Introduction To Avid Media Composer - First 2018.12.2

Introduction to
Avid Media Composer | First©
Steve Mullen Ph.D.
Be immediately productive using your Premiere,

Final Cut Pro, Vegas, Edius, and Lightworks editing skills.
Digital Video Consulting
Copyright 2019 by Steve Mullen 1

My review of Media Composer | First is published in TheBroadcastBridge:
https://www.thebroadcastbridge.com/content/entry/9821/introduction-to-avid-media-composer-first-
part-1.
Section I provides my MCF tutorial.
Section II provides information to setup Media Composer’s Windows, Workspaces, and

Toolbars. These modifications were developed to support a workflow I developed long
ago to efficiently teach Media Composer to editors who have used other editing systems.
My workflow avoids, as much as possible, Avid unique concepts and terminology created
in the late `80s. Avid’s workflow is the outcome of their effort to create a single product
that could be used by both film editors and videotape editors. Today we would call it a
“mash-up” of concepts pulled from two quite distinct types of editing.
The Avid solution employs “red tools” to support videotape-like editing and “yellow
tools” to support film-like editing. An example of a yellow tool is “Splice-in.” Today we
edit neither tape or film. In a world of “bits,” it’s more logical to define these tools by
what they “do.”
Yellow tools support ripple edits while the red tools support non-ripple edits. (Ripple
means clips to right of an insert or delete slide right or left, respectively.) If you have
experience with other editing systems, you have employed these actions although you
may have learned product specific terms for them.
Section III provides information on correctly using the Media Composer | First Settings
menu. Section II and Section III should be used consecutively before trying to perform
any editing and should need to be used only once.
After Section II and III you’ll find More Media Composer | First. Consult this additional
material as needed.
Skip to Table of Contents
None of the YouTube MCF tutorials are of value, so here are far better MC tutorials:
#1 https://youtu.be/4GjixiO5-ro
#2 https://youtu.be/iDPp2pMRqRQ
#3 https://youtu.be/s2WWmfmEFyc
#4 https://youtu.be/qmINKCr19Hc
Copywrite 5/11/2019 5:54 PM

Media Composer | First Notes
• MCF can import audio (16- or 24-bit at up to 96kHz) WAV files. Pro Tools | First can
export these files. MCF can export audio-only (WAV) files. You can import these files
into Pro Tools | First.
• MCF supports XAVC-S and 10-bit DPX media.
• AVCHD files with AC-3 audio are not supported by MCF. I use the Window’s OSBytes
(www.myffmpeg.com) application to batch convert .MTS files to ProRes files with
48kHz PCM audio. You also have the option of converting AC-3 audio to PCM and
passing video through myFFmpeg unchanged. See Appendix B. For OS X, see:
https://ericholsinger.com/install-ffmpeg-on-a-mac.
• MCF 2018.12.3, runs under the 64-bit Home, Creators, Professional, and Enterprise
versions of Windows 10. I strongly advise Windows 10 for any computer you believe
capable of running MCF.
• MCF 2018.12.3, runs under MacOS 10.12.6 (Sierra), 10.13.6 (High Sierra), and
10.14.3 (Mojave). I strongly advise not using any version of MacOS that has not
reached a 10.#.5 release.
• An NVidia GTX-1080/70/60 full-size card or chip is supported as a GPU, but not for
decodes or encodes.
• Decodes and encodes are multi-threaded therefore your computer should have a CPU
that has at least four cores and supports Hyper Threading, e.g., an Intel i7 or i9.
(H.264 is slow to encode.)
• Even with today’s powerful computers, frames may be dropped because complex
transitions and video filters are employed; because many streams of video play
simultaneously, because high-resolution video is used, and because media files are
difficult to decode/decompress. Therefore, you may need to select one of the lower
quality (i.e., lower image resolution) playback modes.
At the bottom of a Timeline window there is a clickable indicator that defines Playback
Quality. The higher the Playback Quality the greater likelyhood frames may be
dropped. By default it is set to Yellow/Green: Medium-Resolution Draft.
Medium-resolution Draft: 50% of the rows and 50% of the lines are employed.
For more information, read Appendix A.

A more powerful way to prevent dropped frames is to render effects and even portions
of the Timeline. Avid calls these renders “Precomputes.” To save computer disk space it
often makes sense to employ low DNxHD data-rates to create Draft Precomputes.
Sections of a Timeline that have been precomputed can be employed for immediate
preview playback. (H.264 is never used for Precomputes.)
A solution that prevents any concern over precomputed segments being used during a
Project export requires you to manually delete all Precomputes prior to an export. This
procedure is described by the Delete Precomputes section within Appendix A.
MCF supports both audio and video “mixdowns” where a portion or an entire sequence
containing effects is rendered to a new stream of video and/or audio. All mixdowns used
in MCF should be done at the highest DNxHD data-rate offered. (H.264 is never used for
mixdowns.)
• When a Project is finished, you’ll want to purge all files associated with it. This
procedure is described by the Purge All Files section within Appendix A.
• When a Project is finished, delete the specific Project folder—under your name—
within MCF’s Avid Projects folder:
C:\Users\UserName\Documents\MC First Avid Projects\your_Avid_name\Project_folder
Users/UserName/Documents/MC First Avid Projects/your_Avid_name/Project_folder
• To clear all files, follow the instructions at: Force Delete Media Files.
• MC1 Keyboard after modification for tutorial.
• Editing Action Pattern

1. Think Vertically: Select Record tracks with to be edited content. Unselect all other tracks.
2. Think Horizontally: In Record tracks, select portion of Timeline with media to be edited.
3. Perform Edit.

Table of Contents
Media Composer | First Notes ................................................................................................................ 3
Table of Contents........................................................................................................ 5
Conditions of Use................................................................................................................................. 10
Section I: First—for Story Tellers ............................................................................ 11

Windows/MacOS Modifier Keys ........................................................................................................... 14
Media Composer Setup ............................................................................................ 15

Initial Composer Windows .................................................................................................................... 16
Input Your Media Files .............................................................................................. 18

Linking to Files ..................................................................................................................................... 18
Always try first to Link to media files. .......................................................................................... 18
Link Files.............................................................................................................................................. 19
Define Link Project ............................................................................................................................... 21
Import Files .......................................................................................................................................... 29
Additional Imports ................................................................................................................................ 35
Working with Bins..................................................................................................... 38

Create a Bin ......................................................................................................................................... 38
Open a Bin ........................................................................................................................................... 38
Bin Modes ............................................................................................................................................ 38
Bin Headings ....................................................................................................................................... 40
Bin Objects .......................................................................................................................................... 40
Make a Subclip .................................................................................................................................... 42
Delete Clip or Subclip........................................................................................................................... 42
Make a Freeze Frame .......................................................................................................................... 43
Clean-up a Bin ..................................................................................................................................... 45
Close a Bin .......................................................................................................................................... 45
Delete a Bin ......................................................................................................................................... 45

Working with a Sequence......................................................................................... 46
Open a Sequence ................................................................................................................................ 46
Delete a Sequence .............................................................................................................................. 46
Delete a Project ................................................................................................................................... 46
Position Indicator (PI) ........................................................................................................................... 46
Timeline Setup ..................................................................................................................................... 47
Timeline Scaling................................................................................................................................... 48
Composer Time Readouts ................................................................................................................... 48
Video and Audio Source Track Selection ............................................................................................. 49
Video Record Track Control ................................................................................................................. 50
Audio Record Track Control ................................................................................................................. 51
Audio Mono/Stereo Flag ...................................................................................................................... 52
Video Track Monitoring ........................................................................................................................ 53
Add a Record Track ............................................................................................................................. 54
Delete a Record Track ......................................................................................................................... 54
Enlarge or Reduce Track Height .......................................................................................................... 54
Common Shortcut Keys ....................................................................................................................... 55
Source Monitor Transport Controls ...................................................................................................... 56
View Clip in Source Monitor ................................................................................................................. 56
Source Monitor Playback ..................................................................................................................... 57
Timeline Add/Remove Clips ..................................................................................... 58

Trim Clip in Source Monitor .................................................................................................................. 58
Insert Trimmed Clip to a Timeline......................................................................................................... 59
Drag Clips to Timeline .......................................................................................................................... 61
Insert Black .......................................................................................................................................... 62
Insert Behavior ..................................................................................................................................... 63
Delete Clip ........................................................................................................................................... 65
Delete Black Filler ................................................................................................................................ 65
Non-ripple Remove Clip ....................................................................................................................... 66
3-point Edit: Video/Audio Insert ............................................................................................................ 67
3-point Edit: Add Video Layer (cutaway) .............................................................................................. 68
3-point Edit: Add Audio Layer............................................................................................................... 70
Source Duration Defined Insert/Addition .............................................................................................. 72

Timeline Actions ....................................................................................................... 73
Record Monitor Transport Control ........................................................................................................ 73
View in Record Monitor ........................................................................................................................ 73
Record Monitor Playback ..................................................................................................................... 74
Timeline Events ................................................................................................................................... 75
Go to Previous Event ........................................................................................................................... 76
Go to Next Event.................................................................................................................................. 76
Timeline Gaps ...................................................................................................................................... 77
Record Track Locking .......................................................................................................................... 79
Record Track Sync Lock ...................................................................................................................... 80
Move and Copy Clips ................................................................................................ 82

Move Clip ............................................................................................................................................. 82
Copy Clip ............................................................................................................................................. 84
Clipboard Move Clip ............................................................................................................................. 85
Insert Clipboard Contents into Timeline ............................................................................................... 85
Insert Clipboard Contents to Specific Timeline Tracks ......................................................................... 86
Timeline Trimming .................................................................................................... 88

Top (Head) Trim................................................................................................................................... 88
Tail Trim ............................................................................................................................................... 89
Trim Tool: Previous or Next Initiated .................................................................................................... 90
Trim Clips............................................................................................................................................. 91
Trim Incoming Edge with Ripple ........................................................................................................... 93
Trim Outgoing Edge with Ripple ........................................................................................................... 95
Trim Incoming Edge without Ripple ...................................................................................................... 97
Trim Outgoing Edge without Ripple ...................................................................................................... 99
Real-time Ripple Trim ........................................................................................................................ 101
Create a J-cut .................................................................................................................................... 103
Create an L-cut .................................................................................................................................. 104
Add Edit/Split Clip .............................................................................................................................. 105
Color Correction ..................................................................................................... 106

Save a Correction .............................................................................................................................. 110
Paste a Correction ............................................................................................................................. 110
Save a Correction Effect to a Bin ....................................................................................................... 111
Skip to a Previous or Next Correction ................................................................................................ 111
Modify a Correction ............................................................................................................................ 112
Delete a Correction ............................................................................................................................ 112

Apply Effects to Clips ............................................................................................. 113
Modify an Effect ................................................................................................................................. 116
Apply LUT to LOG footage ................................................................................................................. 117
Delete an Effect ................................................................................................................................. 118
Apply Video/Audio Transitions .............................................................................. 119

Apply Transition ................................................................................................................................. 119
Fade-in Transition .............................................................................................................................. 121
Fade-out Transition ............................................................................................................................ 121
Replace a Transition .......................................................................................................................... 122
Remove a Transition .......................................................................................................................... 122
Quick Fades ............................................................................................................ 123

Apply Quick Fade-in ........................................................................................................................... 123
Apply Quick Fade-out......................................................................................................................... 124
Remove a Quick Fade-in ................................................................................................................... 125
Remove a Quick Fade-out ................................................................................................................. 125
Edit Audio ................................................................................................................ 126

Audio Track Control Panel ................................................................................................................. 126
Audio Trimming .................................................................................................................................. 127
Quick Adjust Clip Audio Level ............................................................................................................ 128
Rubberband Audio Gain..................................................................................................................... 128
Audio Edit Tool................................................................................................................................... 131
Audio Mixer ........................................................................................................................................ 132
3-band EQ ......................................................................................................................................... 133
Save an EQ ....................................................................................................................................... 134
Apply a Saved EQ .............................................................................................................................. 134
Delete EQ .......................................................................................................................................... 134
Add Title to Timeline ............................................................................................... 135

Modify a Title ..................................................................................................................................... 137
Publish To ............................................................................................................... 138

Export a DNxHD file ........................................................................................................................... 139
Export an H.264 file ........................................................................................................................... 140
Export a WAV file ............................................................................................................................... 140

Section II: Setting-up Media Composer................................................................. 141
Setup Composer Monitors and Timeline Toolbar ............................................................................... 141
Setup Workspaces ............................................................................................................................. 144
Source/Recording (SE) Workspace.................................................................................................... 144
Color Correction (CC) Workspace ...................................................................................................... 145
Effects Editor (EE) Workspace ........................................................................................................... 146
Audio Effects (AE) Workspace ........................................................................................................... 147
Section III: Composer Settings .............................................................................. 149
More Media Composer | First ................................................................................. 157

For Film Makers: Break a Film Clip into Shots.................................................................................... 157
For Film Makers: an Alternate Way to Create an Edit ......................................................................... 159
Speed-up Your Edit: Heads or Heads-Tails View ............................................................................... 160
Relink Clips After Files Have Been Moved ......................................................................................... 161
Align “Separate System” Audio .......................................................................................................... 162
Accidental Press of Delete Key in a Timeline ..................................................................................... 163
Eliminate Unwanted Fractional (V#.#) Track ...................................................................................... 163
Lasso Trim ......................................................................................................................................... 164
Setting Transition Color...................................................................................................................... 167
Apply an Effect to Multiple Clips Within a Sequence .......................................................................... 168
Apply an Effect to Multiple Transitions ............................................................................................... 169
Add Keyframed Effects ...................................................................................................................... 170
Add Additional Filters to a Clip ........................................................................................................... 173
Modify/Replace a Nested Effect ......................................................................................................... 177
Delete a Nested Effect ....................................................................................................................... 180
Color Correct Log footage .................................................................................................................. 183
Apply AudioSuite Effects to Clips ....................................................................................................... 185
Zoom or Pan/Scan UHD Media .......................................................................................................... 187
Working with NTSC and PAL DV Files ............................................................................................... 194
Working with Interlaced Files ............................................................................................................. 200
Apply Widescreen Mask to Timeline .................................................................................................. 209
Edit Smartphone Video ...................................................................................................................... 213
Slip..................................................................................................................................................... 214
Slide ................................................................................................................................................... 216

Appendix A: Rendering FX ..................................................................................... 218
Delete Precomputes or Purge All Files ............................................................................................... 220
Force Delete Media Files ................................................................................................................... 224
Locate the Avid MediaFiles folder that MCF is using. ............................................................... 224
Clear folders that accumulate files overtime ....................................................................................... 226
Appendix B: MyFFmpeg for Windows ................................................................... 227
Appendix C: Shuttle Trim Settings ........................................................................ 231

Settings for Contour Shuttle Pro v2 .................................................................................................... 231
Appendix D: Uncompressed Export ...................................................................... 232
Comments, corrections, or suggestions please contact me at: dvcinlv@gmail.com
Conditions of Use
ALL MATERIAL COMPOSING THIS TUTORIAL MAY NOT BE COPIED OR REPRODUCED, EITHER IN
WHOLE OR IN PART, BY ANY MACHINE OR HUMAN READABLE TECHNIQUE—EXCEPT AS NECESSARY
TO DOWNLOAD THE FILE AND/OR TO PRINT THE DOCUMENT.
ALL OPINIONS EXPRESSED ARE THE AUTHOR'S OWN. NO MALICIOUS INTENT EXISTS
IN THIS DOCUMENT OR IS INTENDED BY THE AUTHOR. THE AUTHOR ASSUMES NO RESPONSIBILITY
FOR EITHER CONTENT OR TYPOGRAPHICAL ERRORS.
NO STATEMENT OF FITNESS FOR ANY PURPOSE IS INTENDED, INCLUDED, OR EXISTING WITH RESPECT
TO THE CONTENTS OF THE HANDBOOK. IT IS SUPPLIED “AS-IS.” THE READER ASSUMES ALL
RESPONSIBILITY FOR HIS OR HER ACTIONS REGARDING ALL CONTENT CONTAINED IN THIS BOOK.
ANY PRODUCT OR COMPANY NAMES USED IN THIS MATERIAL MAY BE/ARE TRADEMARKS OR
COPYRIGHTED NAMES OF THE RESPECTIVE COMPANY THAT OWNS THEM.

Section I: First—for Story Tellers
Download: Media Composer First Editing Guide and Media Composer Effects and CC
Guide.
Media Composer | First’s export capability is limited to SD and HD DNxHD and H.264.
DNxHD, not H.264, should be used for upload to YouTube and Vimeo. An H.264
export should only be used when a movie must be played on a computer that does not
have DNxHD or ProRes playback capability. At a film festival, for example.
When looking for help, remember Avid’s First

forum (http://community.avid.com/forums) is
separate from the paid Media Composer form.
Download Media Composer | First from: www.avid.com/media-composer-first.

Install MCF by following the installer prompts. Launch Media Composer | First.
Upon launching MCF, you may be told you must start Avid Link and sign-in—which
means you must be connected to the Internet. You only need to be connected to the
Internet while you sign-in.
Right-click on Avid Link and select Sign Out.
Right-click on Avid Link and select Sign In.

Select Products to view information about Avid products you are able to use.
You can see the current version of each product.
Copyright 2019 by Steve Mullen

12
When a new version of an application becomes available, “No Update” will change to
“Update” or “Download.”
After clicking either, you’ll see Downloading… followed by Extracting….
When you see Installing… click on your OS’s application installer (which may be hidden
under Avid Link) and follow its prompts. You may need to restart your system.
Drag the MCF application to the “dock.”
To start MCF, click the application or start Avid Link and under Products, click its Open
button.
If necessary, Quit the Avid Background Services Manager application.

I recommend a 2560x1440 computer display plus a “mirrored” high-quality 1920x1080
HD monitor. The mirrored HD monitor should be connected to your computer via HDMI.
When you want to see either the Source or Record window full-screen, first click in the
Composer monitor you want to view. (Press apostrophe.)
Then click the Record Monitor’s Go to Start button.
• Now click the Full Screen Playback button between the Composer’s yellow and red
buttons.
To start playback, press the spacebar.
You can stop and start playback by pressing the spacebar.
To exit from Full Screen Playback, click anywhere on your computer’s display.
Windows/MacOS Modifier Keys

• In this tutorial, Modifier keys: Windows combinations will be blue while OS X will be
green.
• Right-click operations bring-up a list of commands. right-click, right-click,

Control+click, Command+click, ALT/Option, or two-finger tap.

14
Media Composer Setup
When MCF starts, you’ll see this screen.
• You can create a new project and name it.

• You can open an existing project by simply double-clicking its name.
To quit First, issue the File > Exit command.
Then click the Leave button.

Initial Composer Windows
Toolbar and Composer buttons are typically from the 8.9.4 version.
Whether you create or open a project, you’ll see an arrangement of Composer

windows.
I positioned the Project Window (gray) into the upper-left corner.
The initial Bin (blue) has both a Sequences tab and a Clips tab. I positioned the
Sequences/Clips Bin to the right of the Project Window.
Next, the Clips tab was dragged from the Sequences/Clips Bin. The Clips Bin
(green background) was then positioned below the Project Window and the
Sequences Bin.
A second Bin was created using the New Bin button in the Project Window. It was
positioned below the first Clips Bin. It has a gray background.
Bins—one in Script view and the other in Frame view
Script View
Text View Frame (thumbnail) View

When you have a computer display that has a resolution lower than 2560x1440 you
may need to create window arrangement that fit as best as possible on your
computer’s display. Below, an arrangement created for a 1920-pixel wide display.
Lower resolutions will likely not work because the Toolbars will have too few “button
positions.”

Input Your Media Files
Linking to Files
Always try first to Link to media files.
• Link creates a connection to MOV, MP4, MTS, MXF, WAV, and 10-bit DPX files. Not
all codecs can be Liked to; for example, H.265. (Download Avidemux from
https://sourceforge.net/projects/avidemux/ and use it to convert H.265 files to
H.264 files. This free tool can perform many useful tasks beyond conversion.)
• Link can save you lots of time because, unlike Import, the format your camera shot
is not transcoded (converted) to a less compressed format.
• Link does not require additional storage space because the original file is not
transcoded to a new much larger (less compressed) file.
• A UHD (3840x2160) file will remain a UHD file.
• 2K and 4K media will be cropped to 1920x1080 and 3840x2160, respectively.
When you create a new Project, if you click on the Format tab in the Project
Window you will see the Resolution and Frame-rate of the Project.
These settings likely are not those you want for your Project.

Link Files
Click the Record Monitor’s SB (Source Browser) button.
Click the Link Mode (blue) button—blue circle.
Arrange the Source Browser as shown below and, if necessary, to see all settings,
click the tiny arrow so it points downward.
Make these Browser settings—green circle.
Select the Target Bin which will hold linked clips—orange circle.

• If your camera captured stereo audio, click the Browser’s Gear icon—red circle.
• Click Edit… button.
• Drag the pull-down under A1 A2 to select Stereo.

• Click OK.
• Click OK.

Locate media using the Source Browser.
You can preview a clip in the Source Monitor by double-clicking the clip.
Select the desired media files and click the Link button—white circle.
During a Link input, you may see this error message.
Click Yes to All or Yes and the media will be Imported.
Otherwise, the selected Media file(s) to be linked to MCF.
Close the Source Browser.
Define Link Project

Drag a clip into the Timeline.
When this clip’s Resolution and/or Frame-rate are different than the current Project’s
Resolution and/or Frame-rate, a dialog box will open.
This choice will only be presented once for a new project
You now have the opportunity to set the desired Project Resolution (called “Raster” in
the late`80s) and Frame-rate (called “Edit rate” in the late `80s).
Selecting “SD” will set the Project to a 4:3 aspect-ratio. Select Frame-rate.

Select “HD 720” to set the Project to a 16:9 aspect-ratio. Select Frame-rate.
Selecting “HD 1080” will set the Project to a 16:9 aspect-ratio. Select Frame-rate.
Click OK when Project Properties are correct.

When you click on the Format tab in the Project Window you will see the current
correct Resolution and Frame-rate of your Project.
Next, you need to set the Compression (bit-rate) value to be applied to any media
created while editing your Project.
Issue the File > Media Creation Settings… command.

Select DNxHD Target Video Resolution: DNxHD 220 MXF. (Or, the highest bit-
rate DNxHD available.) When source files contain 10-bit data, select DNxHD 220 X
MXF. MCF processes all data using 10-bits. Media Composer’s 16-bit option is
missing.
Select the Target Drive.
Click OK.
Next, set the Position Indicator at the beginning of the Timeline.
Play the Linked clip you dragged to the Timeline.
If playback isn’t smooth, try again with the Timeline Quality Setting set to Low
(yellow).
If you find image quality to be too poor, or playback still not smooth—which is likely
to be the case with XAVC-S (AVC Long-GOP) media, you’ll want to transcode your
Linked files to DNxHD.
• All 4K/UHD files will be downscaled to 1920x1080 when transcoded.
Click in the Bin that you want to receive the transcoded files.
Next, select the clips you want to be transcoded. Right-click on one of them and select
Transcode….

rate DNxHD codec available.) When source files contain 10-bit data, select DNxHD
220 X MXF.
Select the Target Drive.
Click Transcode.

Transcoding occurs very slowly even though all CPU cores are utilized.
If you encounter this error message, click Exit Application.
You will be unable to transcode this media.
You may be able to Import the media.
The transcoded file(s) will be placed in the Bin you selected. Additional drive space will
be required for the transcoded clips.

When the transcoded clips arrive in the Bin, the original clips will still be selected.
Press delete to eliminate them from the Bin.
Note: Linked DPX files will appear as 10-bit RGB files as shown below.
RGB files may, however, not play or may not play smoothly.
Therefore, drag the DPX file into an empty Timeline track.
Next, video mixdown this track.
The mixdown DNxHD 220 X MXF file will be placed in a Bin ready for use.
Delete the original DPX file.

MCF version 2018.9 offers a new codec option; DNxUncompressed 4:2:2 32-bit
floating point. This is the highest quality codec offered by MCF or Media Composer.
There is, of course, an enormous difference in the resulting file size.

Import Files
• When you shoot highly compressed HD and UHD formats based on the H.264
codec, iPhone and Android VFR (variable frame rate) clips, Photoshop files, MP3
audio files, employ computational heavy effects/filters, or do not have a fast
computer, you may want to Import rather than Link to your media files.
• Not all codecs can be imported.
• Importing is a terribly slow process. Even if your computer has a powerful graphics
card, MCF will only use the computer’s CPU. You may need to perform Imports
overnight.
• UHD (3840x2160) media will be down-scaled to HD (1920x1080).

• 2K and 4K media will be cropped and down-scaled to HD (1920x1080).
When you create a new Project, if you click on the Format tab in the Project
Window you will see the Resolution and Frame-rate of your new Project.
These settings likely are not those you want for your Project.

Click the Record Monitor’s SB (Source Browser) button.
Select a new Target Bin to hold imported clips—orange circle.
Click the Import Mode (blue) button—blue circle.
When this is your first-time bringing clips into a Project, you will see the following
message.
You now can set the desired Project Resolution (called “Raster” in the late `80s) and
Frame-rate (called “Edit rate” in the late `80s).
This option will only be presented once for a new project

Select “SD” to set the Project to a 4:3 aspect-ratio. Select Frame-rate.
Click OK when Project Properties are correct.

The Project Window’s format tab will now show the current correct settings.
You have now set the new Project’s Resolution and Frame-rate.
Next, you need to set the Compression (bit-rate) value to be applied to any media
created—including the import—while editing your Project.
Arrange the Source Browser as shown below and, if necessary, to see all settings,
click the tiny arrow so it points downward.
Make these Browser settings—green circle.
Set the Compression (bit-rate) value—yellow circle.
Set the Target Drive—gray circle.
missing.

Compression and Target Drive values you set in the Source Browser will be reflected
in the Media Creation settings (File > Media Creation Settings… command).
• Click the Audio tab.
• Check Automatically center pan monophonic clips.
• Click the Edit… button.

• Click OK.
• Click OK.
Select the desired media files and then click the Import button—white circle.
During an Import you may receive this message:
Click OK.
Next you will see this message:
Click No and input using Link.
When all files have been imported, close the Source Browser window if it is open.

Additional Imports
If you import files in more than one batch, each time you
import, you can select a different Resolution (compression bit-
rate)—visible within the yellow circle on the Source Browser.
If you select a different data-rate in the Source Browser

(yellow circle), this message may be posted.
If necessary, click the lower-left blue button and choose

desired option from the APPLY TO column, and click OK.
You can select a new Target Drive to hold imported clips—green circle.
You can select a new Target Bin to hold imported clips—orange circle.
The values you set in the Source Browser will be reflected in the Media Creation
settings—yellow and green circles.

• Click the Audio tab.
• Check Automatically center pan monophonic clips.
• Click the Edit… button.
• Click OK.
• Click OK.

Select the desired media files and then click the Import button—white circle.
During an Import you may receive this message:
Click OK.
Next you will see this message:
Click No and input using Link.
When all files have been imported, close the Source Browser window if it is open.

Working with Bins
Create a Bin
Be sure the Bins tab is selected in the Project Window.
Click the New Bin button.
The new Bin will open. Where it opens and its size—on the first opening—is
determined by Media Composer. You can resize and/or move it. From this point
onward, each time you open this Bin it will open in the defined spot.
Open a Bin
If you double-click a Bin in the Project Window, it will open. You can have multiple
Bin windows open. This makes it possible to easily move clips and sequences from one
Bin to another.
Bin Modes
A Bin’s content can be presented three ways: as rows of text information (Text
mode—next to the right-most icon at the bottom of a Bin); as thumbnails (Frame
mode); or a Head frame plus the clip name and optional text (Script mode—the left-
most icon at the bottom of a Bin).
Frame mode

Text mode
Script mode

Bin Headings
Open a Bin in Text mode (next to right-most icon at the bottom of a Bin).
Right-click in the Bin window and select the Choose Columns… option.
Select the headings you need, for example:

Duration—Format—Video—Comments
Click OK.
Bin Objects
A Bin “object” can be an audio clip, a video clip, a title, graphic, a Sequence, or a Bin.

• You can select an object in a Bin by single-clicking it.
• You can add objects to those selected by shift+clicking one or more of them.
• You can lasso multiple objects visible within a Bin.
• You can remove an object by selecting it and pressing delete.

Make a Subclip
When a single clip holds multiple shots, you may want to create
a subclip of each shot.
With the Master clip in the Source Monitor, define a shot with a Mark-in { I }
and Mark-out { O }.
Now drag the tiny Create Subclip icon—located as shown below—into a Bin.
It will automatically be tagged Sub
Repeat for each shot.
Delete Clip or Subclip

If you see shots that have no value, select them in their Bin(s) and press delete.
This dialog box will appear.
Check the box.
Click the OK button.

Make a Freeze Frame
Load a clip into the Source Monitor from a Bin.
Cue the clip to the frame you want to freeze.
Right-click in the Source Monitor and select Freeze Frame.
Select duration or Specify Duration ….
Choose between:
• Using Both [weave] Fields: When no motion—will generate sharper look.
• Using Interpolated Field [to a frame]: When motion—will generate a softer look.

The frozen frame is in Source Monitor and a clip is placed the selected Bin.
Clip name will include FF.

Clean-up a Bin
Select Bin’s Frame icon.
Right-click and select Fill Window
Close a Bin
Close a Bin by selecting it and clicking the Close Window button.
Delete a Bin
If the Project Window’s Trashcan is not visible, single-click the Bin you want to
delete.
Click on the FAST menu and select Delete Selected Bins.

At this point the Trashcan will appear. The Bin you deleted will be in the Trash.
• From this point onward, you can simply drag a Bin to the Trash to delete it.
• To empty the Trash, click on the Bin’s FAST menu and select Empty Trash.
• After opening the Trashcan, you can drag a previously deleted Bin back to the
project.

Working with a Sequence
When you create a project, it will have a single Sequence whose thumbnail is in the
Sequences (blue) Bin that is already open in the Timeline. To create a new Sequence,
right-click in the Sequences Bin and select New Sequence and name it.
Open a Sequence
Double-click a Sequence thumbnail.
If you Open an alternate Sequence within a Project, the current Sequence’s
Undo/Redo list will be erased. It will be empty if you return to the first Sequence.
Delete a Sequence
Click a Sequence thumbnail. Press delete.
Delete a Project
Projects are in this folder.
C:\Users\UserName\Documents\MC First Avid Projects\your_Avid_name\Project_folder

Users/UserName/Documents/MC First Avid Projects/your_Avid_name/Project_folder
Delete the Project folder.
Position Indicator (PI)

The blue Position Indicator shows where in the Timeline the frame you see in the
Record Monitor is located.
To quickly see a point in a Timeline, under the Record Monitor, drag the Position
Indicator at the point. Or, or click the point where you want the PI.
To quickly see a point in a Timeline, drag the Position Indicator to the point.
Or, or click the location where you want the Position Indicator.
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Timeline Setup
With a Timeline open, click the Timeline’s FAST (hamburger-looking) button.
Select Audio Data and enable Volume. Disable Waveform.
Set Sync Breaks to None.
• RED ARROW: Check Effect Icons to see, within a track, an icon showing what
effect has been applied.
• BLUE ARROW: Check Clip Frames to see first frame of each clip.
• GREEN ARROW: Set Show Adaptors set to None.

Timeline Scaling
The Timeline scale controls are at the very bottom of the Timeline. The green circle
has three controls within it.
• There is a slider that scales the Timeline. Slide left to horizontally compress a
Timeline and to the right to expand a Timeline.
• The left narrow button moves the slider to the left making the Timeline shrink in
length.
• The right button moves the slider to the right making the Timeline extend in
length.
The light gray segment—if present—informs you of the portion of the Timeline you are
seeing.
You can move through the Timeline by moving the blue bar.
Composer Time Readouts

• Set Source Monitor: Source = Abs TC1
• Middle value = Time between End of clip/Mark-out and Start of clip/Mark-in
• Set Record Monitor: Sequence = Abs TC1

Video and Audio Source Track Selection
In the Timeline, the right-most “column” displays the video and audio channels of the
clip now in the Source Monitor.
The source (input) tracks are almost always V1+A1 or V1+A1+A2.
You cannot send a mono Source track into a stereo Record track
Be sure the Audio Mute (M) flag is OFF.
Be sure the Audio Solo (S) flag is OFF.
Be sure the Video Visibility (Monitor) flag is ON.
When a Source track is selected it is bright green.
Selected indicates media from the Source Monitor is available to be sent to the
Record tracks. Typically, you want all Source tracks selected.

Video Record Track Control
Headers for the Video Record Monitor tracks are to the right of the Source
Monitor tracks.
• They are blue when they have been selected.
• They are gray when they have not been selected.
To the right of the headers there is a narrow area, and to the right of it there is a wide
area called the Track Control Panel.
If you don’t see this area, click the arrow button.
The Track Control Panel has a switch that can be set to Active or Inactive.
• When the switch is set to Active it is blue.
• When switch is Inactive, it is gray and plug-in and automation for the track are
disabled to allow better playback performance.

Audio Record Track Control
Headers for the Audio Record Monitor tracks are to the right of the Source
Monitor tracks.
• They are blue when they have been selected.
• They are gray when they have not been selected.
To the right of the headers there is a narrow area, and to the right of it there is a wide
area called the Track Control Panel.
If you don’t see this area, click the arrow button.
Audio tracks have a switch that can be set to Active or Inactive.

• When the switch is set to Active it is blue.
• When switch is Inactive, it is gray and plug-in and automation for the track are
disabled to allow better playback performance.

Audio Mono/Stereo Flag
The lower corners of the Audio Source Track and Audio Record Track have flags
that show the type of audio in the track, either one flag (Mono) or two flags (stereo)
audio.

Video Track Monitoring
Click the Monitor symbol to toggle Video Visibility on or off.
Only video in V1 will be visible
When there is no video in V2, V1 will be visible
When there is video in V2, it will be visible. V1 will not be visible
When an effect combines (e.g., a dissolve) video from V1 and V2, the mix will be visible

Add a Record Track
• Right-click in the Timeline and select New > Video Track.
• Right-click in the Timeline and select New > Audio Track > Stereo.
You cannot send a mono Source track into a stereo Record track
• Right-click in the Timeline and select New > Audio Track > Mono.
Delete a Record Track

Right-click on track name (e.g., V1) and select Delete Track.
Enlarge or Reduce Track Height

Select the track head whose height you want to alter. You can select multiple tracks.
• Click Control+L to enlarge a track.
• Click Control+K to reduce a track.

Common Shortcut Keys
Movement
Step Left 1 Frame { left-arrow }
Step Right 1 Frame { right-arrow }
Go to Previous Event { comma }
Go to Next Event { period }
Go to Start of Timeline { up-arrow }
Go to End of Timeline { down-arrow }
Playback
Play/Pause { spacebar }
Play In-to-Out { 6 }
Trimming
Top (head) Trim { A }
Tail Trim { S }
Add Edit (split clip) { \ }
Trim Tool
Nudge Clip 1 Frame Earlier in (only) Dynamic Trim { Y }
Nudge Clip 1 Frame Later in (only) Dynamic Trim { U }
B Side Trim { P }
A-B Side Trim { [ }
A Side Trim { ] }
Go to Previous Trim { M }
Go to Next Trim { / }
Editing
Clear Mark-in { D }
Clear Mark-out { F }
Mark Clip { T }
Mark -in { I }
Mark-out { O }
Clear Both Marks { G }
Lift (non-ripple Remove from Timeline) { Z }
Extract (ripple Delete from Timeline) { X }
Copy to Clipboard { C }
Splice-in from Source Monitor (ripple Insert to Timeline) { V }
Paste (ripple) from Clipboard { Control+V / Command+V }
Overwrite from Source Monitor (non-ripple Add to Timeline) { B }
Actions
Toggle Composer Between Source/Recorder { apostrophe }
Select Source/Record SE Workspace { tab }
View entire Sequence { H }
Set Red Mark { ; }
Set Keyframe { ″ }
Source Monitor Transport Controls
The Source Monitor has the usual selection of VTR transport controls.
View Clip in Source Monitor
Source Monitor must be active—bright green bar. Press apostrophe if it’s not.

Source Monitor Playback
Press caps lock to hear audio
You can drag the blue Position Indicator to scrub through the clip.
Pressing the spacebar toggles Play/Pause.
To Jog (step frame-by-frame) to a specific frame, use the left- and right-arrow keys.
Avid’s keyboard-driven J K L Shuttle control is a fast way to view a clip:

J Reverse Edit by watching/ listening.
K Stop
L Forward Edit by watching/ listening.
By repeatedly pressing J or L playback speed can be increased.
Pressing K stops playback.
While holding K down, tapping J and L moves one-frame Back or Forward.

Timeline Add/Remove Clips
Trim Clip in Source Monitor
Double-click a clip located in a Bin to send it to the Composer’s Source Monitor.
Trim clip by setting Mark-in { I } and Mark-out { O } points.

Insert Trimmed Clip to a Timeline
Insert performs a ripple add to a Timeline.
Ripple means clips to right of the insert, in all selected tracks, slide right.
You can insert both video and audio by clicking V1+A1 or V1+A1+A2 Source
Monitor tracks to select them. Selected Source Monitor tracks are green.
• To insert only video or an image, click A1 or A1+A2 Source Monitor audio

track(s) to disable them. Click V1 to select it. The selected Source Monitor track
is green.
• To insert only audio, click the V1 Source Monitor video track to disable it. Then
click A1 or A1+A2. Selected Source Monitor tracks are green.
Click the Toolbar_De/Dt button { N } to unselect all Record Monitor tracks.
Select the desired Record (blue) tracks—almost always V1, V1+A1 or V1+A1+A2 or
A1 or A1+A2.
Click the Record Monitor_Go to Start button. { up-arrow }
Insert a clip into the Timeline by clicking the yellow (splice-in) Toolbar_Splice-in
button. { V }

You can trim and add clip after the last clip because the blue Position Indicator is
always moved to the end of the last clip added.
If you move the Position Indicator and then later want to move it to the end of the
last clip so you can add another clip, click Record Monitor_Go to End button.
{ down-arrow }

Drag Clips to Timeline
A Bin may contain many clips that each start slightly early and end slightly late.
With the Bin in Script mode, drag each clip up or down to place it into the correct
Sequence order.
Control+A or Command+A to select all the clips.
Deselect all Record tracks by pressing the Toolbar_De/Dt button. { N }
Select only the Record track you want to work with.
Drag the selected clips to correct track(s) in the Timeline.
Now you can rapidly work through the Timeline using Top and Tail trims to shorten
each clip as needed.

Insert Black
Audio under black is silent.
• To insert one-second of black (filler) at start of a Timeline:

Select all Record tracks.
Move the Position Indicator to the beginning of the Timeline. Now click the
Toolbar_AP button to add filler at the beginning of the Sequence.
• You cannot add filler at the end of a Timeline.
• To insert one-second of black (filler) at a specific point:

Select only the Record track(s) to receive the filler.
Place Position Indicator at the desired point and click the Toolbar_AP button to
ripple add filler at the desired point.
To shorten the filler’s duration, drag the tail of the previous clip later or the head of
the next clip earlier. Use Trim Clips.

Insert Behavior
Insert at Position Indicator
• Insert at Mark-in

• Insert to Multiple Selected Record Tracks

Delete Clip
Delete will ripple-remove clip(s).
Ripple means clips to right of the delete, in all selected tracks, slide left.
No gap will be opened.
Click the Toolbar_De/Dt button { N } to deselect all Record tracks.
• Place the Position Indicator over the clip to delete:

Mark the entire clip by clicking the Toolbar_Mark Clip button. { T }
• To delete multiple clips, set Mark-in { I } and Mark-out { O } to define them.
Click the yellow (ripple delete) Toolbar_Extract button. { X }
Delete Black Filler

Delete will ripple-remove filler.
Delete filler as though it were a clip.

Non-ripple Remove Clip
Non-ripple means clips to right of the deletion do not slide left.
A gap may be created.
To non-ripple remove a clip, click the Toolbar_De/Dt button { N } to deselect all

Record tracks.
Select the desired Record track(s).
• Place the Position Indicator over the clip to delete.

Mark the entire clip by clicking the Toolbar_Mark Clip button. { T }
• To remove multiple clips, set Mark-in { I } and Mark-out { O } to define them.
Click the red (non-ripple remove) Toolbar_Lift button. { Z } A gap may appear.
Unmark the Timeline by clicking the Toolbar_Clear Both Marks button.

3-point Edit: Video/Audio Insert
Insert performs a ripple add to a Timeline.
Ripple means clips to right of the insert, in all selected tracks, slide right.
Double-click a clip from a Bin into in the Source Monitor.
Trim the Source clip.
Select the Source (green) track (e.g., V1 and A1).
Select the Record track(s) that will receive the clip. They will become blue.
Place the Position Indicator at the point where you want the insert to start.
If you insert at a point where there is already media in the selected track(s), the
insert will split the existing clip at that point.
Click the yellow (splice-in) Composer_Splice-in button { V } to insert the clip into
the Timeline.

3-point Edit: Add Video Layer (cutaway)
The most common video addition is to add a cutaway shot into a Sequence.
Add is a non-ripple action.
• If needed, add a Record video track: Right-click in the Timeline and select New >
Video Track.
Select a Record video track above the current video track(s).
• You can quickly define the Record Tracks by dragging from a green video Source
to a video gray Record track. As you drag, an on-screen line will be drawn like that
shown by the yellow arrow.
• The Record track will turn blue.
• Source V1 will be sent to Record V2.
• The Video Visibility selector will automatically move to V2.
Double-click the clip to be added into the Source Monitor.
Place only a single In- or Out-Mark in the Source Monitor. This single mark will
determine either the start (defined by a Mark-in) of the clip to be added or the end
(defined by a Mark-out) of the clip to be added.
Mark-in { I } and Mark-out { O } in the Timeline. By setting two points, you

determine exactly where the added video clip will be placed. Moreover, you have
automatically defined the duration of the clip to be added.
Set no more than 3 points, total, among Source and Record Monitors

A highlighted segment will appear in the Timeline.
Click the red (non-ripple add) Composer_Overwrite button { B } to precisely add a

video clip into the Timeline.
Typically, an addition is made to a track over existing video. However, an addition can
be made to a track containing video. In this case, the existing video is replaced—
destructively overwritten.

3-point Edit: Add Audio Layer
The most common audio addition is to add a sound layer into a Sequence.
Add is a non-ripple action.

• If needed, to add a monaural audio track: right-click in Timeline and select

New > Audio Track > Mono.
• If needed, to add a stereo audio track: right-click in Timeline and select

New > Audio Track > Stereo command.
Double-click the clip to be added into the Source Monitor.
Place only a single In- or Out-Mark in the Source Monitor. This single mark will
determine either the start (defined by the Mark-in) of the clip to be added or the end
(defined by the Mark-out) of the clip to be added.
Select a Record audio track below the current audio track(s).
• You can quickly define the Record Tracks by dragging from a green audio Source to
an audio gray Record track. As you drag, an on-screen line will be drawn like that
shown by the yellow arrow.
• The Record track will turn blue.
• Source A1 will be sent to Record A2.

Place In- and Out-points in the Timeline. By setting two points, you determine exactly
where the added audio clip will be placed. Moreover, you have automatically defined
the duration of the clip to be added.
A highlighted segment will appear.
Click the red (non-ripple add) Composer_Overwrite button { B } to precisely add

an audio clip into the Timeline.
Typically, an addition is made to a track under existing audio. However, it can be

made to a track containing audio. In this case, the existing audio is replaced—
destructively overwritten.

Source Duration Defined Insert/Addition
At times, an insert or an addition must be defined by the duration of the Source clip.
In this case, set Mark-in { I } and Mark-out { O } in the Source Monitor.
Below are two versions of the 3-point instructions from above:
• Double-click the clip to be added into the Source Monitor.
Place a Mark-in and Mark-out in the Source Monitor. These marks automatically
define the duration of the insert/addition.
Select a Record video track above the current video tracks or select Record audio
track(s) below the current audio tracks.
• Place a Mark-in { I } or Mark-out { O } in the Timeline.
This single mark will determine either where the insert/addition will start (defined
by a Mark-in) or where the insert/addition will end (defined by a Mark-out).
When you mark only where an insert/addition ends, you’ve made a “backtimed”
insert/addition.
The last frame of the insert will be at the Mark-out.

Timeline Actions
Record Monitor Transport Control
The Record Monitor has the usual selection of VTR transport controls.
View in Record Monitor
Record Monitor must be active—bright blue bar. Press apostrophe if it’s not.

Record Monitor Playback
Press caps lock to hear audio
You can drag the blue Position Indicator to scrub through the clip.
Pressing the spacebar toggles Play/Pause.
To Jog (step frame-by-frame) to a specific frame, use the left- and right-arrow keys.
Avid’s keyboard-driven J K L Shuttle control is a fast way to view a clip:

J Reverse Edit by watching/ listening.
K Stop
L Forward Edit by watching/ listening.
By repeatedly pressing J or L playback speed can be increased.
Pressing K stops playback.
While holding K down, tapping J and L moves one-frame Back or Forward.

Timeline Events
An event is a cut-point in any track within a Sequence.

Go to Previous Event
Select only the Record track.
Go to previous clip junction, click the Toolbar_Go to Previous Event button. { , }
Go to Next Event
Select only the Record track.
Go to next clip junction, click the Toolbar_Go to Next Event button. { . }

Timeline Gaps
Space in a track after the last clip looks like it is “nothing.” And, indeed no image or
sound will come from this gray segment.
The space before the clip in V2 is gray, so it’s easy to think it is “nothing” as well.
If you ripple-insert a clip into the Timeline before the last clip, the last clip will be
pushed right down the track by the duration of gray segment.
The gray segment although seeming to be “nothing” behaves as though it were a clip.

If you select the segment with Mark-in { I } and Mark-out { O } points it will
become dark blue showing that it is something. This type of segment is called a slug.
To eliminate a slug, once selected, you can Delete it as you would any clip.

Record Track Locking
To prevent changes to an active (blue) track you can lock it.
To Lock a track, right-click on the thin area to the right of the track head.
Padlock indicates the track is locked.
To Unlock a track, right-click on the thin area to the right of the track head.
The track is unlocked.

Record Track Sync Lock
When a track is unlocked, simply click the thin area to enable or disable Sync Lock.
When Sync Lock is enabled, there will be a flag in this area.
Below, a video with a sync audio clip has been placed at the beginning of a Timeline.
The Timeline would look the same had a video clip plus a Separate System audio clip
that had been manually synchronized with the video clip, been placed at the beginning
of a Timeline.
We want to insert a video clip before the sync video and audio clip. After selecting the
Record V1 track, trimming the to be inserted clip, we click the yellow (ripple-insert)
Toolbar_Splice-in button. { V }

The Inserted video clip causes the video clip to lose sync with its audio pair mate.
To avoid sync loss, set the Sync Lock flags for V1 and A1 tracks. Insert the clip.
The Inserted clip does not cause the video clip to lose sync with its audio pair mate.
Setting Sync Locks on tracks prevents loss of sync can occur upon an Incoming
ripple-trim or Outgoing ripple-trim.
Setting Sync Locks on tracks also prevents loss of sync can occur upon a clip delete.
Below, the first clip in V1 has been selected to be deleted.
Alternately, selecting both the Record V1 and the Record A1 tracks prevents loss of
sync from a Ripple Insert, a Ripple Delete, or Ripple Trims.

Move and Copy Clips
Move Clip
There will be occasions where you want to move a clip earlier or later and/or
want to move a clip to a different track.
An example of the former situation is moving a title.
An example of the latter situation is moving a non-sync audio clip.
Scroll the timeline or zoom-out to see all the clips you want to move.
When moving a video-only or an audio-only clip within a two-track

video-with-audio stream, place the Position Indicator over the clip.
Next, click the MarkClip button to select both video and audio as
shown below.
When moving a clip that has both video and audio, confirm the Smart
Tool Link Selection Toggle button is blue.

Click Extract/Splice-in mode Smart Tool.
When in the Timeline the cursor will become a yellow arrow.
• Use the yellow cursor to drag a clip earlier or later.
By default, a dragged clip will snap into place. By holding down the Control key, a
clip can be slid to a new position.
• Use the yellow cursor to drag a clip from one track to another.
By default, a dragged clip will snap into place. When moving a clip between tracks
this will keep the clip from sliding earlier or later.
By holding down the Control key, a clip can be slid to a new position in its new
track.
When you are finished moving a clip

click the Toolbar_Yellow-Segment button

Copy Clip
Select the tracks that contain the clip(s) to be copied
• Place the Position Indicator over the clip you want to move:
Mark the clip by clicking the Toolbar_Mark Clip button. { T }
• To copy multiple clips, set Mark-in { I } and Mark-out { O } to define these clips.
To copy the selected clips, press { C }. The clip(s) will be copied to the clipboard.

Clipboard Move Clip
Select the tracks that contain the audio and/or video of the clip to be moved.
• Place the Position Indicator over the clip you want to move:
Mark the clip by clicking the Toolbar_Mark Clip button. { T }
• To move multiple clips, set Mark-in and Mark-out to define these clips.
To move (cut) the selected clip(s), press Control+X or Command+X.
The clip(s) will be removed from the Timeline and placed on the clipboard. The clips
after the delete will ripple to the left so no gap will be created.
Insert Clipboard Contents into Timeline

The clip(s) must be inserted into the same track(s).
Move the Position Indicator to the junction between clips where you want to insert the
beginning of the first, or only, clip.
Press Control+V or Command+V to perform a ripple insert from the Clipboard.

Insert Clipboard Contents to Specific Timeline Tracks
Remove (cut) or copy clip(s) to the Clipboard.
With clip(s) on the Clipboard, right-click in the Source Monitor and select Clipboard
Contents.
The Source monitor will now contain the contents of the clipboard.
If you copied/moved contents, for example, from the V1 and A1 tracks, the Source
Monitor will have media in V1 and A1.
However, if you copied/moved contents, for example, from the V2, the Source
Monitor will have media in V2.

You can quickly define the video Record Tracks by dragging from a green video
Source to a video gray Record track. As you drag, an on-screen line will be drawn like
that shown by the green arrow. The Record track will turn blue.
The Video Visibility selector will automatically move to V2.

Source V1 will be sent to Record V2.
You can quickly define the audio Record Tracks by dragging from a green audio
Source to an audio gray Record track. As you drag, an on-screen line will be drawn
like that shown by the green arrow. The Record track will turn blue.
Source A1 will be sent to Record A2.
Place a Mark-in { I } at the Timeline point where you want to insert the clip(s).
In the Source Monitor use Mark-in { I } and Mark-out { O } to define the insert.
Send clip(s) into the Timeline by clicking the yellow (splice-in) Toolbar_Splice-in
button. { V }

Timeline Trimming
Top (Head) Trim
This is the fastest way to trim the head of a clip thereby making the clip shorter.
Select the Record track(s) to be trimmed.
Now find the clip junction at the head of the clip you want to trim.
To jump to this junction, click the Toolbar_Go to Previous Event button { , } or the
Toolbar_Go to Next Event button. { . }
Play the clip to the point where you want the clip to start.
Click the Toolbar_Top button or press { A } to trim the head of the clip shorter.

Tail Trim
This is the fastest way to trim the tail of a clip thereby making the clip shorter.
Select only the Record track(s) you want to work with.
Now find the clip junction at the head of the clip you want to trim.
To jump to this junction, click the Toolbar_Go to Previous Event button { , } or the
Toolbar_Go to Next Event button. { . }
Play the clip to the point where you want the clip to end.
Click the Toolbar_Tail button or press { S } to trim the tail of the clip shorter.

Trim Tool: Previous or Next Initiated
Select the Record track(s) to be trimmed:
Click the Toolbar_Previous Trim { M } or Toolbar_Next Trim { / } button to skip

the magenta Position Indicator to the cut-point to be trimmed.
Media Composer will enter the Trim Tool with the cut-point selected.
On the Smart Tool, click the yellow Ripple Trim button to enable it (blue)
On the Smart Tool, click the red Non-ripple Trim button to enable it (blue)
You can leave both Ripple Trim and Non-ripple Trim enabled
• Trim Clips Trim the junction between two clips

• Trim Incoming Edge with Ripple
• Trim Outgoing Edge with Ripple
• Trim Incoming Edge without Ripple
• Trim Outgoing Edge without Ripple

Trim Clips
The cut-point (junction) between two clips’ can be trimmed earlier or later.
Trimming can only be performed when unseen frames exist at incoming clip head.
Trimming can only be performed when unseen frames exist at outgoing clip tail.
The junction ripples earlier or later.
By default, the Trim Tool Window will have opened in A-B mode.
A-B mode can be re-chosen by clicking Trim Tool Window’s center button. { [ }
Or, click-select both magenta frame counters.
• Trim using the window’s ◄◄ ◄ ► ►► buttons
To close the Trim Tool Window and return to editing, click the Toolbar_SE
button. { tab }

• Trim by Dragging Clip Edge
You can directly initiate a drag trim in a Timeline when both

Ripple Trim and Non-ripple Trim are enabled.
At a cut-point, hover near the center of a track—you will find a white roller.
Drag white roller earlier (leftward) or later (rightward).
button. { tab }

Trim Incoming Edge with Ripple
On the Smart Tool, confirm Ripple Trim and Non-ripple Trim are enabled (blue)
Click the Trim Tool Window’s B-side “incoming edge” button. { [ }
Or, click-select the right magenta frame counter.
• Trim using the Trim Tool Window’s ◄◄ ◄ ► ►► buttons
button. { tab }

• Trim by Dragging Clip’s Incoming Edge
At a cut-point, hover near the bottom of a track—you’ll see a yellow roller.
Drag the yellow roller
Rightward drag—shortens clip. Following clips ripple left. Shorter track.
▪ The clip’s incoming edge will not move.

▪ The clip’s outgoing edge will, however, move leftward thus shortning the clip.
▪ The right Trim Tool Window shows the clip’s first frame.
▪ The clip’s head frame image will update with this image.
▪ As you drag right through the clip, clips to the right of the clip will ripple to the left.
▪ As clips ripple to the left, the duration of the track becomes shorter.
Leftward drag—lengthens clip. Following clips ripple right. Longer track.
button. { tab }

Trim Outgoing Edge with Ripple
Click the Trim Tool Window’s A-side “outgoing edge” button. { P }
Or, click-select the left magenta frame counter.
button. { tab }

Trim by Dragging Clip’s Outgoing Edge
At a cut-point, hover near the bottom of a track—you’ll see a yellow roller.
Drag the yellow roller
Leftward drag—shortens the clip. Following clips ripple left. Shorter Timeline.
▪ The clip’s outgoing edge will move leftward thus shortning the clip.
▪ The clip’s incoming edge will not move.
▪ The left Trim Tool Window will show the clip’s last frame.
▪ The clip’s head frame image will not update.
▪ The clip will become shorter.
▪ As you drag left through the clip, clips to the right of the clip will ripple to the left.
▪ As clips ripple to the left, the duration of the track becomes shorter.
Rightward drag—lengthens clip. Following clips ripple right. Longer Timeline.
button. { tab }
Trim Incoming Edge without Ripple
Trim incoming edge of a clip—earlier or later.
Earlier trim—lengthens clip and destructively overwrites preceding clip.
Later trim—shortens clip and opens a gap.
Click the Trim Tool Window’s B-side “incoming edge” button. { P }
Or, click-select the right magenta frame counter.
button. { tab }

• Trim by Dragging Clip’s Incoming Edge

At a cut-point, hover near the top of a track—you’ll see a red roller.
Drag red roller
Leftward drag—lengthens clip and destructively overwrites preceding clip.
Rightward drag—shortens clip and opens a gap.
button. { tab }
Trim Outgoing Edge without Ripple
Trim outgoing edge of a clip—earlier or later.
Earlier trim—shortens clip and opens a gap.
Later trim—lengthens clip and destructively overwrites following clip.
Click the Trim Tool Window’s A-side “outgoing edge” button. { ] }
Or, click-select the left magenta frame counter.
button. { tab }

• Trim by Dragging Clip’s Outgoing Edge

At a cut-point, hover near the top of a track—you’ll see a red roller.
Drag red roller
Leftward drag—shortens clip and opens a gap.
Rightward drag—lengthens clip and destructively overwrites following clip.
button. { tab }

Real-time Ripple Trim
See and/or hear your trim while adjusting the trim is a powerful MCF function.
Select the Record track(s) to be trimmed:
Click the Toolbar_Previous Trim button { M } or Toolbar_Next Trim button { / }

to skip the magenta Position Indicator to the cut-point to be trimmed.
Media Composer will enter Trim Tool with the cut-point selected
Press esc to exit Trim Tool Mode

By default, the Trim Tool Window will open in A-B mode.
A-B mode can be re-chosen by clicking Trim Tool Window’s center button. { [ }
The cut-point (junction between clips) can be ripple trimmed earlier or later.
Click the Play Loop button on the Record Monitor’s Toolbar.
Playback begins 2-seconds before the cut and ends 2-seconds after the cut.
The 4-second cycle repeats until stopped.
Playback smoothness depends on the media format and your computer’s power.
Trim outgoing edge (A-side) of previous clip and incoming edge (B-side) of next clip.
As the loop plays, nudge the cut earlier or later until the trim is correct:
• Press { Y } to move the cut-point -1 frame (earlier).
• Press { U } to move the cut-point +1 frame (later).
The trim count is updated only when the 4-second recycle begins again.
When you are done trimming, press the spacebar or click the Record Monitor’s
Toolbar_Play Loop button.
To close the Trim Tool Window and return to editing, click the Toolbar_SE button.
{ tab }

Create a J-cut
When you want audio from the beginning of next clip to be heard
before the previous clip ends.
Hold down Control or Option, and you can left-to-right lasso-drag within the
Timeline to select a specific audio clip.
The track to trim is auto-selected.
The cut-point (junction between clips) can be ripple trimmed earlier.
An A-side or A-B-side or B-side trim can be employed.
Drag the white roller to the left (earlier).
Ripple trim a clip (A-side)
Ripple trim a clip (B-side) OR A-B Side
{ tab }

Create an L-cut
When you want audio from the end of the previous clip to continue
into the beginning of next clip.
Hold down Control or Option, and you can left-to-right lasso-drag within the
Timeline to select a specific audio clip.
The track to trim is auto-selected.
The cut-point (junction between clips) can be ripple trimmed later.
Either an A-side or A-B-side or B-side trim can be employed.
Drag the white roller to the right (later).
Ripple trim a clip (A-side)
Ripple trim a clip (B-side) OR A-B Side
{ tab }

Add Edit/Split Clip
To split a clip, click the Toolbar_De/Dt button { N } to deselect all Record tracks
and then select the desired Record track.
Move the time cursor (Position Indicator) to the point in time where you want to split
the clip.
• An Add Edit can be used to create a division within a clip so each side of the
division can be treated differently even as motion remains continuous across the
added edit.
• An Add Edit can be used to create a division within a clip to allow each segment
to be individually trimmed.
• An Add Edit can be used to create a division within a clip that splits the clip into
two parts. Either part can then be removed.
Click the Toolbar_Add Edit button. { \ }

Color Correction
Click the Toolbar_CC button.
Select only the desired track which is usually V1.
Confirm the Visibility Indicator is on the same track.
Place the Position Indicator a frame in the clip that most represents what needs to be
corrected.
When playing video Media Composer | First scopes do not update in realtime.
Moreover, MCF doesn’t have Media Composer’s YRGB Curves panel that has several
powerful color grading tools. Log footage can be manually converted to REC.709
gamma/color.

1. Click the HSL > Controls tab.
Likely your camera records 8-bit data that has a signal level that ranges from 16
(0%/black) to 255 (≈108%/brightest white).
When your production is going to the Internet, there is no problem with peaks going
above 100% to ≈108%.
Set Clip High to 255.
2. Click the HSL > Hue Offsets tab.
3. Click Auto Black—red circle. (Darkest shadows = called Setup or Lift)
4. Click Auto White—green circle. (Brightest whites = called Gain)
5. Adjust Gamma (mid-tone brightness) as desired—yellow circle
6. Monitor the signal so peaks do not go above 255. Moreover, the signal—showing
in white rather than green—should not bunch-up at the top as it does below.
—
The signal should not fall below 16.
7. When necessary to reduce an unwanted color cast, such as bluish clouds you know
should be pure white, slide a Color Wheel’s “white cross” in a direction opposite
to the unwanted color cast. For example, when clouds are too blue, slide the cross
toward Yellow.
• Adjust the Shadows (Shd) Color Wheel. Black should have no color cast.
• Adjust the Midtones (Mid) Color Wheel.
• Adjust the Highlights (Hlt) Color Wheel. White should have no color cast.
Shadow brightness is controlled by Setup

Midtone brightness is controlled by Gamma
Highlight brightness is controlled by Gain

8. Click the HSL > Controls tab.
• The primary control you’ll adjust is Saturation—green circle.
• The secondary control you’ll adjust is Hue—red circle.
9. Set Saturation so no color exceeds 75%. Below, the saturation of “orange” (mid-
way between Yellow and Red) is too high.

10. When people are in a scene, adjust the Hue slider so their skin tone is aligned
along the “Q-axis” as shown below.
Steps 1 through 10 are interactive so you’ll likely need to work through them several
times.
To return to editing, click the Toolbar_SE button. { tab }
Save a Correction
Press ALT or Option and click one of the C# buttons to save a correction.
Paste a Correction
Click one of the C# buttons to apply one of the saved corrections.

Save a Correction Effect to a Bin
Drag the correction icon to a Bin.
Now you can drag a correction onto any video clip.
Skip to a Previous or Next Correction

When you have finished a production, you may want to move through the Timeline
checking and correcting each clip. Use these buttons to move clip-by-clip.

Modify a Correction
Select the video Record track with the clip to be corrected.
Place the Position Indicator a frame in the clip that most represents what needs to be
corrected.
Click the Toolbar_CC button.
Delete a Correction
Select the video Record track with the clip.
Place the Position Indicator over the clip.
Click the Toolbar_Remove Effect button.

Apply Effects to Clips
Click-select the magenta FX tab in the Project Window. The FX window has four
tabs that each offer a distinct set of effects.
Video Filters
Audio Filters
Drag a Video Filter FX onto a clip. Audio Clip FX can be used in the same way.

The Edit Effects panel will auto-open as shown below. Drag it to cover the Source
Monitor. The Edit Mode will also be activated.
To employ some effects, you may need to consult Avid’s Media Composer | First
Media Composer Effects and CC Guide.
Make the desired settings using the Edit Effects panel.
You now have two options:
• To return to editing, click the Toolbar_SE button. { tab }

The FX will have been applied.
• Click the Render Effect button. [ Render Option ]

Select Drive and click OK.

The FX will have been applied.

Modify an Effect
When you need to make an adjustment to an effect, you may need to click the
Toolbar_De/Dt button { N } to deselect all Record tracks.
After selecting the correct video and/or audio track(s), place the Position Indicator in
the Timeline over the effect.
Click the Toolbar_EE button which also initiates Effect Mode.
If you do not see the FX you previously applied, click the Effects Mode button.
Make the desired settings using the Edit Effects panel. You now have two options:
• To return to editing, click the Toolbar_SE button. { tab }

The FX will have been modified.
• Click the Render Effect button as described above. [ Render Option ] To return to
editing, click the Toolbar_SE button. { tab }
The FX will have been modified.

Apply LUT to LOG footage
MCF supports a Look Up Table (LUT) as an effect. The LUT could perform a Log-to-709
conversion or create a “look.” Log footage can be manually converted to REC.709
gamma/color.
If your camera has no Media Composer LUT, try the Avid supplied LUTs to find one
that looks best. (Project Window_FX > Image > Color LUT)
Canon C300 4:2:2 10-bit, C-log 3 before adding a LUT
Canon C300 4:2:2 10-bit, C-log 3 after adding a Sony Slog3 to Cine+709 LUT

Delete an Effect
Select the track with the clip.
Place the Position Indicator over the effect.

Apply Video/Audio Transitions
Apply Transition
Select only the desired Record track(s).
Place the Position Indicator at the cut-point or click the Toolbar_Previous Event
button { , } or the Toolbar_Next Event { . } button to move the Position Indicator
to the cut-point.
• For a 30-frame dissolve there must be at least 15-frames of video after the cut-
point of the outgoing clip. These frames are hidden but will be revealed by the
dissolve.
• For a 30-frame dissolve there must be at least 15-frames of video before the cut-
point of the incoming clip. These frames are hidden but will be revealed by the
dissolve.
Click the Toolbar_Quick Transition button to add one of several types of

transitions.
Enter the transition desired: e.g., Dissolve. (Whichever you choose will become the
default transition type.)

Enter the transition Type: Typically, Centered on Cut.
Enter its Duration if you wish.
Click the Add or Add and Render button.

Fade-in Transition
• To apply a fade-in to a clip/title immediately preceded by black filler:
• To apply a fade-in to a clip/title preceded by clip/title:
Place the Position Indicator over the cut-point.
Fade-out Transition
• To apply a fade-out to a clip/title immediately followed by clip/title:
• To apply a fade-in to a clip/title followed immediately by black filler:
Place the Position Indicator over the cut-point.

Replace a Transition
To modify a transition, select only the correct Record track(s), place the cursor over
the transition, and click the Toolbar_Quick Transition button.
Click the Add or Add and Render Option button.
Remove a Transition
To delete a transition, select only the correct Record track(s), place the cursor over
the transition, and click the Toolbar_Remove Effect button.

Quick Fades
When you have an isolated—not joined to another clip—video, audio, or title—and
want to fade-in or fade-out the clip, use a Top or Tail fade.
Apply Quick Fade-in

Select the Record track where you want to add a fade-in.
When no preceding video clip, audio clip, or title, abuts a video clip, audio clip, or
title—a fade-in can start on the initial frame of the clip.
You can place a fade-in at the beginning of the isolated pink clip
A fade-in in the upper clip causes the upper clip to appear slowly over the lower clip
Place the Position Indicator at the spot where the fade-in should be completed.
Click the Toolbar_Top button.

Apply Quick Fade-out
Select the Record track where you want to add a fade-out.
• When no following video clip, audio clip, or title, abuts it—a fade-out can end on
the final frame of a video clip, audio clip, or title.
You can place a fade-in at the end of the isolated pink clip
Place the Position Indicator at the spot where the fade-out should be start.
Click the Toolbar_Tail button.

Remove a Quick Fade-in
Select the Record track where you want to remove a fade-in.
When a fade-in has been placed at the beginning of an isolated video clip, audio clip,
or title—it can be removed by placing the Position Indicator over the fade-in.
After placing the Position Indicator over the fade-in, click the Toolbar_Remove
Effects button.
Remove a Quick Fade-out

Select the Record track where you want to remove a fade-out.
When a fade-out has been placed at the end of an isolated video clip, audio clip, or
title—it can be removed by placing the Position Indicator over the fade-out.
Click the Toolbar_Remove Effects button.

Edit Audio
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Audio Trimming
When trimming audio, typically you do not want changes to a clip’s duration, either
shorter or longer, to effect other clips. For this reason, you should non-ripple trim clips.
Trim Incoming Edge without Ripple
Trim Outgoing Edge without Ripple
Use Move Clip to drag a clip earlier or later.
Use Copy Clip to make a copy for use elsewhere.
Use 3-point Add Audio Layer to add audio clips.
Audio clip deletions should use a Non-ripple Remove Clip.

Quick Adjust Clip Audio Level
The little arrow at the bottom-head of each audio clip can be clicked to adjust audio.
Rubberband Audio Gain

Select only the audio Record track(s) with clip(s) you want to adjust.
Click the Timeline’s Focus button to magnify the area.
Confirm the Keyframe button (blue circle) in the Smart Tool column is blue.
Confirm Waveform (yellow circle) and Clip Volume/Pan are enabled (green circle).

The red circle indicates Clip Volume/Pan is disabled.
Click the Waveform button to show/not-show Timeline waveforms. Timeline

performance is better with waveforms turned off.
Click on the Clip Volume/Pan button and confirm Volume has been checked.
To create a node, set a keyframe by clicking the Toolbar_Keyframe button. { “ }
To adjust a node, move your mouse cursor until it is over a node where it will become
a tiny finger.
Using the finger cursor, adjust clip volume by dragging a node up/down.

Using the finger cursor, keyframes can be slid sidewise by dragging while holding
down ALT or Option.
To delete a keyframe, using the finger cursor, select a keyframe.
It must be highlighted (pink) before pressing delete.

Audio Edit Tool
Click the Toolbar_AE button.

Audio Mixer
The Audio Mixer is a fast way to change the loudness of each clip in a series of clips.
Place the Position Indicator at the point where the first clip starts.
In the Mixer click the track number with the clip(s)—green circle below.
Click the Audio Play Loop button to start the clip playing—yellow circle.
• Click the Bypass button to make comparisons.
Slide the audio level up or down to alter audio level—red circle.
Press the spacebar to stop play. You may not see the Timeline reflect a change until
you stop playback.

3-band EQ
Select audio Record track(s) with the clip to EQ.
Place Position Indicator over the clip to be adjusted.
Choose the track to EQ—green circle below.
Click the Audio Play Loop button so EQ can be adjusted while playing—yellow circle.
Adjust EQ for this track. (Below, a “presence” boost at 4.5kHz.)
It may take several seconds for the changed audio to become audible.
• Click the Bypass button to make before/after comparisons.
• Some audio effects must be rendered before you will hear them. Click the render
button (red circle). [ Render Option ]
Press the spacebar to stop play.
To return to editing, click the Toolbar_SE button. {tab }

Save an EQ
Drag the magenta EQ symbol from the EQ panel to a Bin.
Apply a Saved EQ
Drag from a Bin and place on a clip.
Delete EQ
Place the Position Indicator over the clip.

Add Title to Timeline
In the Timeline, Mark-in { I } and Mark-out { O } for title placement.
Click the Record Monitor’s T button to open the Title Application.

To create a title:
• The green V button in the Title Tool is pre-selected. Therefore, the title will be
superimposed over video. If you do not want a title over video, click on the V
button.
• Click the green T button within the Title Tool window.
• Click in the Title window about where you want the first letter of your title.
• Now enter the text.
• Drag through the title text.
• Select Font, for example “Copperplate.”
• Select Font Size, for example “72.”
• Select Justification (Left, Centered, or Right) using the Title Tool
• Select Style (Bold, Italic, or Both)
• Click on Fill Color Square to bring-up a color selector. Select the color for the text
and click Close.
• Click on the Pointer button
• Use the Pointer tool to move the text-box exactly where you want it.
To correct a spelling error, or change a title, click the green T button within the Title
Tool window and drag through the text to highlight it. Now you can make the change.
When you have finished creating a title, click the application’s File > Save Title as…,
name it, select a Bin, select the Render Option Drive, select the format, choose the In
to Out option, select the Topmost or V2 track, click Save, and Exit.
You can apply a Quick Fade-In or Fade-out effect to titles.
Once in a Timeline, a title can be Moved or Copied as well as trimmed (Trim Incoming
Edge without Ripple or Trim Outgoing Edge without Ripple or) as if it were any other clip.

Modify a Title
In a Bin, Control+double-click the title’s thumbnail.
Modify the title.
Now issue a File > Save Title as… command.
The revised title’s icon will be placed in the same Bin and the revised title will be in
the Source Monitor.
Click the Source Monitor’s Mark Clip button.
Deselect all Record tracks by pressing the Toolbar_ De/Dt button { N } button.
Select only the video Record track with the title to be replaced.
Place the Position Indicator over the title to be replaced.
Mark the old title by clicking the Toolbar_Mark Clip button. {T }
• Non-ripple remove the old title by the clicking Toolbar_Lift button. {Z }
• Ripple delete the old title by clicking the Toolbar_Extract button. {X }
Mark-in { I } to define where the replacement title should begin.
Click the red (non-ripple add) Toolbar_Overwrite button. { B }

Publish To
Read Appendix D before trying to export
Right-click in the Record Monitor and select Publish To.
Then select where you want to export your movie. I usually select Local Drive…
which opens the Publish window.
You can also publish directly to YouTube and Vimeo. Facebook support will come in a
later release.

Export a DNxHD file
A check of the file shows an ≈80Mbps DNxHD export with an audio sampling rate of
44.1kHz, not the more professional rate of 48kHz. And, unlike Audio format: stating
the audio will be 24-bits, it will only be 16-bits.
~80 > ~100Mbps DNxHD with 44.1kHz 16-bit PCM 2-channel audio
Under Windows, I use myFFmpeg (Appendix B) to transcode DNxHD to the far more
widely used ProRes 422 format with 48kHz PCM audio. You also have the option of
converting 44.1kHz audio to 48kHz audio while passing DNxHD video through
myFFmpeg unchanged.

Export an H.264 file
H.264 exports can be made using the Fastest, Better, or Best options.
Best — ≈35 > ≈100Mbps AVC Main@L5 with 48kHz 24-bit PCM 2-channel audio
Export a WAV file
48kHz 24-bit PCM 2-channel audio

Section II: Setting-up Media Composer
Setup Composer Monitors and Timeline Toolbar
Open an empty Sequence so a Timeline exists directly under the two Composer displays.
Issue the Tools > Command Palette command (Figure 1).
Figure 1: Command palette
Place it over the Source/Record Monitors—not over the Timeline.
Click the Button to Button Reassignment button.
Modify the Composer and the Timeline Toolbar until they appear as shown in Figures 2,
3, and 4. (Except, the DT/De, AP, Full Screen Playback, and SB positions.) To do this
you’ll need to find the correct tab on the Command Palette containing the icon you need.
Drag an icon to the desired Composer or the Timeline Toolbar position. Release the
mouse button when the icon is on top of the current button. The new icon will replace
the button icon already in that position.
Figure 2: Composer Source Monitor and Timeline Toolbar—left-half—after all modifications
Figure 3: Composer Record Monitor and Timeline Toolbar—right-half—after all modifications
Figure 4: Overview of Timeline Toolbar—after all modifications

When the majority of Composer and the Timeline Toolbar buttons have been correctly
placed, click the ‘Menu to Button’ Reassignment button on the Command Palette.
The cursor will become a white square whose look may change during the drag.
Click within the Timeline.
• Click the Toolbar position where “SE” was placed. Move the square cursor to the
Windows > Workspaces menu, drag down and release on Source/Record Editing.
• Repeat for the Toolbar “CC” position to assign it to Windows > Workspaces >
Color Correction menu item.
• Repeat for the Toolbar “EE” position to assign it to the Windows > Workspaces >
Effects Editing menu item.
• Repeat for the “AE” Toolbar position to assign it to the Windows > Workspaces >
Audio Editing menu item.
• Repeat for the Toolbar “DT/De” position to assign it to the Edit >
Deselect All Tracks menu item.
• Repeat for the Toolbar “AP” position to assign it to the Timeline > Add Filler >
At Position menu item.
• Repeat for the Replace Edit button that lies between the Composer’s yellow Extract
and red Lift buttons. (The yellow arrow on Figure 2.) Assign it to the Composer > Full
Screen Playback menu item.
• Repeat for the “SB” position on the Record Monitor to assign it to the Tools >
Source Browser menu item.
Click the ‘Button to Button’ Reassignment button.
Drag the Effect Mode icon and release on the Toolbar position to the right of “EE.”
Close the palette.

Wait until you have experience placing clips in the Timeline. For now, skip to next page.
Put two clips in the Timeline and click on the junction between the two clips.
The junction should turn magenta and the Composer will be replaced by the
Trim Window.
Issue the Tools > Command Palette command and click the ‘Button to Button’
Reassignment button.
Replace these Trim Window buttons: Trim A Side, Trim AB Sides, Trim B Side.
Now press esc to leave Trim Mode.
Figure 5: Modified Trim Window Toolbar
Close the palette.

Setup Workspaces
Source/Recording (SE) Workspace
Select Windows > Workspaces > Source/Record Editing.
Drag the Clips tab to place the Bin window below the Project Window.
Arrange windows as shown by Figure 6.
Figure 6: Source Edit Arrangement
Issue Windows > Workspaces > Save Current to preserve this window arrangement.
Click the Toolbar_SE button.
Should the Source Browser window become attached to the Toolbar_SE button, close the
Source Browser window and issue Windows > Workspaces > Save Current command.

Color Correction (CC) Workspace
Select Windows > Workspaces > Color Correction.
• Drag-down the right monitor’s Next menu and select Vectorscope.
• Drag-down the right monitor’s Next menu and select Y Waveform.
Arrange the Color Correction Panel and Timeline windows as shown by Figure 7.
Figure 7: Color Correction Arrangement

Effects Editor (EE) Workspace
Select Windows > Workspaces > Effects Editor.
Click the magenta tab in the Project Window.
The Effects Menu will open. Size it as shown.
Arrange the Effects Menu, Effects Editor, Composer, and Timeline windows as shown by
Figure 8.
Figure 8: Effects Edit Arrangement


Audio Effects (AE) Workspace
Select Windows > Workspaces > Audio Editor.
Right-click on the Record Monitor and select Show Single Monitor.
Issue the Tools > Audio EQ command.
Issue the Tools > Audio Mixer command.
Arrange the EQ panel, Audio Mixer, Composer, and Timeline as shown by Figure 9.
Figure 9: Audio Effects Edit workspace

Save the Monitor and Toolbar settings you have made.
Launch Media Composer | First.

Create a project called test.
Quit Media Composer | First.
1. Open the Users > Public > Public Documents folder.
2. Open the Avid Media Composer folder.
3. Open the Settings folder.
4. Save the two “Site_” files.
5. Save the MCState file.
6. Back to the Avid Media Composer folder.
7. Open the Avid Users > MC1> user folder.
8. Save the MCState file.
9. Save the user.xml file.
10. Save the user.ave file.
11. Inyour Documents folder, open the MC First Avid Projects folder.
12. Open your Avid folder, e.g., dvc.
13. Open a current project folder, e.g., test.
14. Save Site_Settings.xml and test Settings.xml files.
Launch Media Composer | First.

Create a project called test.
Quit Media Composer | First.
Restore the Monitor and Toolbar settings you have saved.
A. Open the Users > Public > Public Documents folder.
B. Restore the Avid Media Composer folder.
C. Open the Settings folder.
D. Restore the two “Site_” files.
E. Back to the Avid Media Composer folder.
F. Open the Avid Users > MC1> user folder.
G. Restore the three files.
H. In your Documents folder, open the MC First Avid Projects folder.
I. Open your Avid folder, e.g., dvc.
J. Open a current project folder, e.g., test.
K. Move the saved .xml files into the project, test, folder.

Section III: Composer Settings
Click the Settings tab in the Project Window.
Double-click Bin.

Double-click Bin View.

Double-click General.
Double-click Interface.

Double-click Keyboard MC1—which will not yet be named DVCINLV.
Issue the Tools > Command Palette command.

Place both windows over the Composer windows.
On the Command Palette, click the ‘Menu to Button’ Reassignment button.
Click the H key and the cursor will become a white square.
Move the square cursor to the bottom-left of a Timeline to the Fast Menu icon and
continue moving it to the Zoom selector and continue moving it and release it on the
Show Entire Sequence menu item.
SE will replace the H key. In this case, SE means Show Entire.

On the Command Palette, click the ‘Button to Button’ Reassignment button.
Drag the command appropriate icon from the Command Palette to the keyboard.
Move
• Drag Go to Previous Trim to the { M key }
• Drag Go to Next Trim to the { slash key }
• Drag Go to Previous Event to the { comma key }
• Drag Go to Next Event to the { period key }
• Drag Go to Start to the { up-arrow key }
• Drag Go to End to the { down-arrow key }
Edit
• Drag Add Edit (split clip) to the { reverse-slash key }
• Drag Copy to Clipboard to the { C key }
• Drag (copy) De/Dt button from the Toolbar to the keyboard { N key }
Trim
• Drag Trim Left 1 Frame to the { Y key }
• Drag Trim Right 1 frame to the { U key }
• Drag B Side Trim to the { P key }
• Drag AB Side Trim to the { [ key }
• Drag A Side Trim to the { ] key }
Other
• Drag Toggle Source/Recorder to the { apostrophe key }
• Drag Red Marker to the { ; key }
Workspaces
• Drag (Workspace) SE to the { tab key }

Close the Command Palette window.
Close the Keyboard window.
You can now rename the second keyboard.
Be sure to set a checkmark next to MC1.
MC1 keyboard after modification.

Double-click Timeline.
Click the Display tab. Define as shown.
Click OK.

If necessary, double-click Timeline.
Click the Edit tab. Define as shown.
Click OK.

More Media Composer | First
For Film Makers: Break a Film Clip into Shots
One of the charms, or pains, of shooting film is that the first frame of new capture is
often lighter because the shutter is not yet up to full speed. Therefore, the first frame
will be exposed for a slightly longer time.
Place the long film clip into a Sequence.
Move to a point where you want to divide the clip.
Press the { left-arrow } key to back-up to the last frame of what will become the
previous clip.
Press the { \ } key to split the clip.

Press the { right-arrow } key to move to the “flash” frame (slightly lighter) frame.
Press the { right-arrow } key again to move past the “flash” frame.
Press the { A } key to Top trim the head of what will become the next clip.

For Film Makers: an Alternate Way to Create an Edit

Speed-up Your Edit: Heads or Heads-Tails View

Relink Clips After Files Have Been Moved

Align “Separate System” Audio
When you capture audio on a separate system, you’ll need to add each audio clip into
the Timeline underneath its corresponding video clip.
Follow this procedure:
1. Trim the head of the video clip so you see the clapper at the bottom of its swing.
2. Trim the tail of the video clip as needed for the clip.
3. Add the video clip in the Timeline.
4. Trim the head of the audio clip so the only beginning of the clap is heard.
5. Trim the tail of the audio clip as needed for the clip.
6. Add the audio clip in the Timeline under the video.
7. Trim both video and audio past the clapper to the actual start of the shot.
8. Trim the tails of both video and audio to match.
9. Although aligned, the clips are not locked together! Read about Sync Locks.

Accidental Press of Delete Key in a Timeline
If you see this unwanted message, click Cancel.
Eliminate Unwanted Fractional (V#.#) Track

From time to time you may find MCF has added a track above a track that has a
decimal-point and number. For example, below there is a V1 track above which there is
a V1.1 track that you don’t need to see.
To eliminate this track e.g., V1.1), simply double-click on the V1 track.

Lasso Trim
Left-to-right lasso/drag over cut points at junction between two clips.
The tracks to trim are auto-selected.
The beginning of a lasso-drag must start outside the Timeline tracks in the gray area.
Hold down Control or Option, and you can left-to-right lasso/drag within the Timeline
to select a specific clip or clips. The tracks to trim are auto-selected.

The Trim Tool Window will open.
Press esc to exit Trim Mode.

On the Smart Tool, click the yellow Ripple Trim button to make it blue
On the Smart Tool, click the red Non-ripple Trim button to enable it (blue)
You can leave both Ripple Trim and Non-ripple Trim enabled
• Trim Clips Trim the junction between two clips.

• Trim Incoming Edge with Ripple
• Trim Outgoing Edge with Ripple
• Trim Incoming Edge without Ripple
• Trim Outgoing Edge without Ripple

Setting Transition Color
When you choose a Dip-to-Color, Fade-from-Color, or Fade-to-Color transition, the
automatically chosen color will be black. To change this color:
Place the Position Indicator at the transition point by:
• Dragging or clicking the Position Indicator near a cut point.
• Clicking the Previous Event button.
• Clicking the Next Event button.
Deselect all video Record tracks by pressing the Toolbar_De/Dt button. { N }
Select the video Record track with the clip.
Click the Toolbar_EE button.
Click in the Color Box and select a color. Click OK.

Apply an Effect to Multiple Clips Within a Sequence

Apply an Effect to Multiple Transitions

Add Keyframed Effects
Click-select the magenta FX tab in the Project window.
Drag, for example, the Resize Filter onto a clip.
The Edit Effects panel will auto-open as shown below. Drag it to cover the Source
Monitor. The Edit Mode will also be activated.

Click the Keyframe button at the bottom of the Smart Tool column, if it is not blue.
If you wish, click each parameter’s white arrow to see its graph.
Right-click on the yellow bar and select Add Start and End Keyframes.
The cursor will be at start keyframe. Set the parameters as desired.
In this case, the start of the shot was too wide, so I cropped it a bit.

Move the cursor to the end of the effect. Set the parameters as desired.
To position an image, you can drag on it.
You can click the PLAY button to preview the motion.
If you have a powerful computer, simply click the Toolbar_SE button to return to
editing. {tab }
Otherwise click the Render Option button.
Select the Drive.
Click OK.

Add Additional Filters to a Clip
Let’s assume you want to add a “1.66 Mask” to a clip with a “flare” effect. You cannot
simply drag two effects onto the same clip. The second effect will replace the first.
Select the track with the clip.
Place the Position Indicator over the effect.
Click the Toolbar_EE button.
Drag, for example, the Flare filter onto the clip.
The first filter added will be the lowest effect, which will be executed first. Which means
the flare is added to the 16:9 video image.

Adjust the filter as needed.
Double-click the current clip and a clone will appear above it.

Drag, for example, a 1.66 Mask filter onto the clone. The second filter will be processed
after the first filter. Therefore, the video with flare will be masked to a 1.66:1 aspect-
ratio.
Adjust the second filter if necessary.
To add additional effects, double-click the clone to create another clone. Now you can
drag a filter onto it. This filter will now become the upper effect.
Double-click on the lowest clip to collapse all filters to one.


Modify/Replace a Nested Effect
Select the Record track with the clip.
Double-click the clip with multiple filters.
The clip with the last to be applied effect will be revealed.
If necessary, double-click this revealed clip to reveal an earlier applied effect.
When the filter you want to modify or replace is revealed, single-click it, to make the
alteration. (In this case, the 1:66 Mask filter.)

• To replace a filter, drag the new filter onto the old filter.

• To modify a filter or to adjust the parameters of the replacement filter, click the
Toolbar_EE button.
The Toolbar_Effect Mode button may need to be clicked to see this filter’s parameters.
Adjust the filter as desired.
Double-click on the lowest clip to collapse all filters to one.

Delete a Nested Effect
Click the Toolbar_EE button and click Toolbar_Effects Mode button.
Double-click the clip with multiple filters.

The clip with the last to be applied effect will be revealed.
Double-click this revealed clip to reveal an earlier applied effect.
When the filter you want to remove is revealed, single-click it.

Double-click on the lowest clip to collapse all effects to one.

Color Correct Log footage
Select the RGB Parade scope.
A. Adjust the Gain slider to set white-detail level.
B. Adjust the Highlights Color Wheel so the tops of the Red, Green, and Blue bars are
equal. For example, to raise the top { ▀ } of the Red bar, slide the puck toward Red.
↑▀R ↑▀R ↑▀G ↑▀G ↑▀G ↑▀B ↑▀B ↑▀B ↑▀R
↑ RED ↑ YELLOW ↑ GREEN ↑ CYAN ↑ BLUE ↑ MAGENTA
C. Now, re-adjust the Gain slider as needed.
D. Adjust the Shadows Color Wheel so the bottoms of the Red, Green, and Blue bars
are equal. For example, to lower the bottom { ▄ } of the Blue bar, slide the puck
away from Blue.
↓▄R ↓▄R ↓▄G ↓▄G ↓▄G ↓▄B ↓▄B ↓▄B ↓▄R
↓ RED ↓ YELLOW ↓ GREEN ↓ CYAN ↓ BLUE ↓ MAGENTA
E. Now, re-adjust the Setup slider as needed.

F. Adjust the Midtone Color Wheel so objects that should be “medium gray” are
devoid of any tint.
G. The most critical adjustment for log media is Midtone signal level. Adjust the Gamma
slider until the picture looks as you want.
Steps A through G are interactive, so you’ll likely need to run through them several
times.

Apply AudioSuite Effects to Clips
Click the Toolbar_AE button.
Click the magenta FX tab in the Project Window.
Click the Audio Clip tab.
Drag an Audio Clip effect onto a clip.

Or, first select an Effect, such as “Time Shift” from the AudioSuite window. Then drag
the magenta “plug” from the AudioSuite window onto an audio clip.
To employ these effects or Audio Track effects, you’ll need to consult Avid’s
Media Composer First Editing Guide.

Zoom or Pan/Scan UHD Media
Although Media Composer | First cannot export a UHD (3840x2160) movie, if you shoot
UHD media you can use it in several ways within a project.
• By shooting UHD media your source files are “future Proofed.” They can be used later
in a UHD project.
• You can pull a 1920x1080 image from 3840x2160 media by cropping it. This is a
straightforward way to an instant zoom to a close-up without a loss of quality. The
zoomed in image will still have 1920x1080 resolution.
Begin by right-clicking on a UHD clip and selecting Source Settings….
There are three tabs in the window that opens.

Color Encoding:
REC.709 color space is for HD
REC.2020 (SMPTE 2084) color space is for UHD

Playback Rates:

FrameFlex for Instant Zoom:
By clicking Size matches project raster—3840x2160 is scaled to 1920x1080.
• You can now drag the red crop to position it where you desire.
• Or, you can now slide X and Y to move the red crop to where you need it.
Click OK when finished.
When you place the “zoomed clip” after the original in a Timeline, you can trim the cut
point, so the zoom looks natural.

FrameFlex for Pan and Scan:
By clicking Size matches project raster—3840x2160 is scaled to 1920x1080.

Click the Toolbar_EE and Toolbar_Effects Editor buttons.
Set a keyframe at the point where you want a pan to begin.
Drag the frame-outline to its starting position.
Drag the frame-outline to its ending position and set a keyframe.
Click the Render Effect button and select the Drive. [ Render Option ]

During playback, the 1920x1080 shot will now be smoothly panned.

Working with NTSC and PAL DV Files
Set MCF’s Image Quality to maximum by clicking the tiny TV screen until it turns green.
You can preview a file in the Source Monitor.
Input using Link.
Send a clip to Timeline and this message may appear.
Select 25.00 fps or 29.97 fps.

Select SD. (NTSC @ 720x480 or PAL @ 720x576)
Click OK.
Select all clips in a Bin and issue the Clip > Source Settings… command.
Click Linked Plug-in tab.
DV uses Even (lower field first).
DV field Layout has two fields merged into one frame.

Click Color Encoding tab.
DV color space is CCIR 601 which is not offered by MCF.
DV cameras almost always use levels from binary 16 to binary 255 (full range).
Set as shown below:

• NTSC SD Raster Dimension: 720x486.
• NTSC DV image width is 8-pixels of black + 704-pixels of active image + 8-pixels of

black, adding up to 720.
• NTSC DV image height is 480-lines + lower 6-lines of black, adding to up 486-lines.
Click FrameFlex tab.
NTSC: Click button to the left of Image size to make Image size: 720x480.
NTSC: Image Aspect Ratio: 1.50:1.
NTSC: Set FrameFlex as shown for an NTSC DV clean aperture.
Click Apply to all.
Click OK.

• PAL SD Raster Dimension: 720x576.
• PAL DV image width is 8-pixels of black + 704-pixels of active image + 8-pixels of

black, adding up to 720.
• PAL DV image height is 576-lines.
Click FrameFlex tab.
PAL: Click button to the left of Image size to make Image size: 720x576.
PAL: Image Aspect Ratio: 1.25:1.
PAL: Set FrameFlex as shown for a PAL DV clean aperture.
Click Apply to all.
Click OK.

Right-click on either Composer monitor and select a 4:3 aspect-ratio.
You’ll likely want to resize your Workspaces (see Section II).

Working with Interlaced Files
All UHD (4K) formats are progressive, as is 720p (1280x720).
All SD formats, including DV, plus HD (1440x1080 or 1920x1080) are interlaced

formats. Interlaced video has the concept of dominant field, i.e., the first field to be
presented.
• SD Dominant Field = Lower = Even = Field 1

• SD Non-dominant = Upper = Odd = Field 2
• HD Dominant Field = Upper = Odd = Field 2

• HD Non-dominant = Lower Even = Field 1
DV25: Frame TC = “.18” at Field 1 (First field = Lower/Even) You’ll see no field number.
DV25: Frame TC = “:18” at Field 2 (Second field = Upper/Odd) You’ll see a field
number of 2.

Begin by creating a Timeline with four video tracks.
• V4 for progressive images such as titles and graphics

• V3 leave empty
• V2 for secondary video
• V1 for primary video
When all the clips you will use are in the Timeline:
Select only tracks V1 and V2.
Video Mixdown: Right-click in the Timeline and select > Mixdown > Video.

Specify the Target Bin.
Specify the Target Drive.
• For SD, select a Resolution of DV 50 MXF which will chroma upsample 4:1:1
(NTSC) or 4:2:0 (PAL) to generate a 4:2:2 file at 50Mbps.
• For HD, select DNxHD Target Video Resolution: DNxHD 220 MXF. (Or, the
highest bit-rate DNxHD available.) When source files contain 10-bit data, select
DNxHD 220 X MXF.
The rendered mixdown file will be placed in the Bin.
Drag the mixdown file to V3.
Set the Visibility Indicator at V4.
In the simplified example below, the mixdown was placed in V2 rather than V3.

Next, issue the File > Media Creation Settings… command.
• Select DNxHD Target Video Resolution: DNxHD 220 MXF. (Or, the highest bit-
missing.
• This data-rate will be used for the Motion Effect deinterlace step coming next.
Data-rate for HD
Select Target Drive for renders.
Click OK.

In the Project Window, click the magenta FX tab.
Select the Filters tab.
Drag the Timewarp >> Timewarp filter onto the mixdown track.
The Motion Effect Editor will appear.

Set Edit Graph to Speed.
Set Type: to Both Fields.
Anchor should be set to the beginning of the Timeline.
Set Source to Interlaced.
Check Adaptive Deinterlace Source for maximum image quality.
Set Output: to Progressive.
Select only track V3.
Click the Render button—red circle. [ Render Option ]
Choose Drive.

Click OK.
Close the Motion Effect Editor.
Before deinterlace: Frame TC = .18 for Field 1 and Field 2
Stepping by Fields, note the switch from a period (field 1) to a colon (field 2)
Stepping by Frames, note there are only periods (field 1)

After deinterlace: Frame TC = .18 for Field 1 and Field 2
Stepping by Fields, note there are only periods (field 1)
SD video can only be exported as H.264

Before exporting, set the Visibility Indicator to V4.
Select V3 and V4: 4:2:2 video from V3 plus 4:4:4 graphics in V4 will be used.
Select the desired audio track(s), e.g., A1.
During Export, pairs of fields in the Timeline will become a single frame

In this manner, 59.94i media becomes 29.97p media
720x496 raster compensates for NTSC DV’s non-square (0.91) pixels

Apply Widescreen Mask to Timeline
Select all clips in a Bin and issue the Clip > Source Settings… command.

Click Color Encoding tab
Set as shown below:
• HD cameras use “full range” levels from binary 16 to binary 255. Or, when the
camera records 10-bit data “full range” levels from binary 64 to binary 1023.
• HD employs the REC.709 color space.
• No Color transformations are used.

Click FrameFlex tab
Click button to the left of Image size to make Image size: 1920x1080.
Image Aspect Ratio: 16:9.
Set FrameFlex as shown for “Centered” mask.
• Slide mask to middle of image.

• Frame aspect ratio = 2.35:1
• Size = 100%

Click FrameFlex tab
Click button to the left of Image size to make Image size: 1920x1080.
Image Aspect Ratio: 16:9.
Set FrameFlex as shown for “Common Top” mask.
• Slide mask to top of image.

• Frame aspect ratio = 2.35:1
• Size = 100%
Click Apply to all.
Click OK.

Edit Smartphone Video
When you shoot with a smartphone such as an iPhone or Android that employ VFR,
Variable Frame Rate, recording these cameras typically do not record at an exact frame-
rate such as 29.97p or 59.94p.
The Source Browser displays VFR clips as shown below.
You can define the correct frame-rate as shown below.
Click OK.
Slip
Select those Record tracks that hold clips to be trimmed.
When playing from before the end of clip A to after the beginning of clip C, you may
see/hear that clip B—although it has the correct duration—does not begin or end
correctly within the context of the two clips it sits between. To fix this, slip clip B.
Right-to-left lasso over cut points at both ends of a clip B. The beginning of a lasso-
drag must start outside the Timeline tracks in the dark gray area.
The Trim Window opens and the Composer presents four displays.

You will see the end frame of Clip A on the left-most display. You will see the beginning
frame of Clip C on the right-most display.
The beginning frame of clip B is in the second display while the end frame of clip B is in
the third display. You can ripple trim the beginning of clip B earlier or later.
• Drag the beginning of clip B to the left to slip clip B earlier.
White roller on the right side of junction
• Or, you can click the Trim Left 1 frame button. { , }
• Drag the beginning of clip B to the right to slip clip B later.
White roller on the right side of junction
• Or, you can click the Trim Right 1 frame button. { . }
Clips A and C will not be altered in any way—nor will the duration of clip B. That’s
because Slip keeps the total duration of all three clips constant.

Slide
When playing from before the end of clip A to after the beginning of clip C, you may
see/hear that either the ending of clip A or the beginning of clip C is incorrect in relation
to clip B.
The solution is to slide clip B earlier or later within the group of three clips. Clip B will
not be altered in any way—nor will the total duration of clips A, B, and C because Slide
keeps the total duration of all three clips constant.
Hold down shift + {Alt} or {Option} key as you right-to-left lasso over cut points at
the end frame of a clip A and the beginning frame of clip C. The beginning of a lasso-
drag must start outside the Timeline tracks in the dark gray area.
The Trim Window opens, and the Composer presents four displays.

The beginning of clip B is in the second display while the end of clip B is in the third
display.
If you slide the end of clip A earlier, then clip A will become shorter because you will be
removing material (watch the left-most display) and clip C will automatically be trimmed
to start earlier.
Because clip C must follow the sliding movement of clip A, you can also watch the right-
most display.
• Drag the end of clip A to the left.
White roller on the left side of junction
• Or, you can click the Trim Left 1 frame button. { , }
If you slide the end of clip A later, then clip A will become longer because you will be
adding material at its end (watch the left-most display) and clip C will automatically be
trimmed to start later.
Because clip C must follow the sliding movement of clip A, you can also watch the right-
most display.
• Drag the end of clip A to the right.
White roller on the left side of junction
• Or, you can click the Trim Right 1 frame button. { . }

Appendix A: Rendering FX
Media Composer supports real-time-preview on Macs and PCs that meet Avid’s posted
requirements. Effects marked with a green dot should be able to be played without
rendering. However, with highly compressed (H.264) media or complex effects, frames
may be dropped during playback. You can see when frames are dropped:
• Yellow bars on the Timeline show where Media Composer had a slight difficulty during
playback. No frames were dropped.
• Blue bars on the Timeline show where Media Composer had playback difficulty
because of disk speed limitations. No frames were dropped.
• Red bars on the Timeline show where Media Composer dropped frames during
playback.
If you encounter dropped frames, you have two options. The first option doesn’t employ
a render.
• The Video Resolution Toggle button at the bottom of the Timeline normally is
Yellow and Green. (50% of the rows and 50% of the lines are employed.)
Medium-resolution Draft
Click it to Low-resolution (maximum performance) mode. (25% of the rows and 25%
of the lines are employed.)
Low-resolution Draft
High-resolution Draft
All rows and lines are employed.

The second option requires you to render effects. Issue the File > Media Creation…
command. Select DNxHD 175 MXF or DNxHD 220 MXF. When source files contain 10-
bit data select DNxHD 175 X MXF or DNxHD 220 X MXF.
• You can render each effect as you add it to the Timeline.
• Or, after an effect has been added to a Timeline, you can render it:
Deselect all other Record tracks by pressing the Toolbar_De/Dt button. { N }
Place the Position Indicator over the effect to be rendered.

Right-click in the Timeline and select Render At Position.
Delete Precomputes or Purge All Files

Renders are files created by Media Composer. Avid calls them Precomputes. When you
finish a project, you’ll want to delete them.
Issue the Tools > Media Tool command.
The Media Tool and Media Tool Display windows will open. The Media Tool Display
window provides control over which files you want to delete.
Use the Media Tool Display window to select the Drive and Project.
• If you render only to, for example, drive D: then only select it.
• To delete Precomputes from the Current Project, click Current Project.
• Select the name of the Project.

Select both Precompute Clips options. Or to purge all files, select all options.
Click OK to bring-up a list of precomputed clips in the Media Tool window.

Press Control+A or Command+A to select all the precompute files.
Press delete and the Media Tool Display window will auto-close.
The Delete Media window will auto-open.
In the Delete Media window select precomputed “V Delete # video files(s).”

Click the OK button and the Delete Media window will auto-close.
A confirmation dialog box will open.
Click the delete button.
The Media Tool window should now be empty.
Close the Media Tool.

Force Delete Media Files
Locate the Avid MediaFiles folder that MCF is using.

Select the files you want to remove and press delete.

Clear folders that accumulate files overtime
Delete the contents of: "\Users\Public\Public Documents\Avid Media Composer/AMA
Management"
Delete the contents of: "\Users\Public\Public Documents\Avid Media Composer\Avid

Attic"
Delete the contents of: "\Users\Public\ Public Documents\Avid Media Composer\Avid

FatalErrorReports"
Delete the contents of: "\Users\Public\Public Documents\Avid Media

Composer\Avid_MediaFiles"
Delete the contents of: "\Users\Public\Public Documents\Avid Media

Composer\AvidImageCache"
Delete the contents of: "\Users\Public\Public Documents\ Avid Media

Composer\AvidSourceBrowserCache"
Delete the contents of: "\Users\Public\Public Documents\Avid Media Composer First/AMA

Management"
Delete the contents of: "\Users\Public\Public Documents\Avid Media Composer First\Avid

Attic"
Delete the contents of: "\Users\Public\ Public Documents\Avid Media Composer

First\Avid FatalErrorReports"
Delete the contents of: "\Users\Public\Public Documents\Avid Media Composer

First\Avid_MediaFiles"
Delete the contents of: "\Users\Public\Public Documents\Avid Media Composer

First\AvidImageCache"
Delete the contents of: "\Users\Public\Public Documents\ Avid Media Composer

First\AvidSourceBrowserCache"

Appendix B: MyFFmpeg for Windows
myFFmpeg Application
Video Presets

Audio Presets
Use + to load files
Two .MTS files ready for conversion to ProRes 422

. MTS file being converted
Create a watch folder for exports

One DNxHD (44.1kHz) file being converted to ProRes 422 (48kHz)

Appendix C: Shuttle Trim Settings
Settings for Contour Shuttle Pro v2
Assumes keyboard settings in Section III have been made.
Use only when Trimming an assembly of clips in the Timeline.
For trimming clips in tracks: V1, A1, A2, and A3.
Only when using the Trim Tool:
• For Static trimming by -10, -1, +1, and +10 Frames.
• For Dynamic Trimming by nudging cut while playing around the cut-point.

Appendix D: Uncompressed Export
1. Select all Video Tracks.
Issue the Mixdown > Video… command.
Select one of the DNxUncompressed settings and click OK.

Click the AE button.
Set each PAN control on the Mixer as needed for all the audio tracks.
2. Select all Audio Tracks.
Issue the Mixdown > Audio… command.
Make settings and click OK.

Open the “Avid MediaFiles > MXF > 1” folder and look for three .mxf files that
have the latest creation times.
To convert these three .mxf files to a single high-quality compressed file.

Move these files to a DaVinci Resolve source folder.
In Resolve’s Media room, import these clips. There will be one video .mxf file and
two audio .mxf files.

Now enter the Edit room. Issue the File > New Timeline command.
Make these settings:
Create a Timeline with the three .mxf clips. The audio clip with the “.1” extension is
the Right Track and should be placed as the lower audio Track. The other audio clip
should be placed as the upper Left audio Track.
Click the DELIVER icon to enter the Deliver room and export the clips.
• You can use any supported codec.
• You can select any supported data-rate.
• You can export to any available drive.

In the upper-left Render Settings panel browse to a RESOLVE CLIP EXPORTS folder.
Enter a clip name and click Save.
Select Single clip.
Click the Video button and check Export Video.
Under Format, select QuickTime.
Select an DNxHD codec for HD.

Select an DNxHR codec for UHD.
Click the Audio button and check Export Audio.
Under Codec, select Linear PCM

Under Channels, select 2
Under Bit Depth, select 16
Click the (yellow) Add Job to Render Queue button.
Click the (red) Start Render button.
Jobs to be render are listed within the green box.
When the render has finished, issue the File > Save Project command.

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Introduction to

Avid Media Composer | First©

Steve Mullen Ph.D.

Be immediately productive using your Premiere,

Digital Video Consulting

Copyright 2019 by Steve Mullen 1

Section I provides my MCF tutorial.

Section II provides information to setup Media Composer’s Windows, Workspaces, and

Skip to Table of Contents

Copywrite 5/11/2019 5:54 PM

Copyright 2019 by Steve Mullen 2

• MCF supports XAVC-S and 10-bit DPX media.

For more information, read Appendix A.

Copyright 2019 by Steve Mullen 3

• MC1 Keyboard after modification for tutorial.

• Editing Action Pattern

Copyright 2019 by Steve Mullen 4

Section I: First—for Story Tellers ............................................................................ 11

Media Composer Setup ............................................................................................ 15

Input Your Media Files .............................................................................................. 18

Working with Bins..................................................................................................... 38

Copyright 2019 by Steve Mullen 5

Timeline Add/Remove Clips ..................................................................................... 58

Copyright 2019 by Steve Mullen 6

Move and Copy Clips ................................................................................................ 82

Timeline Trimming .................................................................................................... 88

Color Correction ..................................................................................................... 106

Copyright 2019 by Steve Mullen 7

Apply Video/Audio Transitions .............................................................................. 119

Quick Fades ............................................................................................................ 123

Edit Audio ................................................................................................................ 126

Add Title to Timeline ............................................................................................... 135

Publish To ............................................................................................................... 138

Copyright 2019 by Steve Mullen 8

Section III: Composer Settings .............................................................................. 149

More Media Composer | First ................................................................................. 157

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Appendix B: MyFFmpeg for Windows ................................................................... 227

Appendix C: Shuttle Trim Settings ........................................................................ 231

Appendix D: Uncompressed Export ...................................................................... 232

Comments, corrections, or suggestions please contact me at: dvcinlv@gmail.com

Copyright 2019 by Steve Mullen 10

When looking for help, remember Avid’s First

Download Media Composer | First from: www.avid.com/media-composer-first.

Right-click on Avid Link and select Sign Out.

Right-click on Avid Link and select Sign In.

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You can see the current version of each product.

Copyright 2019 by Steve Mullen

If necessary, Quit the Avid Background Services Manager application.

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Then click the Record Monitor’s Go to Start button.

To start playback, press the spacebar.

You can stop and start playback by pressing the spacebar.

Windows/MacOS Modifier Keys

• Right-click operations bring-up a list of commands. right-click, right-click,

Copyright 2019 by Steve Mullen

• You can create a new project and name it.

To quit First, issue the File > Exit command.

Then click the Leave button.

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Whether you create or open a project, you’ll see an arrangement of Composer

I positioned the Project Window (gray) into the upper-left corner.