I can tell you from experience, recording, editing and mixing in Media Composer is NOT a lot like Pro Tools but at least we were all working from the same ISIS servers, using the Interplay software as our portal to each other. Video Editors are frame-based editors their systems are performing much more complex calculations than ours they each have different operational skill levels and ways of working. I had not, however, used Media Composer prior to the run-up to the Games.Ī month of operating Avid’s Media Composer gave me more insight into the editorial process than all the prior years of dealing with editors. We’d all be working on Media Composer, including me, an audio post-production operator who was seconded due to my comfort level with nonlinear editing stations.
This meant, rather than ship machines and personnel en masse to Italy for CBC’s broadcast coverage, the offline technicians would instead be situated on the tenth floor of the Toronto broadcast centre. The Canadian Broadcasting Corporation had decided that the production for the 2006 Winter Olympics in Torino, Italy was to be a file-based workflow. Backgroundīack in early 2006, I was given a gift that has kept on giving to this day: I was trained for 3 days on AVID Media Composer. If you have ever had issues with AAFs from video editors, then you will want to share this with them. Would love to be able to hide it, rather than cycle through it (long standing feature request).In this article post-production specialist Damian Kearns shared his advice on the best way to export a Pro Tools friendly AAF from Avid Media Composer. The 'LIVE' page on the mixer is useless in my experience. If there are keyframes then the Clip page pan control is disabled.) I've rarely used the automated pan. (Pan is reflected in both Clip and Auto pages of mixer as there can be only 1 value for it at any given time. The pan timeline line reflects the pan in the mixer AND only shows if there are keyframes. you can really blow your ears & your speakers!) (Plus you can now nest plug-ins or use 5 track plug-ins. Bad practice IMO as it isn't clear what you are doing if another editor takes over.īetter to use audiosuite Gain plug-in (up to +96dB) or you can add 40dB of gain in Dyn3 plug-in or 30dB of gain in a channel strip plug-in. So you can add +12dB of clip gain, then add auto gain of +12dB. These keyframes are tied to the clip and travel with it (unlike, for example, PPro track mixer where the keyframes are tied to sequence timecode). The volume timeline line reflects the fader in the Auto page of the mixer AND only shows if there are keyframes. It stays showing then even if clip gain is reset to unity. It only shows when there has been an adjustment (although the gradations show and the name of the clip moves to the top). The clip gain timeline line reflects the fader in the Clip page of the mixer. The clip gain timeline adjustment/fader affects the fader in the Clip page of the mixer. The audio mixer has 3 pages Clip / Auto / Live The timeline allows you to see a trace for clip gain AND volume OR pan
I don't think anything has changed here MTaylor. So I think AVID change things, or it's a bug. (I mean why would would there be BOTH a "clip Gain" AND a "Volume" adjustment in the track control panel, if they do the same thing)? Then I could have a much farther range in volume. It didn't effeft the volume in the audio mixer. When I would select and increase the clip gain in the particular clip, it would move the line in that particular clip up similar to having a clip that just starts out louder. I haven't been working on an Avid since end of 2013, so whatever the current verrsion that was out there at the time - and previous versions, when you opened the track control panel, and you would get 3 items you could effect: Clip Gain, Volume and pan, just like v 8.84.)