Avid media composer icon Offline#
In any case, offline media results in a black hole visually or if audio media is offline, can cause issues for us in a few ways I’ve encountered. A Media Offline notice often stems from linked media drives not being present during the output, video files or effects or renders * not being accessible on a volume or server, or because the Avid database files are not refreshed and need to be rebuilt. If you’ve worked in this business a while, you’ve probably encountered ‘MEDIA OFFLINE’ in a video file before. Tip 2: Ask To Ensure All Audio Media Is Online
Avid media composer icon pro#
The track names do come across into Pro Tools so we have a basic reference once we import from Media Composer. Naming tracks helps the editor organize their materials from the onset and actually reduces/eliminates the need for this to happen later. No mono materials on stereo tracks please. So, mono materials on mono tracks, for instance. All I ever ask is that the materials on the tracks match the track widths. They can have any number of tracks in their sequence and they can be mono, stereo or multichannel up to 7.1 surround if they want. *That last DNU track name is to accommodate unlicenced materials that must be replaced later but can be used as reference when audio editing. I always suggest naming tracks like this: VO DIA or Dx MUSIC SFX SYNC BG or BROLL DNU or REPLACE* The next logical step is to talk about track layout. wav as our audio media resolution and format. On bigger projects, it’s often the case that production arranges a meeting with the post production staff prior to commencement of our work, which can save an awful lot of money and time if the right questions and answers are brought to the table. If the editor names tracks in an agreed upon format, this can be a huge timesaver later on when importing sequences into Pro Tools. V2 etc for video) brings up a little menu where the editor can select ‘Rename Track’ and then a pop-up opens up to allow for naming. In Media Composer, a right-click in the sequence on the track name (usually defaulted to A1, A2, for audio and V1. Organization is ‘putting things in their proper place’. These ‘sequences’ can be exported in AAF/OMF format to Pro Tools to form the basis of our audio edit. Sequence: This is analogous to a Pro Tools session’s edit window timeline (pictured above). This is the wrapper in which all related data for a specific production is held together. ‘Projects’ doesn’t have a counterpart in Pro Tools. Project: In Media Composer, a project can contain multiple sequences and bins with all the accompanying files. Here’s a short list of relevant Media Composer structural terms and, if there is one, their Pro Tools counterparts: There are some terms we need to reference in order to speak the same language as our Media Composer counterparts. Before We Begin: The Language Barrier Has To Come Down These 4 tips form the basis for my interactions with our picture editing counterparts and keep my projects rolling smoothly.
This time, armed with a copy of Avid’s Media Composer supplied to me by Avid, I can provide insight to aid in the critical interactions between audio and video operations.
Avid media composer icon how to#
Though I often refer editors and mixers to our article How To Export A Pro Tools Friendly AAF From Avid Media Composer the aim of this article is a bit different. Since 2006, I’ve imported and exported media between Avid’s Pro Tools and Media Composer systems hundreds of times, to the point where while I’m working with picture editors and their assistants, I’m able to effectively stave off issues before we start post production on any given project.
The workflow now included Media Composer, Interplay, ISIS and of course, Pro Tools. Since I had received training for the Olympics, I helped co-author the CBC’s ‘Best Practices Manual’ for the new Media Composer-centric workflow. Not long after I returned to my regular job, the post production department I worked in dumped our reference video tape machines (Digital Betacam and Betacam SX) and went with a fully nonlinear workflow. I am not a video editor but being entrenched in a unit largely populated by picture editors for a month, I received a unique level of insight into how picture editors work.
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