonts, colors, line length and line spacing. Ability to apply parameter changes made on one caption effect clip to all other caption effect clips on the current track or throughout the entire sequence. And the ability to save sets of parameter values for any caption effect clip as a style-sheet file that you can then apply to other caption effect clips in the same or other sequences.

As with other effects, the SubCap plug-in can be found in the Effects Palette under Generator.

In my timeline, I'm going to add a new video track and then I'll add the SubCap effect to that new track. For more complex delivery requirements we might apply different instances of the effect to different video tracks and then simply toggle between them to create various language outputs. In this particular workflow, we're going to import an STL file. This file was created by a subtitling service. The STL files are quite small and can be sent as an email attachment. Before we do that, we will quickly run through the parameters in the plug-in. In doing so, we will setup a default style-sheet. Let's just add some text, adjust the size, opacity, shadow, then we'll center the text, remove the background. Once we have created a style that we like, we go to the global properties page. Many of the tabs reflect aspects of the STL specification such as Program Name, Program Title, Version, Creation Date, etc. The synchronize tab sets the priorities for which properties will propagate, or not, through to other captions when a style-sheet is applied. By selecting track the style-sheet will apply to all titles on the same track. By selecting program they will apply to all tracks in the program. This allows for flexibility in styles for different tracks if needed. Once complete we will go to the Stylesheet tab and save these parameters as a new style. This window allows for multiple styles to be saved. One can also be setup as a default.

The next parameter is the import-export selection. From here we can select the STL file as sent to us from the subtitle service. Once selected you can see how many captions are in the file, the timecode range of the sequence as well as the timecode range of the file. Since the captions are all based on timecode for placement the import dialog will alert you if the captions fall out of the range. To see in advance whether an import will be successful is another nice feature of this tool. Once the STL file is imported you will see all the captions placed as individual titles on the timeline. These are created by the start and end timecodes in the file for each caption. Lets go to the first title. It does not yet appear with the style we created earlier, so with this title selected, let's go back to the global properties and stylesheets. Highlight the style we saved earlier and apply. All the captions now have the same look and feel. Plus, this is a real-time effect ready for playout. Now if changes need to be made, you can easily go to the edit master caption list. Where you can see all the captions on the current track. You can also edit all the text in a single view. Or, add a return carriage if you want to break it at a certain spot.

Now lets add some open captions manually. I can add a subcap to each span of dialog in the timeline. And then I can enter the text for the first dialog and apply a pre-made style. Now when I make the second title active and start typing, you will see it automatically inherits the properties of the same style. This is a rapid way to create subtitles directly. And of course, each title can easily be moved and repositioned along with its sync track as needed.

Another great feature of this tool is the ability to create a new STL file that reflects any changes or corrections made to the sub-titles or captions. The DS Caption File can be exported as well. This text file is portable, easy to read and useful for things like legal sign-off or rights management. Also, because the file is easy to edit it can be sent to a translator and a new file can be returned.

Exporting an STL file can also be used in many DVD authoring applications as a subtitle track. Creating even more value for your productions or for your customer.

The AVX SubCap Effect Generator is a new feature available with:

Avid Media Composer Software v3.0 and above Upgrade or Buy Online | Request Info

Avid Symphony v3.0 and above Request Info

Avid NewsCutter Software v7.0 and above Request Info

Also available on Avid Nitris DX and Avid Mojo DX system configurations.

Editor's Note: Thank you to Lesley Glorioso, Michael Phillips and Steve Holyhead for writing this tutorial. Additional thanks to Steve Holyhead for creating and presenting this video.

How To Create Real-Time Overlays of Source and Record Metadata Using AVX Effects

Avid Community Evangelist — Tue, 12 Aug 2008 00:00:00 GMT

Let's take a look at the Avid AVX timecode effect plug-in. This segment based effect allows for real-time overlay of source and record metadata as part of a digital cut, transcode or export.

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Timecode burn-in is commonly needed in post production when handing picture over to sound or visual effects. Having the metadata as part of the image allows for easy reference for any of these downstream processes.

As you'll see here though, the Avid AVX Timecode effect plug-in takes this idea to the next level. As with other AVX effects, the Timecode plug-in can be found in the Effects palette under Generators.

In my timeline, I'm going to add a new track, then I'll add the AVX effect to that new track. This way, as I work, I can easily toggle the effect right here using the track monitor.

If I go into effects mode, we can see up to four overlay controls. Three for timecode metadata and another for notes. Inside each of the overlay controls are the parameters for that metadata overlay. It is here in the reader menu that you will select the type of data you wish to display. The type menu is then used to control how the timecode display is calculated. Plus, you can select from which track the metadata should be drawn for display from any one of the twenty-four video our audio tracks.

In addition to the timecode information the plug-in allows for any metadata that is currently displayed above the Source or Record monitor. This includes Keycode, duration, Ink Numbers, DPX, even clip names. For example, if I choose "Frames" from the reader menu and "Remaining" in the type menu, then I will get a countdown to the end of my movie in frames. Or, if I choose "Source" in the reader menu and "Current" from the type menu, then the source timecode for each clip in my sequence will be displayed.

The fourth metadata display is actually a notes track overlay. The content of which is user-definable. Identification or promotion is an ideal use for this tool. As is open watermarking for security purposes. If we want to add a notes track, it's easy to do so by directly typing into the text window of the notes section. Of course we can always copy-and-paste into this area too.

The appearance tab for each of the overlay windows allows for Position, Size, Opacity and Background Color. It is also convenient to be able to add the name of the clip to the overlay window so a producer or director can read which shot was actually included in the cut, maybe as a part of a review and approval process.

Another really useful aspect of this tool is the Display Label. If this option is selected the display begins with a label identifying the timecode format. If this option is deselected, only the timecode value itself is displayed.

As with all AVX plug-ins presets can be saved and quickly added as needed. The user can prepare layout, size, color, background, metadata type and position, and quickly add to the timeline when needed. As I drop these saved templates to the timeline, you can see how the timecode plug-in automatically inherits the source/record metadata of that timeline. And of course, all of these overlays are available in real-time.

Also unique to the Avid AVX Timecode plug-in is that it makes use of the extensive metadata database within the Avid Media Composer. And is therefore able to create 24 frames-per-second and 30 frames-per-second burn-ins directly from the original FPS source. This ensures that PAL and NTSC workflows can proceed with clarity and predictability for the entire production chain. Feet and frames as well as total frames can be selected to support animation and feature film workflows.

Avid built the AVX Timecode plug-in with the intention that it satisfy the most demanding of post production needs.

The AVX Timecode Burn-in Effect Generator is a new feature available with:

Avid Media Composer Software v3.0 and above Upgrade or Buy Online | Request Info

Avid Symphony v3.0 and above Request Info

Avid NewsCutter Software v7.0 and above Request Info

Also available on Avid Nitris DX and Avid Mojo DX system configurations.

Editor's Note: Thank you to Lesley Glorioso, Michael Phillips and Steve Holyhead for writing this tutorial. Additional thanks to Steve Holyhead for creating and presenting this video.

How To Add a Watermark to your Compressions in Sorenson Squeeze

avid_a.k. — Tue, 29 Jul 2008 12:30:00 GMT

Ever need to brand your video? For many reasons we often have a need to make sure the files we produce don't end up being used without our permission. Watermarking is a great way of showing off your video while still maintaining control. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze.

The watermarking filter can be applied to any output format within Squeeze 5. There are two ways to do this. First of all, I can edit a filter and click watermark. Choose the position of the watermark. I can preview the filter by using the slider bar above the window. As a default, the Squeeze vise is used, but you can use any JPG, PNG or GIF.

The other way to do it is to create a new filter by clicking on the plus button in the filter presets. I'll title this "Watermark". Now here I can click on watermark and choose the position...I always want it in the bottom right. So that's now my default watermark filter. I can apply this to my file, and there the watermark shows up. But I want to change it, I want to use a different icon than the Squeeze vise. So I'll browse to my computer, find the file that I want to use. Let's use this Sorenson Media JPEG. Doesn't look quite right yet. So I'm going to adjust the opacity and feathering a bit here, just to make sure it looks right on the video and blends in a little bit better. Then click OK. And now once I compress the output, you'll notice the final compressed output has the watermarking in it.

It's really a quick and painless way to make sure your encoded video has your mark. Available in Squeeze 5.

More Squeeze Quick Tips:

If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

How To Setup a Watch Folder in Sorenson Squeeze

avid_a.k. — Mon, 28 Jul 2008 12:00:00 GMT

To simplify your encoding workflow you can encode multiple videos using watch folders. Here's how Squeeze can do it. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze.

In the input window of Squeeze click on the "Watch Folder" icon. Next you'll choose a destination for your watch folder and create a new folder by click on the "New Folder" button. We'll title this "Squeezed Video". Your folder when then appear in the batch tree window in the main interface.

Next, apply a preset or multiple presets to the watch folder you created. After you apply your presets and filters, click the "Squeeze It" button. You'll notice the word "Watching" appears. This means the application is waiting for you to place your videos in the watch folder. Next, just drop your videos in the watch folder, and the encoding begins. Inside the watch folder the output files will be place in a "CompressedOutput" folder and the source files will be placed into a "CompletedSource" folder.

Watch folders are a great timesaver. Especially if you have multiple people needing videos encoded.

More Squeeze Quick Tips:

If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

How To transfer media using Sony XDCAM EX Clip Browser version 2.0 software

BobRusso — Sat, 26 Jul 2008 05:00:00 GMT

I’m Bob Russo with Avid Technology. In this tutorial I’m going to demonstrate how to transfer media using version 2 of the Sony® XDCAM® EX clip browser software with the Avid® Media Composer®.

Download high quality QuickTime for offline viewing (27MB)

Along with Mac – Intel support, version 2 of the Sony XDCAM EX Clip Browser software now enables the MP4 files to be directly rewrapped to Avid Media Files. The first step is to select the destination for the MXF files. Since these are Avid Media Files the exact folder must be selected: Avid MediaFiles – MXF and the appropriate numbered folder.

Now select the SxS card or folder where the EX media is stored; choose the clips to use in the Media Composer and select File, Export, Avid AAF.

Select a location for the AAF file and click execute. AAF files are created with the clip metadata and the clips are rewrapped as OPAtom MXF files.

Now in the Media Composer, select File, Import. Navigate to the folder where the AAF files are and select them. The clips along with sequences are imported into the bin linked to the media ready for an edit. The sequences can be deleted.

And that’s how you use media from an XDCAM EX camera with the Avid Media Composer.

How To Do Multi-Core Compression in Sorenson Squeeze

avid_a.k. — Fri, 25 Jul 2008 12:30:00 GMT

Squeeze 5 now has the ability to utilize your computer's multiple core processing power. You can now simultaneously encode up to 1.5 files on each of the computer's cores. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze.

To make sure your computer is capable of processing multiple files, open up the Preferences Menu from the Squeeze pull-down menu, or it's the Edit Menu on the PC. Click on the Behavior tab on the right. Squeeze automatically detects how many processing cores you have on this computer, in this case it's two. And as a default it sets the maximum simultaneous compressions to the maximum--which was 1.5 per core--so the maximum is three, but you can change this if you wish to, we'll keep it back at three. Then click OK.

Now, we have the ability to simultaneously encode three files at the same time. So I'll take a couple of different files, open them up. I'll apply my preset, and now all I have to do is click "Squeeze It" and watch Squeeze go to work.

More Squeeze Quick Tips:

If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

Avid Editor QuickTime Workflow For Proper Brightness Levels

jkwan — Thu, 24 Jul 2008 19:18:00 GMT

Justin Kwan, Avid Software Engineer, offers insight into his workflow for importing and exporting QuickTime movies to achieve proper brighness levels.
(Reposted from Kwancentral)

There seems to be a decent amount of confusion about which settings should be selected when exporting a video as QuickTime, and then importing the QuickTime movie into an Avid editor. In this article I will describe the proper settings for exporting video out of a third-party application such as Adobe After Effects using the Avid QuickTime DNxHD codec, and then importing the QuickTime DNxHD movie into an editor. Four workflows are shown, one of which is invalid.

This same workflow should hold true for all the Avid QuickTime codecs. It will not apply to non-Avid QuickTime codecs.

Exporting Source Material With RGB Levels

Source media with RGB levels

If you start with source material with RGB levels (0-255), such as the image above, you should select the RGB button in the QuickTime export options shown below. This is because the option in the QuickTime dialog specifies the levels of the source material. However, it isn't a disaster if you don't select the RGB button.

Assume you export two movies. The first has RGB level source material and is exported with the RGB option selected. This is called RGBsource_RGBOption.mov. The second movie has RGB level source material and is exported using the 709 option. This movie is called RGBsource_709Option.mov.

Select the RGB brightness option with RGB source material.

Importing Source Material With RGB Levels

When you import RGBsource_RGBOption.mov into the editor, select the 601/709 option to perform a quick import. Selecting the RGB button will bring the video in at the correct levels, but it will be a slow import. It is OK to select the 601/709 button as the levels within the QuickTime movie were converted to 709 compliant levels when the RGB button was selected on export. Quick import copies the 709 compliant video data from the QuickTime movie to the editor. See the image below for the optimal setting when bringing this movie into the editor.

Select the 601/709 option for import of RGB source material.

If you look at the levels while in color correction mode, you can see that the darkest black is 16 and the brightest white is 235 as shown in the image below. The left side of the color picker represents the darkest black value and the right side of the color picker represents the brightest white value. The levels of the imported media are correct.

RGB source material imported into the editor

When you import RGBsource_709Option.mov, you must select the RGB button in the editor import dialog as shown below. Selecting the 601/709 option will cause the video to come in at RGB levels.

Select the RGB button for import of RGB material exported with 709 option selected.

Exporting Source Material With 709 Levels

Source media with 709 compliant levels.

When you export source material that is already 709 level compliant, as shown above, the 709 button should be selected in the QuickTime dialog options as shown below. The RGB button should never be selected in this scenario, as this will not import into the editor with 709 compliant levels. Assume you export two movies. The first contains 709 level compliant source material and is exported using the 709 option. This movie is called 709Source_709Option.mov. The second movie contains 709 compliant source levels and is exported improperly using the RGB option. This movie is called 709Source_RGBOption.mov.

Select the 709 button for 709 compliant source material.

Importing Source Material With 709 Levels

Import 709Source_709Option.mov using the 601/709 option. This is the only option that can be selected for proper import of this movie.

Now, import 709Source_RGBOption.mov. No matter whether you select the RGB import option or the 601/709 option, the imported levels will be incorrect as shown below.

Media imported into the editor when 709 material is exported using the RGB option.

Post by Justin Kwan

How To Constrain File Sizes with Sorenson Squeeze

avid_a.k. — Tue, 22 Jul 2008 13:00:00 GMT

Have you ever needed to limit your output file size to a specified amount? Using our constrain file size preset option can help. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze.

The constrain file size option can be found in the upper right-hand corner of the compression settings once you've applied a compression setting to your file.

The key to using this feature to the best of its abilities is to use it as a basic guide. When you type in the file size limit you need you'll notice the audio and video data rate updates, so check the box for "Constrain File Size", type in the desired value and then uncheck the "Constrain File Size" box. You know have a base data rate that should put you close to your mark. This now gives you the added ability to tweak the data rates as you desire, with the knowledge of what your overall data rate should stay at.

More Squeeze Quick Tips:

If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

How To Add Chapter Markers in Sorenson Squeeze

avid_a.k. — Mon, 21 Jul 2008 05:20:00 GMT

Squeeze versions 4.3 and later allow you to add chapter markers to your compressed video output. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze.

You can use chapter markers for a variety of reasons for both Flash and MPEG-2 outputs. First, simply input a file into the Job pane. Next, you'll notice to the right of the player controls there is a marker button. In Squeeze you can add both Chapter Markers and Key Frame Markers so make sure your marker type is set to "Chapter". With the playhead marker at the beginning of the clip, click the "Add Marker" button.

Next, if you want to scroll or drag your playhead to the next frame that you want to use as a chapter marker you can finesse it by clicking the left and right arrow keys to find the exact frame that you're looking for. I'll click the "Add Chapter Marker" button again.

When you're finished with all your markers, you can go into the Edit Markers and name each chapter if you wish. Chapter Markers are a great tool to allow you to navigate your Flash video or DVD.

More Squeeze Quick Tips:

If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

Quick Tips for Creating Flash Video with Sorenson Squeeze

avid_a.k. — Mon, 14 Jul 2008 13:22:00 GMT

In this video we will go over Robert Reinhardt's Top 5 Do's and Don'ts for encoding flash video. Produced by Coby Rich, Product Marketing Manager, Sorenson Squeeze

Tip #1
Do determine a proper bit rate or data rate for your flash video content. Squeeze includes several presets for flash video to get you started. If you need a wide range of data rates for your deployment, encode several FLV files by applying multiple presets to the same source file.

Tip #2
Don't be tempted to change the image Quality Settings in your compression presets. Especially if you'll be deploying to a flash video with a streaming service such as Akamai, Limelight or a flash media server hosting company like Influxis.com. The image quality setting will override the bit rate value you've specified for the preset or alter the frame rate if you elected to drop frames to maintain image quality. Neither of these outcomes is desirable.

Tip #3
Do use Squeeze presets found in the streaming folder of the "Workflow Sort" if you're deploying your content with a flash streaming service. These presets use CBR or "constant bit rate" encoding. Presets for download, found in the "Download" folder use VBR or "variable bit rate" encoding which should be used for FLV file content deployed solely to HTTP servers or local media like CD or DVD-ROM.

Tip #4
Don't adjust pixel aspect ratios in your compression preset. For example, Squeeze automatically detects non-square pixel aspect ratios with DV source files and outputs to a proper 4:3 aspect ratio for your content. 320x240 is the proper reduced sized for 720x480 DV footage. In other words, don't force 360x240 size for DV footage.

Tip #5
Do deinterlace your source video if necessary. Squeeze automatically applies deinterlacing to source files that have a standard NTSC frame size such as 640x480 or 720x480. If you deinterlaced your footage prior to importing into Squeeze, make sure to open up the filter applied and uncheck the deinterlacing option. Otherwise, Squeeze might reduce the overall image quality by trying to remove non-existent fields.

More Squeeze Quick Tips:

If you'd like to learn more, Sorenson Media offers a free weekly training Webinar on Squeeze and general compression techniques.

Quickstart: Quality Avid Training Right out of the Box!

avid_a.k. — Tue, 01 Jul 2008 21:00:00 GMT

Welcome to the New Media Composer Quickstart!

Avid Training Services is proud to announce the release of Media Composer Quickstart — a high quality training DVD that will provide all users with a chance to build and expand their skill set. For beginners, this disc will be a great first step into the world of Avid editing. For advanced users, this disc will be an ideal way to learn some tips and techniques and refresh their skills.

Affordability

We are very excited to announce that this training is bundled free inside every Media Composer 3.0 box that is shipped. This is a great opportunity for Avid's award-winning training group to give users the ability to get up to speed on Avid very quickly, and to show the Avid community the type of product that we've been offering for years. Soon (hopefully very soon) we will be selling the Quickstart DVD separately for those who already have Media Composer. You can be sure that it will be at a very competitive price.

New Look and Feel

Probably one of the most exciting elements of this training project is the new interface and design. We made the decision early on that this project would have to be one of our most creative. The new interface is slick and easier to navigate. It provides you with a much improved user-experience.

Starting up the new interface

Even better is that this new interface is going to be integrated into all of our current ALEX courses online! We hope this means that navigating our extensive collection of ALEX courses will be simple and inviting (especially our Media Composer Complete Subscription).

Our goal is to get you to the lessons faster so that you can begin learning as quickly as possible.

New Interface Features:

Course Structure

Modules: Modules are the top level of the courses and are comprised of related lessons. Clicking on a Module icon will take you to the Module introduction page where you can choose a specific Lesson to launch.

Simply click on your desired module to view the related lessons

Lessons: Lessons are the individual topics that are contained within a Module. Clicking on a Lesson icon will launch the appropriate video. Upon the completion of a Lesson video, you return to the Module introduction page to begin the next Lesson.

Click on a Lesson to launch it and begin learning

Watching a lesson in the new course interface

Controlling Playback with the Lesson Title Bar

You can control the playback of the Lesson video by revealing the Lesson title bar. You do this by holding your mouse over the top edge of the video. The Lesson image and title will appear, along with the playback controller. This controller will allow you to pause, play, and restart the current Lesson.

Rolling over the top of the video will reveal the playback controller. You can also launch the lesson exercise or quiz (if available)

Navigating the Lesson Menu

While watching a Lesson video, you have the ability to navigate to any other Lesson, in any other Module, by clicking the Menu button located at the top of the interface. This will pause your current Lesson and open the menu. Simply roll-over the desired Module icon to reveal the Lesson submenu. If necessary, use the left and right arrows to find the Lesson you are looking for. Click the desired icon to launch it.

Opening this menu will pause your current lesson and allow you to launch to any other lesson in the course

Top Bar Features

Avid Training Services: Clicking on this logo will return you to the main page of the course
Documents: Downloads our course registration form for both classroom purchases and ALEX purchases.
E-Mail Us: Sends an email to ALEXsupport@avid.com for technical support.
Help: Opens the Help window to view more details about how to navigate the new interface.
Exit Course: Closes the course window. In ALEX, using this button will not affect your current status.

The top bar is always visible and provides you with easy access to common utilities and tasks

Media Composer 202: The Documentary -- This July!

avid_a.k. — Fri, 13 Jun 2008 21:28:00 GMT

Media Composer 202: The Documentary

Come join us, and delve into the world of documentary workflow.

Documentary filmmaking takes passion. It also takes proficiency with the industry-standard tools that enable you to transform your vision into reality. MC 202: The Documentary – the first in the new series of Avid Training Services workshops – will help you achieve your professional ambitions. Whether you’re an independent filmmaker, a journalist, an educator, or an assistant editor, this hands-on, roles-based training will get you up to speed and on the road to success.

Day one is an instructional experience that includes topics such as the documentary post process, advanced bin organization, script transcription methods, scene construction techniques, and useful “invisible” effects for documentary editing. You will be working with raw documentary footage to practice these techniques.

On the second day, we will screen and analyze excerpts from several films in different documentary genres in the morning, and hear in-depth workflow talks from guest speakers in the afternoon. Q & A with these industry professionals will accompany the talks.

___________________________________________________________________________________

What: New Class – MC202: The Documentary
When: July 30 and 31
Where: Avid Corporate Headquarters, Tewksbury, MA (One Park West, Tewksbury, MA 01876)
How to Enroll: Register here, or contact trainingservices@avid.com (978-275-2071)
Cost: $800 for 2-day MC 202 only
$1280 (20% off) for 4-day MC 201 and MC 202 combo
___________________________________________________________________________________

Steve Audette, senior editor for PBS Frontline, will be the keynote guest speaker at July’s class. Mr. Audette received rave reviews when he spoke at a MC 202 course last year. Join us again to experience one of the industry’s most interesting presenters share his documentary workflow tips with you!

Enroll now and save!
Enroll in both MC 202 and MC 201 (the Advanced Techniques for Avid Media Composer class that immediately precedes MC 202 on July 28 and 29) and get a 20% savings for all four days!

The MC 201 is a perfect compliment to the MC 202, because it emphasizes efficient editing, a detailed look into project and media management, and lots of advanced techniques using the Avid Media Composer – all skills that are essential for documentary workflow.

Reactions from the course’s debut at Avid Technology in Tewksbury, MA (Sept. ’07):

“The small class size and workshop format allowed us to share our reactions to the samples that the instructors and guest editors showed us. For me, a documentary producer and editor, that was a rare opportunity to see creative decisions and their effects through the eyes of editors and filmmakers very different from myself.”
-Jaysari Hart, Independent Documentary Filmmaker, Los Angeles

“…it's nice to see the tips and tricks of experienced and, most importantly, SUCCESSFUL documentary editors. It's a great experience to have them show us their timelines, bins, project settings and talk us through some of their favorite tricks. This class was one of the best values we've invested in.”
-Jim Hart, PAO-HQUSAREUR, U.S. Army, Europe

"I thoroughly enjoyed the MC202 Avid Workshop Series: Documentary Editing course. I enjoyed the fact that the format of the class was structured loosely enough to allow a little bit of free form discussion and variance from the class outline. We could cover as little or as much as the individual class members desired. The guest speakers were also a nice departure from the typical Avid class. New perspectives and different workflow techniques helped provide a balance to what could have been a more one-dimensional approach."
-Breann Neal, Senior Producer/Editor, State Farm Creative Services

How To Change the Frame Rate of a P2 clip

BobRusso — Sun, 01 Jun 2008 05:21:00 GMT

Maximize your P2-workflow knowledge! In this video, learn how to change the frame rate of a P2 clip using DVFilm's MXFX, and edit with it in Avid Media Composer.

Video Text:

I’m Bob Russo with Avid Technology. Today I’m going to talk about how to change the frame rate and frame size of P2 clips using DVFilm’s MX – FX for use in the Media Composer.

In this example I’m working in a 1080i – 59.94 project and have a virtual P2 card with clips that were shot using a variable frame rate.

I can import the P2 clips into a bin but when I try to play the clip, I receive an error message that the frame rate doesn’t match the projects frame rate.

To change the frame rate and frame size of the clip to match my project I’ll use MX-FX.

Select Options, the options box opens. Since my clip is 23.976, I need to add 3:2 pulldown, change the frame rate to 29.97, and convert the frame size to 1920X1080.
Select OK.

I’ll drop the clip from my virtual P2 card into the window and select start.
MX – FX will create a new virtual P2 card that will retain the meta data from the original card.
Depending on the host computer and exactly what process is being performed, this could take two to four times the length of the clip.

Once it’s done I’ll go back to the Media Composer an import the clip from the new virtual P2 card MX – FX just created.

The clip imports and can play in my project 1080i – 59.94 project with the variable frame rate intact.

And that’s how to change the frame rate of a P2 clip for use in the Avid Media Composer.

Creating a moving filmstrip in Avid Media Composer

avid_a.k. — Thu, 22 May 2008 18:03:00 GMT

The following post is provided by John Lynn of Genius DV. GeniusDV provides Avid Media Composer Training to many locations nationwide.

Bring film to life by creating a moving filmstrip with Avid's Picture-in-Picture effect.

This tutorial will teach you many of the basic compositing techniques available in Avid Media Composer. Once you've mastered this technique, you can use the same skills to build moving walls, spinning 3D worlds, story-books, and a variety of other effects.

Here is what the finished sequence should look like when you are finished with this tutorial.

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The first step to creating a moving filmstrip with Avid Media Composer is to find at least six clips and set a duration of three seconds for each of them.

To do this, you may want to use the source pull down menu and set the timecode display to I/O, or just use "Center Duration" to help you out with the IN/OUT durations. It is very important that each clip is exactly 3 seconds long.

Within the bin window (text view), you can verify that all of your clips are exactly three seconds long by accessing the Headings in the bin fast menu and choosing IN-OUT.

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The next step is to edit each of your clips to the timeline window. Select all the clips.

After all of the clips are selected, you can drag all of them together directly to the timeline.

You may want to pull down the timeline (fast menu) and select (clip-durations) to verify that all of your clip segments are exactly three seconds in duration.

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Next, you will want to delete all the audio tracks, if your timeline has any. (This is because they will get in the way when building your final composite.) To do this, deselect the video track, and highlight all of the audio tracks.

Then press the delete key on your keyboard. Click the OK button to delete all of the audio tracks within the timeline window.

The next step is to add two additional video tracks. To do this, navigate to the clip menu, and select New Video Track (or press Ctrl + Y). Repeat this process until you have a total of 3 video tracks.

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Now, drag the PIP effect (Effect Palette>Blend) to the first segment within the timeline as shown.

After you drop the PIP effect onto the first segment, you need to enter Effects mode. Park the blue timeline position indicator over your first segment and select the segment mode button.

The Effect Editor is where you can adjust the parameters for any particular effect. For now, leave all of the adjustments at their default positions.

You should see a wireframe edge around your picture-in-picture effect.

While in 'Effects Mode' click on the reduce image icon. It is a magnifying glass with a minus sign. Click on this icon twice. You will now be able to see the edge of the screen.

Click on the first keyframe within the Composer window. The keyframe will turn pink. Then, drag the wireframe image to the right of the visible screen area.

Next, click on the last keyframe within the Avid Xpress composer window. Then drag the wireframe image to the left of visible picture area. (When dragging your wireframe image, DO NOT grab the image from the white dot in the middle. This white dot represents the starting keyframe. You animation will then move backwards if you grab the image from the middle dot.)

If you press the play button while in 'effects mode' you wireframe image should move from the right side of the screen to the left side of the screen.

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Once you have built the first picture-in-picture effect, you need to copy the same effect to all the other segments. You do this by dragging the effect template from the Effect Editor window, and copying it to all the other segments. If you have six segments, you will have to repeat this process 5 times until each of your segments has the same picture-in-picture effect applied to it. After you are done, close the Effect Editor.

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Now, you need to move the blue position indicator forward exactly one second from the start of the sequence. Turn on the red segment arrow drag the next segment up onto V2 and snap it to the blue position indicator.

After you are done, move the position indicator forward one more second, and drag the third segment up onto V3 and snap to the position indicator.

When you are finished, your sequence should look like the example shown below. Make sure you monitor from the top most track so you can see all of the layers below it.

That's it! Now back up and play the sequence. You should have a moving filmstrip that moves across the screen.

Depending on how fast your system is, you may need to render your sequence to play the sequence.

Expert Connections on the new Avid.com

avid_a.k. — Tue, 13 May 2008 12:40:00 GMT

With the launch of the new Avid.com website, we would like to welcome newcomers to Avid Training Services' Expert Connections blog. It is our intention to provide you with the latest Avid tips, tricks and trends, as well as detailed analyses of editing aesthetics, and exciting conversations with industry professionals.

In short, we'd like to connect you... with the experts!

One of the most important parts of this connection, however, is you. Please feel free to comment on the posts that you read; engaging in a two-way dialog is very important to us at Avid. Also, if anyone would like to contribute to the Expert Connections blog, send us an email. We'd love to hear, and include, your thoughts!