Avid media composer 6 for sale free

Media Composer 6: Professional Effects and Compositing (Avid Learning Series: Profession Certification) [East, David] on replace.me *FREE* shipping on. Thank You for Choosing Media Composer. We’re excited to have you as part of the Avid family. Here’s everything you need to download and install your new. Avid Media Composer 6.x Cookbook. By Benjamin Hershleder. FREE eBook + Subscription Buy Getting Assets into Your Media Composer Project. The marketplace turns all that drudgery into a simple, pain-free task by giving you direct access to audio and video plug-ins, media libraries. Find great deals on eBay for avid media composer 6. Shop with confidence. Buy It Now FREE US DELIVERY | ISBN: | Quality Books. Pre-Owned.❿
 
 

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The Apps tab will also provide a link to download and install the update when desired. New customers who purchase Media Composer on or after June 6th, will receive this v8. Offer expires June 30th, But when installing MC8. The file doesn’t have an extension and is called by my name Sylvain. When I restart my computer, Windows will ask “Choose the program you want to use to open this file”. So, to solve this issue, I renamed the file by adding the extension.

Same here with a ‘Jeroen’ file. It is just a log file. I must admit that the location of the file is bizar and probably an ‘ooops’ of some sort.

Page 1 of 1 5 items. Media Composer 8. Reply Contact. Media Composer Re: Media Composer 8. I did a full uninstall of MC8. BCC 10, Boris Sylvain did you use the patch or the full installer? You, optionally, can also press the Tab key to move the cursor into the Comment Entry Box and begin typing to add a comment. Press the F2 key to end the Subclip.

If you want to update the location for the end of that Subclip to a later point, then press the F2 key again. You can update the Out point at any time. It is not locked in until the F1 key is pressed again. Press the F1 key to begin a new Subclip and repeat the preceding steps. The Subclips do not create new media files; they are just shorter references to, or subsections of, the longer Master Clip. This is a quick tip to aid in the faster logging of Master Clips from a tape during the Batch Capture process.

You may be aware that when the Capture Tool is selected and is in Capture Mode, that pressing the F4 button will begin the Capture from the tape.

Many are not aware that when the Capture Tool is in Log Mode, the F4 key will send the logged clip into your designated bin. Further, this button can be mapped to wherever you prefer on your keyboard. In the Capture Tool there is a pull-down menu labeled as Bin. From that menu, select the bin where you’d like your logged clips to be placed. At the top of the Capture Tool , change the tool’s mode from Capture to Log.

Control the deck with the J , K , and L keys. Use the Tab key to navigate to the name and comment entry boxes. Open your Keyboard settings by double-clicking on it. Drag the Record button to your desired location. The Logging clips tip: Keeping the Capture Tool active after logging a clip recipe in this chapter. Chapter 2 , Customizing Your Work Environment includes an additional discussion of keyboard mapping as well as interface and work environment customization.

This is a quick tip to help with logging Master Clips from tape during the Batch Capture process. When you are logging, once the clip is sent to the bin, the bin becomes active. This allows you to immediately begin naming the clip in the bin.

However, what if you already named the clip in the Capture Tool , or are in a hurry to log, and plan on naming the clips more precisely later? In such cases, you may prefer that the Capture Tool always stays selected, so that you can log the clip to the bin and quickly return to shuttling the tape and logging more clips without having to select the Capture Tool again.

The following setting will allow that. These are the steps to keep the Capture Tool active after logging a clip:. Open the Capture Settings by either of the following methods:. Right-click on Capture Tool and select Capture Settings…. In the Capture Settings window, click on the tab labeled as General. Deselect the setting labeled as Activate bin window after capture.

Even though the name of the setting refers to capturing, this works for logging as well that’s why it’s a bit of a hidden tip.

The Logging clips tip: Logging from the keyboard recipe earlier in this chapter. After logging many clips you’ll Batch Capture them. However, it’s helpful to know the total duration of all the clips added together so you can make sure that your drive can accommodate that amount of media.

Select all the clips that you want to calculate the duration for. There will be an entry in the Console that reads Total duration of selected items:. The duration is displayed as Hours:Minutes:Seconds:Frames refer to the screenshot below. This is also useful for calculating the total duration of multiple sequences for example, if your movie or TV program is still divided into separate sequences for each act. The Capture Tool has a feature that lets you create a Drive Group that designates more than one drive for Media Composer to be used for media storage.

This is helpful in the following situations:. You want to make sure that the media files go to the drive s that you want when one becomes full, rather than Media Composer simply selecting the drive that happens to have the most free space. You have a large amount of media to capture but there is not one single drive that has enough space.

Click on the Drive Selection menu. It’s located directly below the Bin Selection menu and the Resolution Selection menu refer to the next screenshot. From the Drive Selection menu select Change Group…. The Quickly calculating total duration of all logged clips or any items in a bin recipe may be helpful as you’ll generally want to determine how much space is required for your media. You’ve logged many clips and are ready to begin Batch Capturing.

You’d like to start the capture process and then run out for lunch. You just need to make sure that if the drive you’ve selected becomes full before capturing all the clips’ media, that Media Composer won’t stop and wait for you to tell it which drive to switch to. Further, you want to make sure that, if it has trouble capturing a clip, it will try a couple of times and then move on, rather than stopping on that one clip and waiting for you to tell it what to do.

Following are the steps to make sure your Batch Capture continues without you:. Right-click on the Capture Tool and select Capture Settings…. In the Capture Settings window, click on the tab labeled as Batch. Enable the selection labeled Switch to emptiest drive if current drive is full. Enable the selection labeled Log errors to the console and continue capturing.

There will come a time when something needs to be changed before a clip is captured modifying clips after they have been captured is covered in the next section. The following are the typical issues:. The clips were logged by hand using the incorrect type of Timecode. Select the clips. Open the Modify window by using either of the following methods:.

From the Clip menu, select Modify. Right-click on any of the selected Master Clips and choose Modify. It’s possible that you don’t discover that you need additional tracks off the tape until after the capture is completed.

You’ll find that once a clip is captured, some modifications, such as setting tracks, are not possible without a little extra work called Unlinking. Before we go through the process, an overview will be helpful. Unlinking is temporarily breaking the connection in Avid terminology, the Link between the clips and their media files. After Unlinking, you’ll modify the clips to add the tracks you want.

Then, you’ll Relink the clips to the existing media. After the Relink, you’ll capture the media that’s missing. Here are the steps to modify clips adding tracks after capture:. As you’re pressing these modifier keys, it changes the menu selection from Relink to Unlink.

Selecting Clip menu Unlink. Right-clicking on any of the selected Master Clips and choosing Unlink. Selecting Clip menu Modify Right-clicking on any of the selected clips and choosing Modify…. In the Modify window, click on the pull-down menu. Selecting Clip menu Relink…. Right-clicking on any of the selected Master Clips and choosing Relink…. Selecting Clip menu Batch Capture. Right-clicking on any of the selected Master Clips and choosing Batch Capture.

Optionally, if you only want Media Composer to capture the media that’s missing, then in the Batch Capture dialog window, enable the selection that says Offline media only. Optionally, if you also need to capture new media files and at the same time get rid of the previous ones, then in the Batch Capture dialog window, deselect the option that says Offline media only.

For example, you realize that you need to recapture the video at a different resolution. 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. Further, there will be instances when you’ll need to import a QuickTime file rather than AMA link to it. For example, you’ve been given a motion graphic that contains an Alpha Channel transparency information that is meant to be composited on top of video.

AMA linking will not recognize the Alpha Channel, so you must import it. See Avid Media Composer Help for additional information. The search term is BWF. What does Avid Media Composer mean when it uses the term Import? In Media Composer, Import means that new media is created during the import process. The format of the media created is dictated by the settings in your Project Window’s Format tab.

The resolution is dictated in your Media Creation settings. For comparison, Adobe After Effects also uses the term import, except that in its case it is only pointing linking to the file rather than making new media as Media Composer does. If you want to animate within a still image often referred to as The Ken Burns Effect , you will most likely not want to import the image since that restricts the image size to that of your current format, which would mean having to scale the image up in order to pan and tilt across it.

Scaling up reduces the quality of the image. You may also want to investigate other plug-ins available for this effect from the Marketplace menu. Organize your files. Some suggestions are in the A strategy for Project organization at the desktop level recipe, earlier in this chapter.

Project Window Format tab. Open the Media Creation settings using any of these methods:. Tools menu Media Creation. Project Window Settings tab, and then double-click on Media Creation. In the Media Creation window select the Import tab. Click on OK to close the Media Creation window. In the Import Settings window, click on the Image tab. In the Image tab, you’ll select the appropriate options for your situation. A brief explanation of these options is in the There’s more… section that follows this recipe of steps.

Click on the OK button to close the Import Settings window. Method 1: Drag the file s from their location on a drive directly into a bin. All the settings you previously set will dictate how the media will be created and on which drive the media will be stored. Once you drop the files into the bin, both the Master Clips and media will be created.

Layered Photoshop files will open an additional dialog window. Those options are discussed after the There’s more… section that follows this recipe. Method 2: Select an open bin. Then, either right-click within the bin and select Import from the Contextual menu or go to the File menu and select Import. Be aware that when using Method 2, note that in the Select Files To Import window you will have the ability to do the following:. Click on the Options button to access the Import Settings.

In the Select Files To Import window, navigate to the file s you want to import. The Import Settings window can be a bit confusing, so let’s go over the options in the Image tab. This selection relates to how the image will be scaled during the import:. Image sized for current format : This means that the file is the same frame size as the video format you are using.

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