–

  
I (and many other editors) asked Avid for it, and we got it. Here's a couple of additions in version 3.5 that will save you some time and aggravation. Both of these additions affect the level of audio, but they do it at different times. Method One allows you to adjust the level after importing, while Method Two makes the level adjustment during the import.

 
METHOD ONE: Attenuation/Gain Adjustment After Import
 

When audio is imported off of CD, it comes into Avid very loud (about 14dB too loud!). In the past, this meant that each individual song or sound effects clip had to be loaded into the Source Window individually. Then you'd have to use your Audio Mix Tool to set the level to something that wouldn't blast you later when you went to actually use it. Now, this was not that big of a deal when you had only one or two clips to deal with. The frustration came when you had many songs or sound effects to contend with. Here's method number one to easily deal with this after you've already imported the clips:

1. Import all your sound effects or music off of CD into a bin.
2. Select all of the clips in the bin which you want to affect.
   * A fast way to select all clips in a bin is to type Command (Mac) or Control (PC) plus the letter "A."
3. From the CLIP MENU, select APPLY GAIN as in the picture below:
     
     
     
     
     
     
     
     
     
     
     
     
     
    
4. A dialog window will open as pictured below:
    
     
     
     
5. To lower the level, just type in a negative value such as –14.
6. The adjustment is not permanent. It is not affecting the actual media file. At any time in the Source window or in the Timeline/Sequence the level can be lowered further or returned to the level at which it was imported by using the Audio Mix Tool or applying audio keyframes.
    

METHOD TWO: Attenuation/Gain Adjustment During Import
 

Like the method above, this also affects the level of your audio (though only audio which is imported). The example I'll use here, as I did above, will again be music or sound effects imported off of CD. Usually, audio imported off of CD comes in about 14dB or so too loud {NOTE: This is only a rough example value. Do a test import with one clip to determine your specific needs before importing many clips simultaneously}. This method allows you to set a level adjustment that will be applied during the import.

1. In your Project Window, click the Settings tab.
2. In your Settings, open the IMPORT SETTINGS
3. In the Import Settings, reveal the AUDIO TAB as pictured below:

   

     
    
    
    
    
    
    
    
    
    
    
     
     
     
    
    
    

4. Enable (check) the box for "Apply attenuation / gain effect on import."
5. Enter a negative value (e.g. –14) or a positive value (e.g. +3), depending on your needs.
6. If you only want this setting to affect audio imported off of CD, then enable (check) the "CD Only" box.
7. Click the OK button.
8. Now, any time you import audio this adjustment will be applied.
   
9. The adjustment is not permanent. It is not affecting the actual media file. At any time in the Source window or in the Timeline/Sequence the level can be lowered further or returned to the level at which it was imported by using the Audio Mix Tool or applying audio keyframes.

   
In version 3.5 Avid has added the ability to keyframe Color Correction. All you have to do is enter Color Correction mode and then open the Effect Editor (Tools menu > Effect Editor). See below for additional details.
 

 
The following text comes directly from the Avid Help:

 
Keyframe markers display in the position bar below the Current monitor in Color Correction mode. In general, these keyframe markers behave similarly to those you see in the position bar below the Effect Preview monitor when in Effect mode. For example, you can:

• Click keyframe markers to select them
• Delete selected keyframes
• Alt-drag (Windows) or Option+drag (Macintosh) keyframe markers to move them

You cannot add keyframes manually in the Color Correction monitor (as you can in the Effect Preview monitor using the Add Keyframe button). However, you can add keyframes automatically once you have added an initial keyframe in the Effect Editor.
 
NOTE: Complex color corrections with many parameter adjustments might result in many keyframe markers in the Color Correction monitor that are hard to distinguish. In many cases when your color corrections are complex, it is easier to identify and manipulate the keyframe markers in the Effect Editor.
 
To automatically add keyframes to color corrections in the Color Correction monitor:

1. Add a keyframe in the Effect Editor using normal advanced keyframe techniques.
   For example, if you want to adjust the Hue control in HSL > Controls, or have already made a first adjustment to that parameter, you need to add a keyframe to that parameter in the Effect Editor.
    
   Consider adding a starting keyframe to more than one parameter, for example, to all of the parameters in the group you want to adjust. If you do this, you have a starting point for further adjustments to any parameter. You can use the Remove Redundant Keyframes command when you have completed your adjustments to remove any keyframes that have no effect on the finished appearance.
    
2. If necessary, adjust the appropriate color correction parameter in either the Effect Editor or the Color Correction tool to set the parameter value for the keyframe you created in step 1.
    
3. In the Effect Editor or in the position bar below the Current Color Correction monitor, Ctrl-click (Windows) or Command+click (Macintosh) the keyframe added in step 1 to deselect it.
    
4. In the position bar below the Current Color Correction monitor, move the position indicator to the location where you want to set a new keyframe.
    
5. Make an adjustment to the appropriate parameter in the Color Correction tool.
    
   A new keyframe appear below the Current Color Correction monitor at the location of the position indicator. If you scrub in the monitor, you see how the animated color correction changes the image over time and how the parameter control moves over time in the Color Correction tool.
    
6. Repeat steps 3 through 5 to create additional keyframes as necessary. Depending on where you added keyframes in step 1, you might also need to return to the Effect Editor to add a first keyframe for any parameter you want to adjust that does not yet have any keyframes.
    
7. (Option) When you have completed all your adjustments, use the Remove Redundant Keyframes command in the Effect Editor to remove any keyframes that have no effect on the finished appearance.

Want a certain object in the frame to be in color, with the background black and white? GeniusDV offers one method to achieve this effect (link opens in a new window). Just to keep you thinking: If your frame is static, and you don't mind doing a little work outside of Media Composer or XPress Pro, you could also create a real-time matte using Photoshop. Another method is to use Avid Media Composer's / Symphony's AniMatte effect. The benefits of AniMatte are that you can create the matte right within Avid, and that the shape and position of the matte can be animated.
 

  
In Avid Media Composer version 3.5:
 

If all of your effects are promoted to Advanced Keyframes, each effect in a nest can be accessed at the same time from within the Effect Editor.
 

Effects that are not promoted to Advanced Keyframes will still be visible in the Effect Editor, but they will not be adjustable unless:
1. Selected independently, as in previous versions, or
2. Promoted to Advanced Keyframes

Searching for a shot in your sequence? Trying to find all the freeze frames, motion effects or offline items? Need to know if a clip in a sequence is offline? Here's some ways to deal with these tasks.

 
FINDING SHOTS:
A) with your timeline window active, type "COMMAND+F" (which is the "Find" command from the Edit menu)
B) A dialogue box will appear. Type in a portion of the clip name.
C) Hit Enter. Media Composer will now find the first match to the right of where your blue line was just parked (so you may want to begin your search from the very beginning of the sequence).
D) To find the next instance, just press "COMMAND+G" ("Find Again" from the Edit menu). Press it again and again if you like. The blue line will cycle through your sequence from beginning to end, jumping to each instance.
** WARNING: if you have an effect on a segment, this handy-dandy deal may not work.

 
FINDING MOTION EFFECTS:
The key here is to never remove the little designation that Media Composer gives motion effect clips. Freeze frames always get "FF" and slo-mo and fast-mo always get "FPS." Now, just use the method described above to search for "FF" or "FPS."
** WARNING: if you have an effect on a segment, this may not work.

 
FINDING SHOTS FROM SPECIFIC TAPES:
A) From the Fast Menu (hamburger) in your Timeline, select "Clip Text"; and from the submenu that appears, select "SOURCE NAME" or "TAPE NAME" (whichever appears).
B) Press "COMMAND+F."
C) In the dialogue box that appears, click the check-box for "Timeline Text."
D) Type in the tape name (or a portion of the tape name). Now you can quickly search the entire sequence using the method described above under the heading "FINDING SHOTS."

FINDING OFFLINE SEGMENTS:
– Two methods are described below.

 
For those using recent versions of Avid (this does not use the Find function):
A) Select the Timeline to make that window active.
B) Go to the Timeline Fast menu – the menu in the bottom left of the timeline that looks like this:
C) Choose Clip Color, and then choose Offline from the submenu. Offline clips (both audio and/or video) are displayed as red in the Timeline.

 
Another method to find offline clips that uses the "Find" function (for anyone on an old version of Avid):
Use the steps as described above under "Finding Shots," and add the following:
A) From the Fast Menu (hamburger) in your Timeline, select "Clip Text"; and from the submenu that appears, select "Media File Names" (segments with any media not available will read "Media Offline").
B) Press "COMMAND+F."
C) In the dialogue box that appears, click the check-box for "Timeline Text."
D) Type in "Offline" or "Media." Now you can quickly search the entire sequence using the method described above under the heading "FINDING SHOTS."

     
   OLD           NEW
 

 
NOTE:  These keyboard snapshots are pretty old. Many of them go back to 2000. Even though new features and functions have been added to Avid Media Composer software since these snapshots were taken, hopefully they will inspire you to create a customized keyboard layout that will help you with your work.

 
A lot can be gained by seeing how other editors work. I hope that these examples will get you thinking and inspire you to experiment and find ways of mapping your keyboard in a way that will make your working hours easier and more productive. Thanks to everyone that has helped this section grow.

 
If you would like to share your keyboard, simply take a screen snapshot and e-mail it to me at Ben [at] ContactBen [dot] com. If you'd like, include what type of work you do along with a brief description detailing why you like your setup and how it makes your work better, faster and/or easier.

 
The Keyboards:

 
Benjamin's Avid Keyboard
Here's an old keyboard mapping of mine from about 2000. While I have made changes since then, much of this mapping is what I still use today. I've also included a key so you'll know what the menu items are that I've mapped to the keyboard:
AC = Add Comment
AM = Audio Mix Tool
BD = Batch Digitize
CM = Clear Monitor or Clear Menu
CS = Custom Sift
DC = Digital Cut Tool
Di = Digitize Tool (a.k.a Record Tool)
Ha = Hardware Tool
Lo = Locator Window
LD = Less Detail
LT = Lock
MD = More Detail
PL = Play Length Toggle
Re = Render at Position and Render In / Out
Ro = Render on the Fly
SP = Sync Point Editing
SU = Show Unsifted
T = Title Tool
UT = Unlock
VO = Video Output Tool
W1, W2, W4 = Workspaces 1, 2 and 4
 

Benjamin's Top Level

 

Benjamin's Shift Level

Dean's Top Level (his Shift Level is a well kept government secret):

Fiona's Top Level

 

Fiona's Shift Level

Joe's Top Level

 
Joe's Shift Level

Larry's Top Level (he doesn't use the Shift Level):

Scott C.'s Top Level
Scott is from Winnipeg, MB Canada. He edits national commercials and corporate videos.

Mike S.'s Top Level
Mike edits for a television station in North Carolina.

Michael M.'s Top Level
This mapping is from when Michael was using Xpress Pro

 
Michael M.'s Shift Level

Ivar's Top Level
Ivar is an Avid editor in the Netherlands and has this to say:
"I work mostly for TV. I normaly work on an Avid Adrenaline. These keyboard settings have grown over the years (I've edited on Avid since 1992, when I worked on one of the first 3 avids here in Holland). Everytime I run into a repetative action I try to put it on the keyboard."

 
Ivar's Shift Level

Share your Avid Keyboard
If you would like to share your current keyboard, simply take a screen snapshot and e-mail it to me at Ben [at] ContactBen [dot] com. If you'd like, include a brief description detailing why you like your setup and how it makes your work better, faster and/or easier for the type of work you do.

Lassoing is a very fast method of selecting segments in both Source-Record Mode as well as Effects Mode. It is also a great way of entering Trim Mode. Beginning while in Source-Record Mode, here’s how:
  
Lassoing Method One:
Click OUTSIDE the Timeline (in the Timeline Window,but not within the Timeline itself) and continue to hold down the mouse button. It is generally easiest to start above the timeline, but it works starting from either above or below the timeline.

 
Lassoing Method Two (Lassoing Inside The Timeline):
Now the question arises: What if you want to lasso a segment/s or a transition/s that is/are in the middle of all the tracks in the timeline. In these cases, hold down the CONTROL key (Mac) or the ALT key (Windows). When you do this, notice that a small, black box appears at the tip of your cursor. Now, while continuing to press down the Control key or Alt key, you can lasso right in the middle of your timeline!

 
Lassoing Uses
If you lasso around ONLY A TRANSITION (the black line between two segments), and then release the mouse button, you will automatically enter Trim Mode (fast eh!). And you can lasso multiple transitions across both video and audio tracks.
 
If you lasso over one or more ENTIRE SEGMENTS while moving your mouse FROM LEFT TO RIGHT, you will go into Segment Mode. Specifically, you will enter the type of Segment Mode you used last.
 
If you lasso over ONE SEGMENT in the direction of RIGHT TO LEFT, you will be put into SLIP MODE. If you hold down the OPTION or ALT key while lassoing over one segment from RIGHT TO LEFT, you will be put into SLIDE MODE. Note: you may also Slide multiple segments.
  

 
When the Capture Tool is active and you are capturing or logging clips, Avid takes over your F-Keys. Whatever you have personally mapped there will be replaced by the functions in the list below. While many are aware that when in Capture Mode F4 will begin the capture process, many are not aware that when you are in Logging Mode, F4 will also send a logged clip to the selected bin.
  

F1 – Mark In for Making a Sub Clip while capturing
F2 – Mark Out for Making a Sub Clip while capturing
F3 – Add Red Locator
F4 – Begin Capture when in Capture Mode; Log Clip to bin when in Log Mode.
F5 – Add Red Locator
F6 – Add Green Locator
F7 – Add Blue Locator
F8 – Add Cyan Locator
F9 – Add Magenta Locator
F10 – Add Yellow Locator
F11 – Add Black Locator
F12 – Add White Locator

  
Further, you can map this functionality to any key on your keyboard. Here's where to get that function:
Tools Menu > Command Pallette > Play tab > Record function (see picture below).
NOTE: Don't forget to enable "Button to Button reassignment" to allow you to drag and drop that onto a key.
  

  

Did you ever want to find a Media File in the Media Files folder (to save or to move it)? This used to be a real pain in the butt (remember that the media file names by default are those crazy long strings of characters), but now there is a feature called REVEAL FILE. Here's how it works:
 
A - Select the MASTER CLIP for which you want to see the media file (NOTE: this works ONLY one clip at a time)
B - Go to the FILE MENU
C - Select REVEAL FILE
D - After a moment the Media Files folder will open and the media files will be highlighted and ready for you to move or copy.

  
It's time to capture some footage and you're wondering, "How much space do I have on my drive? How much material, in terms of minutes, can I put there?"

 
Here's an easy method to determine how much space is available on a particular drive or partition, in terms of time:

 
1. Open the Capture Tool: TOOLS > CAPTURE

 
2. Using the Track Selectors (see picture below), set the tracks you want to capture from your source.

 
3. From the Resolution Selection Menu (see picture below), set the resolution at which you want to capture your video.

 
4. Based on these two factors (tracks and resolution), the Avid application will estimate how much space is available on your drive or partition. This estimate is shown in the Time Remaining Display. In the example pictured below, with the tracks set to capture video and two tracks of audio (A1 and A2) and the resolution set to 2:1, the drive labeled "Media" has an estimated amount of time available of 64 hours, 18 minutes, 11 seconds, and 0 frames.
 

 
Using the MODIFY command to save your sanity, plus unveiling the UNLINK command.
 
SCENARIO 1:
You just spent 45 minutes LOGGING a tape (there are no Flex Files or Media Logs, you have done all the work yourself!) and you have a billion nice new Master Clips in your bin screaming to be batch digitized. Now you sit back, sip your coffee, admire your work and you notice: THE DIGITIZE TOOL HAS THE WRONG TRACKS SELECTED (maybe you left on too many tracks of audio, or forgot to turn on the Video , etc.). Ahhhhhh! Do you have to re-log? Naw. Would Avid do that to you? It's an easy fix.

 
1 - First, select the Master Clip(s) you want to fix.
2 - Next, go to the CLIP MENU and select MODIFY.
* As you peek through the menu of things you can modify, there are a couple that are useful in these situations:
A - SET TIMECODE DROP/NON-DROP. Good if you yourself logged the clips incorrectly (just logging from notes as opposed to a tape) or you got the clips logged this way from someone who used MEDIA LOG. You will know you have a problem because you are getting a MIS-MATCH error when trying to batch digitize. Just select this option, choose the correct timecode flavor and all will be well with the world. (NOTE: you can set your default timecode flavor for logging by going to the DECK SETTINGS and choosing the desired flavor from the "When no tape in deck log as:" pop-up-menu).
B - SET SOURCE. This allows you to change the TAPE that the clip references.
C - SET TRACKS. (Finally, here's the solution to our dilemma described above):
Select this option and select the tracks you WANT to be digitized. Selected tracks appear with a double line around them. Hit "OK" and you are back in business.

  
SCENARIO 2:
You just spent two hours LOGGING and BATCH DIGITIZING a tape (there are no Flex Files or Media Logs) and you have a zillion beautiful new Master Clips in your bin dying to be edited with. Now you sit back, sip your coffee, admire your work, and you notice that YOU DIGITIZED THE WRONG TRACKS (oh, maybe 50 minutes worth of avr 75 video when all you really need is just the audio; or maybe you digitized four tracks of audio instead of just one . . .you get the idea). Ahhhh! What now?

 
A - Open the MEDIA TOOL.
B - In your bin, select the Master Clip(s) that are problematic.
C - Using the "Fast Menu" ("Hamburger") that is attached to the bottom left part of your BIN, choose SELECT MEDIA RELATIVES. The corresponding Master Clips in the Media Tool will become highlighted.
D - Click on the TOP BAR of the Media Tool window to make that window active (and this will leave those clips highlighted).
E - Hit the DELETE KEY on your keyboard.
F - A dialogue box will appear. You can now select the tracks you want to delete.
** REMEMBER: Any box that that has an "X" in it means that track WILL BE DELETED.
G - Delete the tracks . . . bye, bye you troublesome tracks!

 
Ok, all is well and good; but you still have clips that say that they have some extra tracks (even though the MEDIA has been trashed, the MASTER CLIPS say that they have audio tracks (or video tracks, or whatever your dilemma). This can be confusing or frustrating to edit with. So, what we will do now is to Modify them. HOWEVER, if you select the clips and choose Modify now, you will get a long-winded dialogue box that tells you that you can't modify them unless they are "Undigitized." This may lead you to think that you need to delete ALL the media. This is NOT the case. Even if you deleted all the media and then tried to modify the clips you would still get the same message.

 
So what's the deal? Basically, Media Composer is protecting you from yourself, as there are times (especially with very large projects) that you unmount some drives to help increase system response (and that media would appear offline). Essentially, the clip knows that at some point in its life it was digitized, and doesn't want you to muck things up. So, what do you have to do? You have to convince Media Composer that the clip(s) have never been digitized (basically that no LINKS had ever been established between the master clip and media files). So, here's the trick.

 
A - After performing steps A through G above, do this:
B - Select the Master Clips you want to modify.
C - Hold down the SHIFT AND CONTROL KEYS.
D - Go to the CLIP MENU.
E - You will notice that the selection that once said Relink, now says UNLINK. Select it.
F - All these clips will now be offline. You have intentionally broken the link between the Master Clip and the Media Files. As far as Media Composer knows, it was never digitized. Woo-Hoo!
G - Now, MODIFY the clips to INCLUDE ONLY THE TRACKS YOU STILL HAVE MEDIA FOR.
H - With the clips still selected, go back to the CLIP MENU and choose RELINK.
I - Bing, bang, boom . . . there ya go.

 
In the previous example we were deleting tracks. This process also works if you have to modify previously digitized clips to include tracks you forgot to log. Then you can go back and digitize the tracks you need, or as Media Composer puts it, "tracks that are unavailable." This is a great time and work-saver if you logged all the clips by hand.

It can be frustrating when you press Play and you have to wait what seems like forever before the sequence will actually play. This may occur when you're on an older system, have a long sequence at a high resolution, or have many complex effects (or any combination of those situations). Here's several ways to get the pep back in your system:

 
The quickest way to get better system response (especially once you have strung the whole show together or when you have an effects-intensive sequence) is to enable PLAYLENGTH. The PLAYLENGTH TOGGLE button (found in the Command Palette under the PLAY tab) can be mapped to your keyboard or interface. Here's how and why it works: Normally, when you press play, the ENTIRE sequence is loaded into RAM. When you have a long sequence, or one with lots of layers/effects, that's a lot of information to load in. That's why the system chugs along before beginning to play. But, when you use PLAYLENGTH TOGGLE, by default, it loads up 30 seconds of information before the blue position indicator and 30 seconds after*. This totals one minute (yes, I KNOW you know that! But, you will see in a moment why I point that out). With less information to load in, the system responds faster. The downside is that after 30 seconds (in this case) it will stop playing, and you must press pause or stop, and then press play to get it on it's way again. Also, be aware of Playlength being enabled during an OUTPUT as it will stop during playback. HOWEVER, if you have opened the DIGITAL CUT TOOL to make your output you have nothing to worry about, as this tool automatically ensures that the entire sequence is loaded into RAM before making the output.

 
You can also change the amount of time loaded into RAM by using the CONSOLE**. In the the console, type the following (then press RETURN -- Enter does not work) and you will get the results in the chart below (<space> means just press one space with the spacebar):

 
playlength<space>0 = this is like turning Playlength off. It loads the entire sequence into RAM.
playlength<space>1 = same as using the Playlength Toggle, it loads a total of 1 minute into RAM.
playlength<space>2 = loads 2 minutes into RAM (1 min. before the blue line and 1 min. after).
playlength<space>3 = loads 3 minutes into RAM.

 
These commands are good to know if you ever cut on v6.x or earlier, because there is no playlength toggle button. You HAVE to use the console. The cool thing is that if you type in your own duration into the Console, the playlength toggle button will then toggle between YOUR setting and loading up the entire sequence (though quitting Media Composer resets the defaults).

 
You can see the playlength being toggled on and off if you leave the Console open (though it does not have to be open to work) The next question is: If I don't have my Console open, then how do I know if Playlength is enabled of not? While it is sometime difficult to tell (in earlier versions of the software), it IS possible. If you pay CLOSE attention to the PLAY BUTTON under the RECORD monitor, you will see that when Playlength is enabled, the Play button is SLIGHTLY gray (as opposed to black). Press the Playlength Toggle button on and off a few times to see the change in the Play button. In version 10.x and higher, the Play button will turn white when Playlength Toggle is enabled.

 
Here are some other ways to keep your system frisky:
- Limit items in a bin to a total of 75 (master clips, subclips, effects clips, etc.) .
- Close unused bins.
- Limit the total running time of sequences in a bin to 2 hours. You may even want to create a "working" bin to store ONLY the segment of the show you are currently working on and close the main "cuts" bin.
- Delete unused precomputes.
- Take any unneeded partitions and/or drives offline. This is because the Media Composer software tracks or "looks at" all media on all drives, whether it is needed immediately or not, or even if it is part of the current project or not.

 
* In v8.x and later: Playlength Toggle loads 1 minute before and after the blue line by default.
* SAFETY NOTE: be careful what you type into the Console. It is a direct line to the Media Composer software code and Avid will not support problems caused by typing nonsense into the Console.

  
Some useful information about Apple's QuickTime format from:

• Justin Kwan » (opens in a new window)
• ProVideo Coalition » (opens in a new window)
• Share links, personal knowledge, etc. on this topic »
 

   
TAKE A SCREEN SNAPSHOT / SCREEN GRAB OF YOUR WHOLE SCREEN
If you have two computer monitors, then this will take a picture of both screens.
NOTE:  The keyboard combination below may not work, depending on your version of Operating System. If it doesn't work, simply substitute the technique which is described following it and manually selecting the entire screen(s).

Press these three keys together:
- SHIFT
- Command Key (Apple key)
- 3

 
Result:
A picture will be taken and will be placed on your Desktop. It will be named Pitcure 1, Picture 2, etc.

 
TAKE A SCREEN SNAPSHOT / SCREEN GRAB OF A SELECTED PORTION OF A SCREEN
 
Step 1:
Press these three keys together:
- SHIFT
- Command Key (Apple key)
- 4

  
Step 2:
You will then get a little cross which allows you to lasso a specific area of your screen. Hold down the mouse button and then draw a box (lasso) around the desired area of the screen.

  
Step 3:
Release the mouse button to take the picture.

  
Result:
The picture will be placed on your Desktop and will be named Pitcure 1, Picture 2, etc.

 
SCREEN SNAPSHOT / SCREEN GRAB TRICK FOR PHOTOSHOP USERS
 
Press these four keys together:
- Control
- Command
- Shift
- 3 (to take a picture of entire screens) or 4 (to take a picture of a selected area of a screen)

  
Result:
Instead of putting the file on your desktop it saves the picture in your computer's memory. Then you can paste it into another program such as Photoshop.

 
SCREEN SNAPSHOTS / SCREEN GRABS FOR AVID USERS
 
Depending on your version of Mac OS, taking a picture of the Top level of your keyboard may be trickier than taking one of the Shift Level since you have to press the Shift key to take the picture.
 
- Place your cursor on the Title Bar (top portion) of your keyboard
- Hold down the mouse button (this is the crucial step)
- Press SHIFT + Command Key (Apple key) + 3 or 4 as mentioned above
It's a two handed job . . . or maybe you could hold the mouse button down with your foot!!

 
SNAPZ PRO
Another method is to get a great little application called Snapz Pro X. It does a great deal more than just take screen snap shots too. Check it out »

 
Selecting multiple segments:

 
Method 1:
Hold down the SHIFT key. While Shift is held down, you can click on and select, or deselect, both audio and video segments anywhere in the timeline.

 
Method 2:
Lasso them. Click and hold down the mouse button OUTSIDE the timeline (in the Timeline Window). It is generally easiest to start above the timeline, but it works starting from either above or below the Timeline. Now drag the lasso across the segments you want to select, making sure to move from LEFT TO RIGHT (lassoing from right to left will place you into Slipping). Once you release the mouse button, the segment(s) will be selected. Specifically, you will be in the type of "Segment Mode" that was last used/enabled.

 
Nudging segments in the timeline:
  
1 – Select one or more segments in the Timeline using the red "Overwrite-Lift" mode of Segment Mode. If you select more than one segment, be aware that all the segments must be touching. If there is Filler between segments, be sure to select it too.
  
2 – Now you can nudge segments earlier or later in the Timeline by using the Trim Keys on your keyboard (by default on the keys "M", comma, period, and "/"). This is great for a variety of things, including nudging sound effects around.
 

When preparing for an online session or an upres, there is the need to determine what tapes are required. One method for this is to use the EDL Manager (Output menu > EDL), and then printing out a "Source" list. Nothing wrong with this, though it can be time consuming with long and/or complex sequences – not to mention the all too frequent crashes that occur when creating an EDL. Well, here is another way that is FAST and will NEVER CRASH:

 
1 - Put the final sequence into a bin all by itself. If your long format show is still broken into "acts" or "show segments," be sure they are all in that same bin.

 
2 - At the bottom of that bin, click on the "Bin Fast Menu" button

 
3 - From the Bin Menu, select "SET BIN DISPLAY."

 
4 - From the dialogue box, select only the SOURCES check box, and the SHOW REFERENCE CLIPS check box, as pictured below:

5 - Click "OK."
6 - Now your bin will be filled with all the sources for your project (including PICT files, Titles, etc.).
7 - Use the SORT function (also found in the Bin Menu) to organize this data.
8 - PRINT it out and you are on your way.
9 - After printing, simply go back to the Set Bin Display menu and set the display
     back to it's original configuration.

 
* NOTE: The "Set Bin Display" menu is useful for a variety of things. Check out your Avid Documentation or Avid Help for more information on "Reference Clips."

1 – The SuperBin is not a bin
2 – The SuperBin can be enabled or disabled
3 – Opening Closed Bins into the SuperBin
4 – How to reveal bins that reside in the Superbin
5 – Closing bins without closing the entire SuperBin, and all the bins within it
6 – Getting a bin out of the SuperBin
7 – Putting an already open bin into the SuperBin
8 – How to delete a bin when the SuperBin feature is enabled
9 – The "Open Says Me" feature

1 – The first secret I have to reveal is that the SuperBin is not really a bin.
Rather, the SuperBin is really a place to store bins, so they don't clutter up your screen.
My analogy is that the SuperBin is a corral, pen or enclosure that keeps the animals (the bins) from running all over the place.

2 – The SuperBin can be enabled or disabled.
A) Go to your Project Window.
B) Click the Settings tab as shown below to reveal the settings.

C) Double-click on the Bin settings to open the window shown below.

D) If the SuperBin feature is not already enabled, click the selection box so that a check appears as in the picture above.

 
E) Click the OK Button. The SuperBin feature is now enabled.

3 – Opening Closed Bins into the SuperBin.
 
A) Click just once (single-click) on a bin icon to open that bin into the SuperBin.

B) Repeat this process with as many bins as you like. The bins will now reside in the SuperBin. You can locate the SuperBin because it has two features that are different from other windows. First, it has the green SuperBin icon in the top left corner, and second, preceding the name of the currently visible bin is the header label "SuperBin" as shown in the picture below.

4 – How to reveal bins that reside in the Superbin.
There are two ways to reveal a bin that's placed inside the SuperBin.

 
A) The first method uses the Project Window. Click one time (single-click) on one of the bin icons for a bin that you have already placed in the SuperBin. Bins that are open appear "greyed-out" rather than green, as in the picture below. Once selected, that bin will be revealed in the SuperBin.

B) The second method uses the SuperBin Menu.
Click and hold your mouse button down on the green SuperBin icon (see picture below).

 
This will open the SuperBin Menu, where all bins that currently reside in the SuperBin will be listed (see picture below). Simply select a bin from the list and it will be revealed. Note that if you have only one bin in the SuperBin, no menu will appear.

5 – Closing bins without closing the entire SuperBin, and thus closing all the bins that are within it.
If you close the SuperBin, then all the bins that reside within it are also closed.
To close just one of the bins that resides in your Superbin:

 
A) In your Project Window, click two times (double-click) on the greyed-out bin icon of the bin you'd like to close (see picture below).

  
B) After double-clicking on the greyed-out bin icon, the bin should have removed itself from the SuperBin. You may now close it and the SuperBin will not be affected.

6 – Getting a bin out of the SuperBin.
In your Project Window, click two times (double-click) on the greyed-out bin icon of the bin you'd like to remove from the SuperBin (see picture below).

After double-clicking on the greyed-out bin icon, the bin should have removed itself from the SuperBin.

7 – Putting an already open bin into the SuperBin.
Double-click on the greyed-out bin icon in your project window and it will be placed into the SuperBin.

8 – How to delete a bin when the SuperBin feature is enabled.
With the SuperBin feature enabled, when you single-click on a bin it opens into the SuperBin and the application will not allow you to delete it because it's open. There are two methods to get around this.

 
A) Method one is to Right-click on the bin icon of a bin that is not open. If you're on a Macintosh and you don't have a Right-Click button, you can hold down the Shift and Control keys together and click on the bin icon of a bin that is not open to select it.

 
This will reveal a menu as pictured below.

Now, simply choose Delete Selected Bins and it will be placed into the Trash.

B) Method two is to hold down the Command key (Mac), the Control key (PC), or the Shift key (Mac & PC) and then select the bin icon of a bin that is not open, as pictured below. You may also use this method to select multiple bins.

 
Now, simply press the Delete key and the bin(s) will be placed into the Trash.   
   

9 – The "Open Says Me" feature.
When you have the SuperBin enabled you get an additional useful feature. You may now drag clips and sequences from an open bin, over to the Project window, and then drop them on a closed-bin icon. The bin will automatically open and you can release the mouse button to drop it in inside. After dropping the item into the bin, the bin will remain open.
  
  

  
Overview:

Wouldn't it be great to be able to push one button on your keyboard and instantly have your work environment reconfigured the way you like it for a specific task like capturing, sound mixing, color correction, effects work, etc? Specifically, let's say you want to do some sound mixing for a while. Just press a key of your choosing and the windows on the screen rearrange to the layout you prefer and all the tools that you like for that task appear on the screen precisely where you like them.

 
And wouldn't it be great if at the exact same time that you selected a Toolset that other settings also became activated? For example, if you activated the Audio Mixing Toolset, wouldn't it also be great if at the same time your preferred Timeline View for audio mixing also became activated? Or what if you selected your Capture Toolset and not only had the windows and tools rearrange/appear the way you like, but also had your customized keyboard layout for capturing also become activated? Yep, that'd be pretty great.

 
So much for the pitch. Let's do it!

 
Scroll down for step by step instructions, or jump to a topic with the links below:

• Creating a customized Toolset 
• Creating a customized Timeline View
• Linking a setting to a Toolset
• Mapping the menu selection to the keyboard

Creating a customized Toolset:
For this tutorial we'll be making a Toolset for audio mixing.

 
First, go to the Toolsets Menu and select "Audio Editing:"

 
If you've never used this feature before then the windows have rearranged themselves and a tool or two have opened. So, the next step is to arrange things more to your liking. Here's an example to get you thinking about how you might want to set things up:

 
*NOTE: I've taken my screen grabs using a single monitor, but window and tool arrangements can be made with multiple monitors.
  

Example: Audio Editing Toolset (on a single monitor)

 
Now that you've got things set the way you like, return to the Toolsets Menu and select "Save Current." This will essentially lock this arrangement so that even if you close tools or rearrange things, the next time you select the Audio Editing Toolset everything will still be arranged as you set them up originally. If you want to make a permanent change to a Toolset, simply rearrange your windows and tools into their new positions, go back to the Toolsets Menu and select "Save Current."

 
Now we want to have a setting, in this case a customized Timeline View, also become activated when we select the Audio Editing Toolset. So, rather than presume that you know how to make a Timeline View, I'll go through that process as well. If you already know how, then feel free to skip down to "Linking a Setting to a Toolset" step.

Creating a customized Timeline View:

In this tutorial, I'm focusing on the Audio Editing Toolset, so let's make a Timeline View that we'd like to have activated at the same time.

 
First, I'll set the Timeline up the way I like it for audio mixing. I'd like my audio tracks wider, and my video tracks narrower. Select the tracks to change, then go to the Edit Menu and select either Enlarge Track or Reduce Track. ~ Note the keyboard shortcuts next to the menu selections, as they're much faster.

 
Another method to enlarge or reduce your track height is to hold down the Option key (Mac) or the Control key (PC) and then move the cursor below the track you'd like to change (see picture below), and then with the mouse button held down, drag the track wider or narrower. ~ Note: in Avid Xpress Pro you make these changes directly. There is no need to use the Option/Control key.

 
Now I'll add some additional displays to the tracks. In this case I'll enable the "Auto Gain" feature so I can keyframe audio levels, and I'll also enable "Sample Plot" so that waveforms will appear. From the Timeline Fast Menu, go to "Audio Data" and from the submenu select both "Auto Gain" and "Sample Plot." ~ Note: in Avid Xpress Pro you make these selections directly. There is no Audio Data submenu.    

Fast Menu

Audio Data Submenu

  
Now my timeline looks like this:

 
Next, I'll make it easier to see the Auto Gain and Sample Plot displays by changing the color of the audio tracks to white. Enable the track(s) you want to change. Then from the Timeline Fast Menu, select "Track Color," and then select white (or some other color) from the palette:

 
Now my timeline looks like this:

 
Next we'll save this configuration so we can access it easily at any time in the future. At the bottom of your Timeline window is the View Menu (see yellow arrow in picture below). Click on that menu and select "Save As" and name your Timeline View whatever you like. I'll name mine "Audio Mix 1."

 
Note: In the future you may rename or delete your Timeline settings by going to your Project Window, selecting the Settings tab, and then scrolling down to "Timeline Settings." It's also helpful to know that a saved Timeline View remembers any selection that is enabled (or disabled) from the Timeline Fast Menu, such as Clip Color. And on that topic, I suggest enabling the "Offline" color to appear in all of your timeline view settings to alert you immediately if/when something is offline. Timeline Views will also remember the backgrond color of the timeline window as well as your selected font size and font type-face.

Linking a Setting to a Toolset:

In order to get this Timeline View setting to activate when the Audio Editing Toolset is selected, we have to "Link" it. Start by activating the Toolset you want to link to another setting (if you haven't already). In this tutorial I have the "Audio Editing Toolset" activated. From the Toolsets menu select "Link Current to:"

 
A dialog box will appear. From the menu, select "Link to Named Settings:"

 
A new dialog box will appear. Type in the name of the setting. In this case I'm linking to a Timeline View setting called "Audio Mix 1." * Important: make sure you type the name in exactly the same, paying attention to spaces and upper/lower case letters. If it's not identical, then it will not link.

 
Seeing this feature work:

Now, repeat the processes of customizing your Source/Record Editing Toolset layout as well as create a custom Timeline view for editing (different from the one you made for Audio Editing) and linking that Timeline View to the Source/Record Toolset. Once you've completed this, you should be able to switch between the two Toolsets (from the Toolsets menu) and see that both the windows/tools layout and the Timeline Views change at the same time.

Audio Editing Toolset
and linked Timelne View

Source/Record Editing Toolset
and linked Timeline View

Now I'll show you that you can have multiple settings linked to a Toolset. I'll use the Interface settings as the example. * NOTE: this is just an example to illustrate the concept of linking multiple settings, not necessarily the best use of it.

 
Open the Settings and scroll down to the "Interface" settings.

 
You can customize your interface in a million ways. It's pretty intuitive, so feel free to open up the Interface settings, click on the Appearance Tab and have some fun. For this tutorial I want to make sure you know that you can duplicate and rename settings too, so let's select (single click) the preset that Avid gave us called "Brick" (click on the word "Interface" across from the label "Brick," rather than on the label itself). Then go to the Edit Menu and select "Duplicate." Now you've got two of them. Click into the Label column and rename the duplicate *exactly* as you named the Timeline View you linked to the Audio Editing Toolset (you can also copy/paste the name from the Timeline View settings label region). In this tutorial, I've got a link established to settings named "Audio Mix 1," so that's what I'll type in:

 
Now, repeat this duplication/renaming process with the "Neon" Interface setting. This time give the duplicate Interface setting the name of the Timeline view you linked to your Source/Record Editing Toolset. Now when you switch between the two Toolsets, not only does the timeline change, but the interface does as well (see picture below).

 
*Note: the "Brick" and "Neon" Interface settings will override your previous timeline color configurations, so you may want to do some tweaking by turning off the desired settings under Settings tab > Interface > Appearance tab.

Source/Record Editing Toolset

Audio Editing Toolset

Mapping the menu selection to the keyboard:

Now we'll map the Source/Record Editing and Audio Mixing Toolsets from being a menu selection to a button on your keyboard.

 
Go to your Settings:
 

 
Double-click to open your Keyboard settings:

  
Now, from the Tools Menu, open the Command Palette:

 
Set the Command Palette to "Menu to Button Reassignment:"

 
Select a key on the keyboard. I've selected the F5 key:

 
Now select what menu item you want on that key. In this case I'll select Source/Record Editing from the Toolsets Menu. Repeat this process and map Audio Editing to the keyboard. I've selected the F6 key. After mapping, the keyboard indicates an abbreviation of what function is there. If you place your cursor over the mapped buttons without clicking, you'll see a tool tip telling you what function is there.

 
Testing the mapping:

Select either your Timeline Window or Composer Window (a.k.a. the Source/Record window) to make it active. Now toggle between F5 and F6 to enjoy your handiwork.

Now that you have the process down, all that's left is for you to put Toolsets to work in ways that help you with your work. Here's just one idea to get you thinking: create a second keyboard setting that has been custom-mapped just for Capturing, and then link that keyboard setting to your Capture Toolset.