Looking for:
- Avid media composer 6 full free download |
Video Editing Software - Media Composer - Avid.Avid Media Composer 6.x Cookbook | Packt
If you need to delete tracks rather than add tracks, there are a few more important steps involved. See the Modifying clips after capture: Deleting tracks recipe. It's possible you don't discover that you have tracks that you don't need until after the capture is completed.
In this case you'll want to:. Delete the unnecessary media to free up the drive space and ensure that you don't have orphan media files that are not linked to any clips. Modify the clips so they no longer refer to media files that don't exist since you deleted them. This will help avoid confusion during the editing process. Before we get into the specifics, here is an overview of the process. First you're going to use the Media Tool to delete the specific media files that you don't need.
Then you'll find that once a clip has been captured, some modifications, such as setting tracks, are not possible without a little extra work called Unlinking.
This temporarily breaks the connection in Avid terminology, the Link between the clips and their media files. After Unlinking, you'll modify the clips to remove the unnecessary tracks, and, finally, you'll relink the clips to the media that remains. First, you're going to determine where the media files have been stored.
Select the bin that contains all of your clips in order to make it active. Open the Bin Column Selection window using any of the following methods:. In the Clip menu, choose Columns. Right-click in the Column Headings section at the top of the bin and select Choose Columns from that menu. The Bin Column Selection window opens. From the list of possible columns of information types, select Drive and click on OK.
In the Media Drives column of the Media Tool , select only the media drive s that your clips are referencing those listed in the Drive column in your bin. Click on the button labeled as Current Project , since you'd generally want to display media that belongs only to the currently open project and no other. Select the Master Clips checkbox. Note that in the end, you'll still be looking at media files. It's just that they will be displayed in a more familiar way, as Master Clips.
A window will open titled Media Tool. This window has all the features of a bin. Arrange your Bin window and the Media Tool window so you can see both of them at the same time. The next few steps are going to ensure that only the correct clips become selected in the Media Tool. Start by selecting the clips in your bin. Note that the clips in your Media Tool have become selected.
Make sure that when you select the Media Tool , you don't mistakenly deselect the clips. Enable the check box for each track of media you want to permanently delete and click on OK.
Another dialog window will open. If you are positive that you want to permanently delete the media files you've selected, click on OK.
The unnecessary media is now deleted, but you are left with clips in your bin that are still looking for that media even though it isn't there or, in other words, is Offline.
This can be very confusing during editing, so the next set of steps will fix that. If the clips have become unselected in your bin, be sure to select them before continuing. In order to modify the clips, we have to temporarily break the connection the Link between the clip s and the media file s , which is called Unlinking. Select the Unlink command by either:.
Selecting Clip menu Modify. Right-clicking on any of the selected Master Clips and choosing Modify. In the Modify window, click on the pull-down menu and choose Set Tracks. Deselect the tracks that no longer have media to link to, since you just deleted it.
In other words, make sure only the tracks that still have media available on the drive s are selected. Click on OK. Relink the clips. If you're in a hurry, it's possible to edit the clip s being captured into the Sequence at the same time that you capture from the tape. Create a new sequence or load an existing sequence into the Timeline Window.
Tools menu Capture Tool. Workspaces menu Capture. Right-clicking on the Capture Tool and choosing Capture Settings. Going to the Project window, selecting the Settings tab, and double-clicking on the Capture Settings. In the Capture Settings window, click on the tab labeled Edit. Look at your Capture Tool. At the top, two new buttons have appeared, one for Splicing and the other for Overwriting. That clip will automatically be edited into the Sequence.
Continue to capture to add more clips to the Sequence. When you are finished, to avoid unintentional editing into the Sequence during a future capture session, be sure to either:. Deselect the Splice or Overwrite button in the Capture Tool. AMA allows you to almost immediately begin editing with file-based video, without first having to go through another process, such as Transcoding or Importing. However, Media Composer needs to be given the ability to recognize the files first.
Using plug-ins means that they can be updated at any time independently from the Media Composer program, and, as new video formats are created, their AMA plug-ins can be made available by the manufacturer at the same time. Here are the steps to get the AMA plug-ins:. To get to the AMA plug-ins page at Avid. On the Avid. Click on either the Download link or the Plug-ins tab. Before downloading a plug-in, make sure the file formats will work with AMA and your version of Media Composer.
At the time of writing, there is a link below the Downloads column that states Please refer to the 'AMA Plug-ins and Media Composer Version Compatibility' table for software requirements.
Download the AMA plug-ins for the formats that you'll be using and that correspond to the version of Media Composer that you're using. Each plug-in has its own installer and will guide you through the installation process. Avid also provides helpful, in-depth AMA user guides for different video formats on the same page as the download links.
I highly suggest downloading them for the formats you will be using. They provide a good deal of helpful information that is outside the scope of this book. You can verify what plug-ins have been installed or check which version of a plug-in is installed. Selecting Console from the Tools menu. A table will be generated in the Console window that lists the plug-in name s and its version number. Before undertaking a project using the AMA feature, it is highly recommended that you perform a small-scale test of the process to familiarize yourself with the options and results.
Ideally, you would be able to perform your small-scale test prior to receiving the mission-critical files and prior to the intensity of working under a deadline. Avid provides helpful AMA user guides for the different video formats. At the time of writing, you may visit one of the following links:.
You will find the AMA user guides there. In the Bins tab, you may select how Media Composer will react when it automatically detects that you've mounted a volume for example, a P2 card or a removable drive. To use active bin, in this case, you would first select an open bin inside your Project before mounting or manually linking to the volume through AMA. Default bin naming convention: The bin that's automatically created will have the name of the Project with an incrementing number added for each new bin.
Specify bin name: The bin that's automatically created will have the text that you type into the entry box. Some video formats provide multiple files with varying compression. In the Quality tab, you may select which files the AMA process will initially link to. Note that the files that are linked to can be changed later, and this is discussed in the later recipe titled Changing the link between different resolutions of media.
Link Options sets a default for how to treat the audio tracks for example, mono or stereo. Note that this can be changed later by selecting the clips and using the Modify command from the Clip menu. You're now ready to begin the AMA linking process. The following steps cover linking to files that have been copied off a camera card. You will see this referred to as linking to a Virtual Volume.
If you want to link to the files directly off of the camera card, see the There's more The following steps presume that:. You have copied the files off the original camera card and organized them in a fashion as discussed at the beginning of this chapter, in the recipe titled A strategy for project organization at the desktop level.
The original file and folder structure on the card has been kept perfectly intact during the copy process to a drive. In other words, there are no differences between the contents of the card and the copy on the drive. Note that this is very important and is something you should discuss with the production team prior to shooting. You have chosen to allow Media Composer to make a new bin when it creates the AMA link, rather than selecting a current bin. P2 files: Select one folder above the Contents folder.
A dialog window may open usually when Media Composer detects multiple folders within a directory that contains media and ask you how you would like to have the bin created. Bin s based on current AMA setting : This is the default selection. Use this if you want the bin to follow your AMA settings. Single bin named : This method allows you to override your AMA settings for this moment and set a specific name.
If you choose to work directly off the camera card rather than copy and organize your files, as discussed earlier in this chapter in the A strategy for project organization at the desktop level recipe, then follow the next set of steps:. When the card is recognized by the computer and is mounted, Media Composer will scan the volume the card. Media Composer will grab the clip data from the card and create Master Clips. Then, it will link the Master Clips to their media files. After successfully linking, each Master Clip will display a chain link icon attached to it.
If your media type provides you with versions of the files at different resolutions, you may want to switch linking from one resolution to another. For example, you've initially linked to the low-resolution version of the media for editing, and now you'd like to change the link to the high-resolution version for finishing.
The Avid system creates an AMA plug-in log file when you link clips. The log file records errors and information about the clips. If you experience any problems while you link clips or if you receive an error message, check the AMA log file to get more information about the error for example, a corrupt file or a bad filename. The Getting the AMA file's image to display as desired recipe in this chapter. If you link to media using the AMA process and the clip does not match the aspect ratio and frame size set in your Format tab, then Media Composer will allow you to change the way it is displayed at any time.
If you are working in an Interplay environment, do not change the Reformat attribute from the Stretch setting. If you use a different setting, and you then use 'Interplay Transcode' or 'Send to Playback,' the results might not be what you expect. Set your bin to be displayed in Text View from the Bin Display menu in the lower left of your bin. You're going to display the Reformat column. Start by going to the Bin menu and selecting Choose Columns.
In the Bin Column Selection window choose Reformat. Select the clip s in your bin for which you want to Reformat the display. In the Reformat column of the selected clip s , click to reveal, and also choose, the alternate display options. If multiple clips are selected, you can change the Reformat setting for one of the selected clips and have that setting applied to all of the selected clips. Note that if you loaded the clip into the Source Window, you will see the Reformat display change occur.
Whatever you set here will be applied to the clip when it is edited into your sequence. However, if you have already edited the clip into a sequence, the version in the sequence will continue to display in the manner that it was set in when it was first edited into the sequence. This is to prevent changes being applied to the sequences that are considered complete and ready to export or master to tape. If you want to update all the instances of the clip in your sequence to use the new Reformat setting, this can be done without having to re-edit the clip s.
Follow the next set of steps:. From the submenu select Reformatting Options. See the next section for details. Below are the Reformat options that are available along with the explanation of each.
Stretch : If the Project is set to display , then a image will be stretched vertically. If the Project is set to display , then a image will be stretched horizontally. If the Project is set to display , then a image will be letterboxed black bars on the top and bottom. If the Project is set to display , then a image will be Pillarboxed black columns on the left and right-hand side of the screen. Center Crop : No scaling occurs in this option. If the project is set to display , then a image will have the left and right hand side portions of the image cropped.
If the project is set to display , then a image will have the top and bottom portions cropped. Center Keep Size : If the image is larger, when it is centered in the window, portions of the image on all the sides may be cropped. If the image is smaller, then its native size will be displayed and black color will appear around it.
Note that not all formats support multiple aspect ratio displays. Here are two methods that are available:. Method 2: Right-click in either the Source Window or the Record Window and select Project Aspect Ratio , and then select the desired display from the submenu.
Consolidating copying is a process done by using the Media Composer software. It is not done by simply copying the files at the desktop level. The Consolidation process specified in this recipe can be used either before you have begun to edit or at any stage during editing.
What you'll be doing is making copies of your AMA files in their entirety. If you've already begun to edit, the sequence will link to the copied media rather than the AMA media. Before consolidating all of your files, it is highly recommended that you perform a small-scale test of the process to familiarize yourself with additional options and results. The steps below focus on only one specific result. The AMA linking feature can be very processor intensive, and Avid recommends that users Consolidate the media into what they refer to as the Managed Media environment which means the Avid MediaFiles folder as soon as is practical, in order to take advantage of faster processing and a linking architecture that is more mature and robust than AMA.
Some formats cannot be Consolidated copied using their original Codec, and Media Composer will alert you that they will also need to have their Codec changed during the copy process.
This is referred to as Transcoding. Ideally, you would transcode your Master Clips prior to doing any editing, though there is a process available in case you have already started to edit. If you want to Consolidate only the shorter portions of media that are being used by a sequence or subclips, rather than the entire Master Clip media, see the recipe titled Consolidating an AMA sequence or subclips.
For example, you've initially linked to the low-resolution version of the media for editing and now you'd like to change the link to the high-resolution version for Consolidating. If this applies to you, then follow the next set of steps; otherwise, proceed to the How to do it… section:. Do not enable the selection that says Delete media files when done. In the case of AMA linked media files, they will not be deleted even if this is selected. Select the second option that reads Relink Master Clips to media on target drive.
This option also includes some helpful text that reads Selected Master Clips will be relinked to the new media on the target drive. Master Clips with a. In this case, the original media refers to the AMA linked files. Click on OK and the Consolidate copy process begins.
Some formats cannot be Consolidated copied using their original codec. Media Composer will alert you that they will also need to have their codec changed during the copy process, or you may wish to change the codec when you copy the media. Before you Transcode all of your files, it is highly recommended that you perform a small test of the process to familiarize yourself with any additional options and results. Additional options include, but are not limited to, Debayer Settings found in the Media Creation settings for RED footage, which also need to be configured.
Ideally, it is best if you are able to perform your small-scale test prior to receiving the mission-critical files and prior to the intensity of working under a deadline.
As the title of this recipe suggests, the next set of steps would be used before editing and will focus on only one specific result. For example, you've initially linked to the low-resolution version of the media for editing and now you'd like to change the link to the high-resolution version for Transcoding. If this applies to you, then perform the following steps, or, if this does not apply to you, then proceed to the paragraph that follows these steps:.
If you are Transcoding Standard Definition video to High Definition or vice versa, then you'll want to ensure the highest quality result using the next set of steps. If this does not apply to you, then proceed to the How to do it From the Project window, select the Settings tab and double-click on Render Settings.
In the Project window select the Format tab. Avid states: New clips created through the Transcode operation are in the Project Format. When you Transcode a clip across formats, for example if you Transcode a clip in a project, the Reformat bin setting determines how the clip is conformed to the new format. For details on the Reformat option, see the recipe Getting the AMA file's image to display as desired. Transcoding cannot increase the quality of the image.
For example, if your footage came from a MiniDV tape the resolution is DV25 and you transcoded it to a resolution of uncompressed , the new file will take up more space on your hard drive but will not look any better. On the other hand, if you transcoded to , then the file will be compressed and the image quality will be reduced. Before Transcoding all of your files after editing has begun, it is a very good idea to perform a small-scale test of the process to familiarize yourself with any additional options and results.
Additional options include, but are not limited to, Debayer settings found in the Media Creation settings for RED footage, which also need to be configured. Ideally, you would be able to perform your small-scale test before receiving the mission-critical files and prior to the intensity and pressure of working under a deadline.
So, you'll have to make the sequence link to the new Master Clips with a process called Relinking. The steps given in the How to do it Go to Clip menu Relink. You may also right-click on the selected sequence.
At the bottom of the window, make sure to enable the check box that says Create new sequence and click on OK. At the completion of this process, a new sequence will be created with the text Relinked at the end. This sequence is now linked to the Transcoded clips. If you load the sequence into the Timeline , you'll see that the clip names will also have the.
Before consolidating a sequence, it is very highly recommended that you perform a small test of the process on an unimportant sequence to familiarize yourself with additional options and results. The steps of this recipe focus on only one specific result. Consolidating a sequence or subclips simply means you'll be making copies of only the portions of media files that are being referred to by your sequence or by the subclips.
Essentially, Media Composer will take each shot used in the sequence, or each subclip, and make a brand new Master Clip for it. You'll have the option to add handles. Handles are helpful in case, after Consolidating, you need to do some trimming within a sequence or need to add a transition effect like a dissolve.
You'll also have the option to delete the original media after the Consolidate copy process is completed. Deleting the original source media would be helpful with a sequence if you had completed all of your editing and wanted to save drive space, or with subclips, if before you began editing you only wanted to keep portions of Master Clips. On the other hand, one use of not deleting the original media would be if you wanted to give a coworker a copy of your sequence or a portion of a clip to work with.
Before consolidating a sequence, it is always a very smart idea to make a backup copy of the sequence and place it into its own well-labeled bin for example, My Movie Before Consolidate. This extra version will not only protect you in case you make an error, but will help keep your project organized for future reference not to mention bring you additional peace of mind.
In the upper left-hand corner of the window, select Consolidate. In the Handle Length entry box, enter the number of frames you want added to the head and tail of each new Master Clip. If you are Consolidating a sequence, be sure to select the Create new sequence check box. Even though I suggested earlier that you make a backup copy manually prior to the consolidate process, this provides an additional layer of protection.
For the Delete original media files when done choice, my instruction here will be to not select this check box. In other words, I am instructing you to not delete the original media files after Media Composer has completed making copies of just the portions of media that are being used by your sequence or subclips.
If you do indeed want to delete the original media, then you would select this option. Click on the Consolidate button at the bottom of the window. Master Clips that have the extension. The duration of each Master Clip will be only whatever it is in the sequence or subclip, plus the added duration of the handles. A new sequence with the addition of. Consolidated at the end.
This sequence is linked to the. In the case of subclips, Media Composer creates new Master Clips that are the total duration including handles as well the as new subclips that are the duration of the original subclips. Before Transcoding a sequence, it is recommended that you carry out a small test of the process to familiarize yourself with additional options and results.
These additional options include, but are not limited to, Debayer settings found in the Media Creation settings for RED footage, which also need to be configured. The steps that follow focus on only one specific result. Some formats cannot be Consolidated copied using their original codec, and Media Composer will alert you that they will also need to have their codec also known as resolution changed during the copy process. Transcoding a sequence simply means that you'll be making copies of only the portions of the media files that are being referred to by your sequence.
Essentially, Media Composer will take each shot used in the sequence and make a brand new Master Clip for it. Further, as it generates new media files, it will also be changing the media files' codec. Unlike Consolidating, Transcoding does not offer the option to delete the original media files after it has completed the Transcoding process. Before Transcoding a sequence, it is a very wise idea to first make a backup copy and place it in its own well-labeled bin for example, My Movie Before Transcode.
This extra version protects you in case you make an error, and will help to keep your project organized for future reference. First, review the information presented earlier in this chapter, in the Transcoding AMA Master Clips before beginning to edit recipe.
In the Project Window select the Format tab. New clips created through the Transcode operation are in the project format. When you transcode a clip across formats, for example if you transcode a clip in a project, the Reformat bin setting determines how the clip is conformed to the new format.
For details on the Reformat option, see the Getting the AMA file's image to display as desired recipe. Be sure to select the Create new sequence check box. Even though I suggested earlier that you make a backup copy manually prior to the Transcode process, this provides an additional layer of protection.
Click on the Transcode button at the bottom of the window. The duration of each clip will be whatever it is in the sequence plus the added duration of the handles. Transcoded at the end. We're often given still images in formats such as.
With Media Composer v6. Media Composer as standalone software with optional hardware has only been available since June version 2. Before that, Media Composer was only available as a turnkey system. From until , Media Composer , and systems were Macintosh-only, and based on the NuVista videoboard by Truevision. The first-release Avids US supported x 30i video, at resolutions and compression identified by the prefix "AVR".
AVR12 was a two-field interlaced offline resolution. Additionally, Avid marketed the Media Composer and as offline-only editors.
The video image was also improved to x This introduction was also the first version of Media Composer XL available for the Windows operating system. Many users were concerned that Avid would abandon the Mac platform, which they eventually did not do. Media Composer XL versions 8 through Compression options were expressed in ratios for the first time in the evolution of the product.
At this time, 16x9 aspect ratios began to be supported. Avid products maintain compatibility with OMFI files. Adrenaline was the first Media Composer system to support 24bit audio. It also meant the end of Film Composer and Media Composer Offline, since the Avid Media Composer Adrenaline featured most of the film options and online resolutions and features.
In , Media Composer 2. Software-only Avid setups could use third-party breakout boxes, usually interfaced via FireWire , to acquire video from SDI and analog sources. Avid's own DX hardware is still natively interfaced into the application which currently allows some extra features that Open IO is limited in LTC timecode support for example. It is expected that over time some of these missing APIs will be added.
It also has analog video and audio outputs for monitoring. While this interface does have input connections, only output is supported by Media Composer v5. There is an optional component video cable that can be added to this interface. This interface only supports SD video formats. The DNxcel card uses Avid's DNxHD compression which is available in 8-bit color formats up to mb as well as a bit color format at mb.
Starting with version 7, Symphony became paid option for Media Composer; with version 8, it was included with monthly and annual subscription licenses. The software used to be protected by means of "blesser" floppy, tied to the Nubus's TrueVista board meaning that if the board is replaced, a new "blesser" floppy comes with the board , and later with USB dongles.
As of version 3. The software ships with installers for both Mac and Windows and can physically be installed on several computers, allowing the user to move the software license between systems or platforms depending on the licensing method.
With Media Composer 8, Avid introduced monthly and annual subscription licensing systems similar to Adobe Creative Cloud , allowing users to install and activate Avid without purchasing a perpetual license. Media Composer licenses must be confirmed either by Avid's internet servers every 30 days or by an on-site floating license server.
Starting with version 8, updates and support for perpetual licenses also require annual support agreements; support is included with subscription licenses. Make your story sound as good as it looks with a suite of audio tools and plugins. Create up to 64 tracks of dialogue, music, and sound effects in 7.
Or send all tracks and effects to Pro Tools for audio post—without having to transcode sequences first. The next-generation Avid Media Engine gives you more power and speed, so you can stay focused on what matters most—your story. From intelligent media handling, to automated tasks, Media Composer takes the work out of your workflow.
Experience smooth, reliable editing and playback performance, no matter how large your source files are. Work with all the beautiful, high-resolution image detail of the original media for better editing precision, without your workflow coming to a standstill. From capture to edit, finishing to output, Media Composer provides the high-efficiency media handling, ACES color space, and bit floating color pipeline you need to deliver HDR content predictably, with pristine accuracy.
With the live timeline and unlimited playback streams, you can make changes to sequences during playback on the fly. Media Composer automates time-consuming tasks in the background. Instead of waiting hours for transcoding, rendering, consolidating, and relinking media, you can just keep working. Even out distracting dialogue and vocal levels with a single knob plugin that detects and corrects audio level inconsistencies.
Ideal for podcasters, videographers, vloggers, dialogue editors, and audio post engineers, it delivers natural results without compression, saving you time. Watch the video. Take the complexity out of color keying with a plugin that makes it easy to key out green or blue screens quickly. Save time with presets, or use the sliders to fine-tune, with full control over the color range, sensitivity, spill, edge smoothness, and more. You can even create glows, shadows, and outlines around your subject.
Add Foley effects in a scene to make movement sound natural and realistic. Get 50 high-quality, royalty-free production music tracks that can be used in any project. Because the music comes with a worldwide license, you never have to worry about where your production may be watched or used. For new offers, please allow up to 7 business days for product to appear in your account.
Experience the collaborative, efficient workflows top video professionals rely on. Share projects, edit remotely, and have more control over your production. The flexibility you need to accelerate and manage your workflow starts here. Plus, manage multiple licenses and users easily with Media Composer for teams. Add Avid NEXIS shared storage to your workflow and multiple video editors and assistants can work on the same projects at once. No more accidentally overwriting work or needing to duplicate and micromanage media.
Extend production beyond the walls of your facility. Or deploy a full virtual production suite in the cloud with Edit On Demand.
As projects move from offline to online—and from in-house to external teams and back again—the standardized ACES color space ensures that all high-res and HDR projects will maintain full image quality and color accuracy from end to end, across all color and VFX work.
With the Distributed Processing option, included with Media Composer Enterprise , you can offload time-consuming rendering, transcoding, and exporting tasks to unused or idle networked computers, freeing up Media Composer workstations, and taking wasteful downtime out of the process. Media Composer is the only video editing solution that lets you tailor the interface for any role in your organization—from video editors, to assistants, loggers, or journalists.
Provide only the tools needed to do the job, enabling better focus and faster completion. Media Composer is the only video editing software that enables you to limit user access to workspaces and tools and restrict content export, so you can safeguard your media and mitigate costly mistakes and leaks.
For editors working in news, sports, and studio production environments, Media Composer integrates with MediaCentral , enabling teams to connect and access content locally and remotely across the entire platform ecosystem.
Boost your Media Composer capabilities with advanced tools for color and news workflows. Gain advanced capabilities and save hours of time with these Media Composer options included with Media Composer Ultimate. With PhraseFind , you can quickly find clips in a project that contain specific dialogue. Simply type keywords to locate all clips that contain the speech in multiple languages—ideal for unscripted shows.
Compare performances and find the best takes fast. ScriptSync automatically syncs clips to their associated script lines, so you can quickly find takes by scene, script page, or dialogue. With Symphony , you can stylize shots and correct color with ultra-precision, then deliver content easily with IMF packaging.
Plus, universal mastering makes it easy to take your offline online. Get the speed you need to stay ahead of the story. Enable editors to work from anywhere without changing their workflow and extend collaboration to assistants, showrunners, producers, and other creative contributors.
Plus, it's included with Media Composer Enterprise at no additional charge! Capture, monitor, and output high-res media with powerful video interfaces that offer exceptional performance and versatility. Enable real-time media production with a bullet-proof storage platform offering powerful, predictable performance. Get the performance, scalability, protection, and reliability top broadcasters rely on to accelerate production, enable up to contributors to work together, and adapt quickly to evolving production requirements.
Get the same secure workflows trusted by an industry and accelerate your media workflow in real time with up to 24 collaborators. Park, preview, and retrieve inactive assets and projects with ease. This add-on service for Avid NEXIS provides a super-simple way to park projects in the cloud, as well as sync onsite workspaces for easy offsite backup. Get extensive touch and tactile control to speed up audio recording, editing, and mixing tasks in Media Composer. Get the speed and visual feedback of Avid's high-end consoles in a slimline surface.
No comments:
Post a Comment