Posts Tagged ‘Avid Media Composer’
Inserting video inside of titles in Avid Media Composer is a cinch, and can add pizazz to any project. Check out this tutorial for this fun technique!
Create hundreds of titles in just moments by tapping into the extreme power of Avid Marquee’s AutoTitler. Using just a simple title template and an external text document, you can streamline this otherwise tedious process of lower third creation.
Keyframing audio—otherwise known as rubber banding—is a fairly standard procedure in Avid Media Composer, as it allows you to easily raise and lower your audio levels within the boundaries of clips in your Timeline. This tutorial will go over the basics of how to perform rubber banding, as well as some useful tips for quick audio keyframe manipulation.
Avid Media Composer contains many complex manual color correction tools that require deep knowledge of various video scopes and proper color correction workflow. It also contains several useful automatic color correction tools that can help you arrive at correct luma and chroma levels. Check out this tutorial for tips on how to use these automatic color correction controls.
Working in today’s world of dozens of different video formats can often be a difficult business; you’re constantly having to negotiate different video sizes and aspect ratios when combining them in the same project. This video tutorial will discuss several of the various reformat effects—the 16:9 and 4:3 letterbox effects, as well as the Pan and Scan effect—which you can use to bring all the clips in your sequence to a single aspect ratio.
If you’ve ever been left with an imported image that doesn’t look quite the way it did before you brought it into Avid Media Composer, you may be interested to learn more about specific Import Settings that help preserve the integrity of your image’s size and aspect ratio. Watch this video tutorial for a step-by-step glimpse at how image size and pixel aspect ratio play a part in successful imports.
With the recent release of Final Cut Pro X, many editors are scrambling to figure out if they should upgrade or not. With a lack of forward compatibility (which doesn’t allow you to bring projects forward from previous versions of the software), many are wary. I asked several of my editor acquaintances what they thought. Here’s what they had to say.
Have you ever imported a graphic or movie file into Avid Media Composer, only to have it result in being stretched, squeezed, or the wrong opacity? Learn how to master the different settings within Avid’s Import dialog box, and prevent these types of issues from occurring again! (This is Part 2 of a two-part post.)
Have you ever imported a graphic or movie file into Avid Media Composer, only to have it result in being stretched, squeezed, or the wrong opacity? Learn how to master the different settings within Avid’s Import dialog box, and prevent these types of issues from occurring again! (This is Part 1 of a two-part post.)
You’ve probably often seen the highlight-and-zoom effect in documentaries to emphasize a certain person or object, usually in a still photograph. This technique was popularized by documentarian Ken Burns, and you can replicate it by following the techniques outlined in this video tutorial.
If you’ve edited heavily with effects, you’ve surely run into performance issues, and even dropped frames. In this post, discover some tricks to maximize your real-time playback performance in Avid Media Composer.
The Match Frame command is an incredibly useful tool because it immediately finds the source clip (and frame) of a frame that has already been edited into the timeline, and vice versa. This post explains all of the various ways to quickly locate specific frames via sequences and clips without having to dig through bins — in both Avid Media Composer and Final Cut Pro.