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August 2005 Archives

Sorenson Media, one of the greatest companies to make video compression software is offering a chance to test their high quality video compression software via their Public Beta for Sorenson Squeeze 4.2. Not only can you test the software but you can provide valuable feedback about your video encoding experience. Currently this public beta is only available for those using Windows 2000 and Windows XP operating systems.

The purpose of this pre-release of the next release (Sorenson Squeeze 4.2) is to work out all the bugs and problems with the software on the widest variety of computer workstations and video encoding scenarios. It is a great opportunity to try the software and to provide well appreciated feedback about Sorenson Squeeze 4.2.


Sorenson Squeeze 4.2 provides support for Macromedia Flash 8 and includes improved video compression quality for Flash content.

If you are interested in compressing video for the web, you will need to look into Sorenson Squeeze. It is the easiest to use Video Compression software on the planet. Plus it works great!

Get more information about the Sorenson Squeeze 4.2 Public Beta.

Visit the Sorenson Media Video Showcase

Have you ever been less than satified with the quality of your titles in Final Cut Pro? Try using even numbers in the center value under the Motion tab located in the viewer!


Lets say that you have created text for the opening of your sequence, go under the Motion tab in the viewer, within your center field, and if the two numerical values are odd, make them even (89 becomes 90, 111 becomes 112 etc.). Odd numbers in these fields, within Final Cut Pro, will put your text between scanlines on an NTSC monitor, resulting in jittery or cut-off edges of text. Applying a positive number will place your text dirctly on scan lines minimizing jaggies and text that has been eaten-into.

Check out this tutorial on creating glass titles in Photoshop.

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We are all familiar with the phrase garbage in, garbage out, well, it also holds true for the graphics that you are creating for use on television! Your image can look like a crown jewel in a graphics program such as Photoshop and look like chop liver on a video monitor. When working within DVD Studio Pro, be mindful of how you create menus and overlays:

Here are some tips:

- Red is an extremely touchy color to use in video due to bleeding, try to stay away from colors that are instensely saturated. If you must use shades of red and blue, be extremely careful. Reproduction of these colors is usually not very good.

- Use text that is larger than 18 points.

- Keep primary colors (red, green, and blue) to a value of 235 or lower for the sake of older television sets.

- Create overlays with clearly defined edges.

Learn how to utilize layered Photoshop files to create menus in DVD Studio Pro.


If you recently downloaded the latest version of Avid Express Pro HD V 5.16 you may have run into a big problem! With Avid Xpress Pro v5.1.6 you may receive an Exception:Win32_Mixer_Open_Error on launch while initializing audio. This is caused by the limited support of audio cards in this version. If you are experiencing this issue there has been made available a pre-release version of the upcoming Avid Xpress Pro v5.1.7 that addresses this issue. Some of you may not want to download the pre-release so just uninstall 5.16 and re-install 5.15.

For all of you Avid and Final Cut Pro Artists out there, Sony has just unleashed another HDV camera, the Sony HVR-A1U HDV Camcorder, that's coming in at 1080i for around $2,700.00. Now that's quite economical for an HDV camera! There's not a ton of stuff on the web yet, due to the fact that not many producers have had a chance to test this thing in the field, but there are some accounts starting to surface about its picture quality compared to its bigger more expensive siblings the FX1 and Z1U.


With a little bit of color correction, The footage from the A1U is said to be comparable to the Z1U, kicking out a picture that is clearly superior to DV. If your experience at this point has been with larger shoulder mounted units, this camera will feel a little awkward in the field when you are trying to get a steady shot. I haven't found anything specific about shoulder mounts being offered for this model, which happens to be very similar in size to the Cannon GL2. We will keep you posted with any new developments on this model. Happy shooting!

Read a more extensive review of the Sony HVR-A1U HDV Camcorder.

It's never been easier to add Flash streaming videos to your website thanks to Playstream's new Flash streaming service and the cooperation of Macromedia's Dreamweaver and Contribute web authoring tools. Playstream and Macromedia have partnered to make it easy to add Flash streaming videos in a web page.

There has been an extension created for Dreamweaver and Contribute that makes a button to insert your Flash streaming videos into your webpage. It's called PlayStream VideoLaunch.


Just sign-up for the Playstream Streaming Service (you can get a free 15-day trial). Then, once your Flash streaming videos have been uploaded to the Playstream streaming servers, it probably takes about three clicks to add your videos to your webpage.

Just login to your Playstream account. Choose your Flash videos


Next select your media skin and then you're done. It's that easy.

Find out more about the Playstream Flash Streaming service.

Here's were to download the extension for Dreamweaver and Contribute.

Just in case any of you Final Cut Pro users out there have been stranded on a far-away island for the past few months, Apple is dropping IBM and is going with intel chips.


The speculation is that the relationship between Apple and IBM has been strained for some time now due to IBM being less than enthusiastic about expanding the production of Power PC Chips and its reluctance to make a G5 chip that can be used in Apple laptops.

The switchover will begin with Apple's lower-end units, such as the Mac mini and plans to propogate its self through the entire apple line up by the end of 2007.

With all of this being said, don't feel sorry for IBM, they have contracts to make the chips for Microsoft's new Xbox 360, Sony's Playstation 3, and Nintendo's next gaming console.

Read the article.

For the new Final Cut Pro user, there are certain potential pitfalls that you could fall victim to when you first start cutting projects. Some of these snares originate in Final Cut Pro, others lie within Mac OSX itself and some arise from user negligence.


Let's say that you have edited your first hour long feature, complete with flashy titles and lots of effects. When you go to render this monster and then walk away to go to Starbucks, if you haven't made the proper adjustments within the Energy Saver in Mac OSX, your drives are susceptible to falling asleep and stopping your render cold in its tracks. So if you have just installed Final Cut Pro or if you've only dealt in small projects so far, you should really go to your System Preferences Panel > go to the light bulb icon labled Energy Saver > uncheck the 'Put the hard disks to sleep when possible' selection > and move the slide for the 'Put the display to sleep when the computer is inactive for' setting to 3hrs Never.

Another thing to keep in mind is that Final Cut Pro will not autosave your work until you name your sequence. So, if you have been working on a project for the past hour and you haven't named your sequence, you're putting all of your hard work in jeapardy. The first thing you should do is name your new project so it can be autosaved.

Check out this article explaining the proper way to set up your project in Final Cut Pro 5.

power schemes.gif

When you open your capture tool in Avid Express Pro you may have a power scheme warning pop-up. This will more than likely pop-up if you are editing on a laptop. If you do not remedy this problem your capturing may be interrupted either by your screensaver or your hard disks shutting down. This can be very aggravating if you are interrupted during a very long batch capture. To fix this on a Windows System, open your control panel and navigate to power options. Click the power schemes tab and choose Always On in the Power Schemes drop-down menu. As you can see all the boxes now say Never. The other tab you need to check is the Hibernation tab. Make sure that this is unchecked so that your computer will not go into Hibernation. Learn this and other valuable inside tips from one of our great Intro to Avid classes.

If you set markers and give them names in iMovie, Final Cut Pro or Final Cut Express, to be used as a video asset within DVD Studio Pro, DVD SP will create those markers on the track and use those same names.


When you create a track by dragging the asset to the Menu Editor, the very first marker that appears in the track is located at the beginning of the timeline and is labeled Start.

Importing an asset with chapter markers via the Menu Editor:

1 Drag the video asset, including the markers to a button or empty area in the Menu Editor.

2 Select the option to create a track when the Drop Palette appears.

3 If you want to create a chapter index menu, select the option to do so, then choose the layout you wish to use for the chapter index menu.

Click here to learn how to create a menu with conditional resume play.


I frequently use some form of glowing title. You can add a glow very easily in the new Avid Marquee Title Tool which is now bundled with Express Pro HD. To simulate a glow follow these few steps.
1. Highlight the object you want to glow and choose windows then properties and shadow.
2. Adjust your shadow properties to match these:
Show shadow need to be selected
Type: Drop
X offset: 0
Y offset: 0
Opacity: 50 or higher
Softness: 50 or higher
Shadow color: glow color

You can adjust your opacity and softness to your application. The opacity is really depending on the color you choose and the background color in which the graphic will live. Try this the next time you want to spice up your text and discover the power and ease of Avid Marquee.


I have been running an Avid Mojo for about a year now with great success. When you couple your Avid Express Pro with Avid Mojo you create a very powerful combination.
The main reason for having a Mojo is the real-time output to a client monitor and the ability to capture uncompressed analog media. You will need to dedicate a 1394 port for the Mojo and make sure you install the PCI port as far away from the AGP slot as possible. A little bonus for those of you on Windows – if you use After Effects as well, Mojo will output your AE comp to a client monitor, so you can see your AE work on NTSC or PAL in real-time. If you want to read a full breakdown of Mojo with Avid Express Pro check out this article from the creative minds of Creative Cow. Either with your laptop or desktop editing suite Express Pro and Mojo are a team to be reckoned with.


Photoshop is an essential tool for every editors toolbox. If you have been running an older version of Photoshop and are thinking about upgrading to CS2 then there is one main difference you need to know about saving your files for import into Avid. I always save my files is the .psd format, .tga will also work I have just found the .psd format to translate your alpha channels correctly. As far as image size is concerned you have a few options, first set up your image for NTSC. Select the image pull down toolbar and navigate to pixel aspect ratio. Now you can select your proper format; D1 NTSC .09 or NTSC widescreen and so forth. If you did not open you image in the proper format now is the time to save it. Again, use the image toolbar and select image size. Inside this dialogue box deselect constrain proportions and then resize your image to 720 width and 486 height. Now simply import your image in Avid Express Pro and edit away. Do not forget to sign-up for one of up and coming Photoshop classes.

If you have never worked with keyframes before, believe me, once you're able to wrap your mind around the concept, you'll start to wonder how you lived without them! Although the kicker or selling point of Motion is that you can avoid the sometimes painstaking process of keyframing by using behaviors, if you truly want accuracy in your animations, sometimes you have to jump in with both feet and tweak those keyframes.

keyfrmes in shape of z.jpg

Animation occurs when at least two keyframes are present. Lets say that you wanted to change the size of an object over time, the first keyframe in that animation would represent the size of that object at one point in time and the second keyframe position would represent the change in size of that object later in time. Let's say in this example you wanted to grow the object. At keyframe 1, the objects' size could be set at 25% and at the second keyframe, its value could be set to 100%, giving you an animated object that grows over time.

The keyframes that you create in your project, in regard to manipulating rotation, scale, opacity, etc. are all represented by a line that changes its shape over a period of time in releation to those changes.

Here is an article that takes you deeper into the world of Motion and keyframing.


Avid and feature films go hand in hand. The power that Avid has to take the filmmakers ideas and turn them into reality is unparralled. The new hit movie Dukes of Hazzard is no exception. This was a very technical movie for Editor Lee Haxall ( Meet the Fockers ) and her assistant and visual effects editor, Tom Dailey ( About Schmidt ) to assemble . The car chase scenes were shot before the rest of production so having to try and edit together these two different film productions can pose some serious challenges. They also used some very unique HD previews for viewing on the big screen. Read this interview with the editors of Dukes of Hazzard and do not forget to sign up for one of our upcoming Avid classes to get on your way to becoming a better editor.

Perhaps you have dabbled in Final Cut Pro before or maybe you are upgrading from iMovie and have just recently started getting serious about video editing, because people are starting to ask you to do more things for them. This is great, but what you will soon discover along with your increase in workload is the inconsistency in recoreded footage that you will receive. You better have a clear understanding of how to configure your project settings for the various media that will be handed to you!


Do you know the proper pulldown to use when capturing 24p advanced as opposed to 24p standard? Did you know that your production will be reminiscent of an old Kung Fu flick due to sync problems if you capture a piece of audio at a different sample rate other than how it was recorded? This article will help you get a grasp on configuring your project settings.

Check out the recent podcast on the differences between Avid Xpress and Final Cut Pro.
Special thanks to 'TheDVShow' for making this podcast possible.
It is important to keep in mind that we are not endorsing one product over another. We are simply providing you with information so you can make a decision that is best for you.

There are two ways to convert a sequence from Final Cut Pro into Avid Xpress. You can export an EDL (Edit Decision List) and deal with all the headaches of re-capturing your media. Automatic Duck's Final Cut Pro export plug-ins have helped productions get through post without costly conversion issues.


Or, you can purcahse a product from Automatic Duck that works as a plug-in for Final Cut Pro to perform a project conversion that is readable by most Avid systems.

I cannot stress enough the importance of backing up your Avid projects. Yes, the Avid Attic is there to save the day but what if your hard drive crashes to the point of no return or maybe some other form of disaster; fire, theft, flood, ect. This is such a simple process yet it seems that a lot of editors do not take the time to back up all of their hard work. The first thing you need to decide is the type of media that you will store your project folders on. Your choices include: compact discs CD or DVD, an external hard drive, floppy disk or some type of a flash drive. These project files are very small so a DVD is overkill and a floppy disk might not be big enough. An external hard drive is a quick way to back up your files but not practical if you want to take it with you from station to station. Your two best alternatives is CD or some sort of a flash drive. I have found the flash drive to be the fastest and easiest way to back-up my projects. I use a 512 MB thumb drive from San Disk. I can take it wherever I go or I can leave it plugged into my workstation for quick and convenient backing up. I make it a habit to back up my projects everyday and then remove my thumb drive and either take it with me or put it in my fire safe at the end of the day. If you back up your Avid projects on a daily basis you will not have to worry when your system hard drive crashes for good.

No matter how bizzare or strange the situation you may encounter while editing in Avid or Final Cut Pro, it can be almost guaranteed that there is a whole community of creative people out there who are wrestling with the same thing! If you are not already taking part in online forums, you should seriously consider it. It doesn't take long to register, and the benefits of being able to pick others brains, share knowledge and concentrate your efforts with others could prove to be your most valuable asset.

networked computers.jpg

Just the other day, I read a post where the person was wanting to know what would be the best lens for capturing the detail in an earthworms' body! Here's a list of some popular forum sites:


export settings.gif

Would you like to be able to quickly export a QuickTime movie from your timeline or from a subclip? Well, look no further Avid Express Pro makes this task simple. There are a few simple steps to accomplishing this task so here is the quickest way to export a QuickTime file:

1.Mark an in and out around the area you want to make your movie from. Either in the source or record monitor.

2.Now right click on the desired monitor and select export. An export as dialogue box will open and you will need to select options in the lower right hand corner.

export as.gif

3.An export settings box will now open and you will have many choices for exporting your movie. For this example we will choose QuickTime movie.

4.You now need to decide the other elements you want to go along with your movie, for example Audio only, Video only or Video and Audio. Make sure that Use Enabled tracks is selected in the upper right hand corner.

5.Depending on which color levels you are using RGB or 601/701 just make sure if you are going to import this into another program that the settings are the same.

6.I leave everything else the same unless you know specifically you need to change them. The same as source with Avid codec should be left on and the aspect ratio set at native dimensions.

7.If you will be using these settings over and over you can now save these settings at the bottom by selecting Save As. You can now give this a name that is relevant to the settings and access it any time from the Export dialogue box.

This should get you on you way to exporting a QuickTime movie and you can use this same technique for other exports.

So, you have decided that you want to be a video editor. Whether you have chosen Avid or Final Cut Pro as your platform, there are some media management housekeeping issues that you should start practicing from day one. learn to keep your files organized! I know that it may seem quite stupid but, I can't stress this point loud enough, it pays to be organzed. After you have taken on a few large projects and have flooded your desktop or external drive with stray files, you'll find yourself cleaning it up later and making some of your elements in your saved projects go offline, because they have been moved. Now that's frustrating!

Before you log the first clip of your project, you should have already decided on a file logging scheme to help make your edit easier, and most definitely if there will be more than one person working on the same project!

file cabinet.jpg

Naming Scheme Suggestions:

1. Use Description field to name each individual shot

2. Use auto incrementing scene and use numbers to keep track of clips within the script. When a clip is logged, it will be automatically incremented.

3. Use Mark Good checkbox to distinguish between takes you want

Here's a great article about organizing your projects.

The behaviors within Motion are limited to the duration of the object to which it is applied. Lets say that you applied the Random Motion effect to the butterly object to simulate a more realistic flutter when it progresses along its motion path. The Random Motion Effect would begin at the first frame of the object, in this case a butterly, and end at the last frame of the object. The length of the effect depends upon the duration of the object you have selected to animate.

Water object in Motion.jpg


In order to manipulate the behaviors effect upon the object, start in the timeline

1 Place the point at the in point of the behavior in the timeline.

2 The point will transform into a Trim tool, then you would drag the bar toward the right.

3 You would then trim the end point by dragging the bar to the left. The assigned effect will end at this out point.

Get your formal training in Motion and a whole lot more Right Here!


Do you have your Avid interface setup just the way you want but do not know how to save it so that you can return to it at any time? Or you may want to have multiple workspaces, for example, one for capturing, one for color correction, one for audio editing, etc. I have four separate workspaces that I use almost everyday. These workspaces not only make my interface easier to use but it also allows me to be more efficient at my job. Now isn’t that what we all want? Here is quick breakdown of how to save your favorite workspace:

1.Click the Settings tab in the Project Window.
2.Scroll to the bottom of the Settings scroll list and click Workspace.
3. Right click a select duplicate.
4.Click to the left of the new workspace you want to set. Assign a name to your workspace that is relevant to your workspace.
6.Open the windows and tools with which you want to associate the workspace. Resize and move the windows to the location where you want them to appear on the monitors.
7.Double-click the custom workspace setting.
8. Now you can select the settings you want and how you want the settings to be saved.
9. Avid assigns F9-F12 your hot keys for these workspaces. Starting with F9, which is that workspace on top, under your settings tab, and F10 the next one down and so on.

Now your Avid Express Pro will fit your needs and make your favorite settings right at your finger tips.


Are you looking at buying a new or used system to run Avid Express Pro? Then you need to look the Avid Express Pro System Requirements. Avid engineers have tested all of the machines listed to ensure that Avid will run effectively. This is a good guide to follow but if you are looking to purchase a non-brand machine then just match the requirements to fit your custom machine. Here are some of the basic requirements:
1. Processors: Dual or Single 2.4 GHz Xeon processor OR Pentium 4 1.6 GHz processor OR Pentium M 1.8 GHz processor (mobile configurations). Note: The boot drive should be IDE, SCSI, or SATA 7200 RPM. Do not use internal SCSI as a boot device if you also plan on adding external SCSI drives (in that case use IDE or SATA).
2. Operating System: Windows XP Professional w/ Service Pack 2

3. System Memory: 1.5 GB minimum, 2.0 GB recommended for HD and high stream count SD projects

4.Open GL graphics cards: NVidia QuadroFX 1400 PCI Express, NVidia QuadroFX 1300 PCI Express, Nvidia QuadroFX 1100 AGP 8X, NVidia QuadroFX 500 AGP 8X or NVidia Quadro4 980 XGL AGP 8X.

These are just a few guidelines to follow, make sure you check the Avid System Requirements for a more detailed listing.

To all of you Avid and Final Cut Pro users out there, keep in mind that when you are cutting footage for some of your lower-end clients, such as your neighbors trip to the Bahamas, the tapes they are handing you stand the chance of having duplicate timecode numbers. Each time you shoot with a consumer camcorder, then turn it off and on again, you are increasing the possibility that your camcorder will reset the timecode counter back to zero.


If you were handed a tape by a client who had shot some video of his vacation and after review of the tape, he asks you to make shure to use the footage starting at 00:00:02:00 ending at 00:00:03:00. What if you have two instances of 00:00:02:00 and 00:00:03:00 on that same tape? Which footage is he refering to? What if Final Cut Pro does not track to the proper timecode, due to the fact that there are duplicates?

In this case, it looks like you'll have to manully go to the shots you want.


In the process of designing graphics for import into Final Cut Pro, you have to make shure that they are at the proper aspect ratio and color space or your images will be distorted.

When you import a Photoshop file that has multiple layers into Final Cut Pro, the file immediately becomes a sequence in your project. The sequence Final Cut Pro creates will contain the same number of layers with the background layer appearing in video track 1 and with each layer in the same order as they appeared in the original Photoshop file.

photoshop window.jpg

If you want to import a multi-layered Photoshop file as a single clip, you have to flatten the image while in Photoshop, then import it into FCP.

Discover how to harness the power of the entire Final Cut Studio collection by utilizing this unique 10 day training opportunity!

There is an inherent keyboard shortcut conflict within Final Cut Pro concerning certain windows. Let's say that you were in the browser and you wanted to use an alphanumeric key, such as the J K or L, the response you would get would be the selection of the first file beginning with either J K or L. In this case, the function of the browser trumps the keyboard commands and cannot be overridden.


So, before you begin to extensively remap your keyboard, take into careful consideration which windows they will be used in.

Another thing to keep in mind is that keyboard commands for Mac OS X do not work in Final Cut Pro.

Do you have Avid or Final Cut Pro questions? Thumb through these News Archives and you just might might find some answers!

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Would you like to have the ability to adjust your audio levels across your entire timeline all at once? Well, you have the power! The Audio Mixer tool in Avid Express Pro allows you to adjust your audio across your entire timeline all at once. Lets say you want to turn your audio up 3db for the complete timeline, heres how:

1.Park somewhere in your timeline that has audio that needs to be adjusted. If you only want to adjust A1 and A2 make sure they are turned on and all others tracks are off.

2.Open the Audio Mixer and click on A1 and A2 to activate those tracks. You can also gang them so they will remain the same if you desire.

3.Adjust to the desired level. Either move the sliders or type in a numerical value.

4.Navigate to the fast menufast menu.gif and select Set Level on Track Global.

Thats it, you have now set your levels on the entire timeline. You can also mark an in and out and perform this same operation to occur between your marks.

What if you arrived at your desk on Monday morning and was handed the monumental task of creating a multimedia collection celebrating the life and achievements of a Blues and Jazz Legend! Well, that's exactly what happened to Yan Shvalb, who was project director, designer and author of the DVD featured in "The Ultimate Collection: Billie Holiday," and guess what, his weapon of choice was DVD Studio Pro!

Box Set DVD.jpg

He was handed a partially-completed mess that was poorly organized, missing key performances and precompressed elements that could not be repaired. Essentially, he had to start from point A.

For three rigorous months, Yan was a one man crew editing on the fly, designing menus, adding finishing elements here and there, even after he had authored the DVD!

Do you want to find out how it turned out? Well, I'll give you a hint, his next project is authoring the DVD for "The Ultimate Louis Armstrong" Collection!

Read the article here.

If you have ever had a Motion tutorial open and have attempted to export it via Compressor 2, then you have most definitely recieved a message that read error "Exporting to Compressor."

The Motion tutorials are housed in a file folder that is categorized as read only and when you export projects using Compressor and Compressor 2, the program will automatically try and create an export file in that same read only folder, therefore, you get an error message.



Your project should be in a folder that has both read and write accessibility, so in this example, you should save the Motion tutorial in another area that has read and write privledges. Compressor will then be able to export that tutorial.

Thumb through these free Avid and Final Cut Pro Tutorials!

The section "Assigning Files to Surround Sound Channels (Automatic Methods)" in the Compressor 2 manual gives faulty instructions when it lays out the channel identifier codes! Using the codes given in the manual will result in not a single surround source media file finding its way to the batch window.

surround sound speakers.jpg

Within Compressor, if you embed the identifier codes within the files names of mono Aiff files and place them all into the batch window, the proper surround channels will be assigned as they are converted to AC-3 file.

Use this chart of correct channel identifier codes to properly assign mono Aiff files to surround channels.

Surround Channel Channel Identifier Code

Left -L
Right -R
Center -C
Surround Left -RL
Surround Right -RR
Surround Center -RC
Subwoofer -LFE

Example: If you had an Aiff file named Airplane and you wanted to assign it to the Surround Right Channel, it would look like this: airplane.-RR.aiff

Check out some Awesome Avid, Final Cut Studio and After Effects training in sunny Orlando, Fl.


Editing at 30,000 feet? This seems an unlikely place to edit unless your flight is 14 hours and you have a deadline to meet. The new blockbuster movie Stealth involves elite aircraft, elite pilots and an elite movie crew: ironically Stephen Rivkin, the editor of Stealth, found himself editing on a plane from Australia to the United States. Avid Express Pro coupled with a fast laptop and three days of dailies loaded, he would edit on his way back to the studio in L.A. To be completely independent of the editing suite and still have full editing capabilities makes Avid Express Pro very versatile. Express Pro and a laptop go with me whenever I am out in the field or out for an extended period of time. The next time you are going on location or will have valuable time to edit take along a laptop loaded with your project and Avid Express Pro.

The Avid Express Pro proved itself invaluable for doing basic editing work and viewing dailies - all while traveling at 30,000 feet.
Stephen Rivkin, Editor, Stealth

Read the interview with Rivkin and learn about his exciting day-to-day workflow making such fast-paced movie.

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Finding specific audio cues to edit around are a very important part of making you program flow. You may need to find a specific beat of music or isolate a particular word that someone is saying. Your best tool in Avid for achieving this is the sample plot. Accessing the sample plot through the fast menu in your Avid timeline can really slow down your workflow. The best way to speed up this process is to map the sample plot to your keyboard. The way to do this is open your Avid Command Palette and turn on the menu to button reassignment. Now open your keyboard settings and determine which button you would like to key this shortcut. I like to key it to something that is easy to remember so I chose Shift+S. If you choose a shift function just hold down the shift key and click on the key you want to map the sample plot to. Now navigate to the fast menu in the timeline and select sample plot. You will see it jump to the key that you have chosen and you are on your way to quicker and more efficient editing.

If you're just getting to know Final Cut Pro or just want to fill in the gaps of your existing knowledge of the editor, you are probably aware of the many choices of books there are in circulation. Whether you are comfortable thumbing through the users guide or if you need a more graphical approach, like the Peach Pit Press books provide, somewhere there's a book for you!


Take a look at the book review for "Getting Started With Final Cut Studio; An Introduction To Final Cut Studio 5, Motion 2, Soundtrack Pro and DVD Studio Pro 4". Keep in mind that this book is for the new user.

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This page is an archive of entries from August 2005 listed from newest to oldest.

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