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If the editor names tracks in an agreed upon format, this can be a huge timesaver later on when importing sequences into Pro Tools.
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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.
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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 software. 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.