Scott Cole
Forum Replies Created
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Thanks,
I’ll check that first thing tomorrow morning. -
This is a great tool, and though someone had posted it several months ago, I could not make it work for me, till I found what I consider a bug in MC. I have a few effects I use over and over again. And in order to organize them, I’ve color coded them. Effects icons that are color coded will NOT apply to multiple clips using this method. Once I removed the color on the effect icon in the bin, this worked.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
One last hopefully helpful bit of info. That “Fit To Fill” button is a RED double headed arrow.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
There is a “Fit to Fill” edit button… it’s a two headed arrow and if it isn’t already mapped on your screen, you can find it on the command palette and map it to either your keyboard or screen. Mark an IN and an OUT on both the SOURCE clip and your timeline (obviously different durations) and then use the FIT TO FILL button. That will edit the clip running at the right speed into the timeline, but it doesn’t give you a choice of how to render it for the desired quality.
If you then click on the motion effect button, right next to the “effect mode” button, to the left of the timeline, you will bring up the motion effect editor window where you can promote the motion effect to “Timewarp” where you will be able to choose a bunch of render modes, as well as choose input and out put interlace vs progressive modes. You also now have the entire capabilities of timewarp available to you.
I’m writing this from home without the application in front of me, so my nomenclature might not be perfect here. But the method is correct.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Typically Freezeframes can only be made of clips, not from a sequence. Match to your clips and then try the freezeframe. If you need to make a freezeframe of an effect in a sequence, do a mixdown and then load that mixdown into the source monitor, park on the needed frame and create your freezeframe.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
There is no simple way to “bypass” an entire effect in most Avid supplied effects (excepting the supplied Boris effects). You can remove them; look for the little circle/slash icon. I would recommend you save your effect by dragging the effect icon from the top left corner of the effect parameter window to your bin, and labeling it if need be, prior to removing the effect. Ctrl-Z and Ctrl-R to toggle back and forth between the effect in and out.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
One other quick note, all those “edits” in the filler, you can get rid of them by highlighting the entire timeline and all the tracks, right-clicking on the timeline and “remove match-frame edits.”
Also, while FILLER often results in black, it is NOT the same as black, I like to think of it more like a “window to the media one track below.” Given that filler usually results in black on your screen, they can be used the same, but they are different. See me through the following scenario; Create 2 sequences, both with several video edits on V1, one of them with pictures and black inter-cut, another pictures and filler inter-cut. They look the same. Now call up another sequence with video on V1, take those two original sequence and edit them over the new sequence onto V2. They will play quite differently.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Keeping Sync on complex sequences can be tricky. But the fact is, if you are inserting (as opposed to overwriting) or deleting (as opposed to lifting) material in the middle of a sequence on only some of your tracks, something in the other tracks have to give if you want to keep all your tracks in synch further down the timeline. Realize that you can selectively turn synch locks on for individual tracks, but at some point you’ll have to fix the other tracks. One thing I’ll do is place temporary locators in further down the sequence that help me re-align things on tracks that I know will slip based on the work I’m about to do. Again, as I mentioned a few days ago, learn the trim tool, it’s very powerful.
To answer your second question, look up making “subsequences.” There are at least two ways, and my current favorite is the “make subclip” button in the fast menu (or command palette, just move it onto the screen or keyboard). Mark an in point and an out point, highlight all the tracks you want, highlight a target bin and hit the “make subclip” button, and a new sequence appears.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Quite frankly there’s lots of ways to make happen what you want. Since terminology is typically the biggest stumbling block, I’d suggest you use the help files on the term “Sync-Lock.” I’d also suggest you play around with the “Trim Tool” including learning how to shift-click on the roller points, both left and/or right sides of various tracks at different points on the timeline simultaneously. For example, if you are trimming at one point in your sequence on V1, A1 and A2 for dialogue and nats, you can at the same time click on an edit point further down the timeline on A3/4 after your current music bed.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
It really depends on so many variables. But Blended Interpolated will typically give you the best bang for the buck, i.e. quality vs time rendering. I tend to use duplicated field as a draft mode when trying to find the timing, then do my final renders in Blended Interpolated. If utmost quality is needed, then Fluid Motion is it, but be prepared for very long render times
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net