We are taking another look at managing color! Marianne explains how to leverage Media Composer’s attributes to create and use that perfect color again and again.
In this lesson, Kevin P McAuliffe talks about Source Settings. Understanding them is an exceptionally important step between linking to your footage, and transcoding it, which we’ll talk about in our next lesson. We’ll look at Color processing and Frameflex, as well as the ability to adjust RAW native parameters in the Source Settings window,
Join us live for the Avid Online Learning session — Media Composer: Working with Color Corrections. Check out our calendar to watch this and more live videos on https://www.avid.com/online-learning
Edit video faster so you have time to drink more beer! http://avidbeer.com This video will explain the 4 steps to color correct footage fast: 1 — Click Auto Balance and Auto Contrast 2 — Adjust the Green Levels 3 — Adjust the Saturation Level 4 — Adjust the Contrast Levels My favorite beer again this
How to change the highlight color in Avid Media Composer, and Source/Record colors. In Media Composer, when you select an item (clip, effect, track, etc…) it will be highlighted. You can change this color and customize the look of the interface. You can also have different colors for the Source and Record monitors and in
How to change the brightness of the interface in Avid Media Composer. The default setting is a light gray, you can change this in; Settings – Interface and choose from light gray to very dark gray. You can quickly customize the look of your Media Composer interface ?
This tutorial will go over how to properly import graphics for broadcast. I will explain each import option in Avid Media Composer to ensure that when you import you will meet proper legal broadcast standards. Software used: Media Composer 8.5.1 http://redarrowindustries.com/ https://www.facebook.com/RedArrowIndustries/
This video will show you how to change the Display Color Space for Full Screen Playback, Source, and Record in Avid Media Composer. The Display Color Space does not change our media, it lets us view our edit in different color spaces so we will KNOW what our video will look like once we export
Our company has found a unique way to use the merge color correction function to assist in quickly completing recaps, cold opens, or any other repeated shots in your sequence! We hope this handy trick is just as useful for you. For our detailed tutorial on how to Remove and Merge Color Correction in Avid
This Tutorial will show you a way to instantly remove another editor’s color correction with a single click of the mouse. As well as, offer a quick way to copy color correction to a new or updated sequence with the Merge function in Avid Media Composer using the Symphony option. Software used: Media Composer 8.5.1
In this lesson, Kevin P McAuliffe talks about color. The color of your bins, the color of your Project window, and even the color of your timeline window, and how to adjust them. Then, it’s onto talking about how to adjust the clip colors in your timeline, which will give you an extra layer of
In this video we look at how to use the Paint Effect to re-color/colorize/color-correct a portion of a video clip, and how to use motion tracking with the Paint Effect in Avid Media Composer. We are using Avid Media Composer 8.5.1 in this video, but the process will be the same for other versions. First,
Presented by: Daniel Huber For all Media Composer users, learn how to overcome common color space challenges by examining RGB and 601/709 color mapping. Learn how to properly represent and maintain color values when importing, exporting, or linking to sources. And recognize the differences when media is displayed on source, record, and client monitors.
This tutorial demonstrates how to leverage Avid’s powerful and efficient color correction by working in Color Correction mode, which allows you quick access to its color grading features but keeps them out of the way while you’re editing
ISIS shared storage, part of the Avid Storage Suite, provide unparalleled system access, performance, and scalability, so your facility can enhance collaboration and operate more efficiently. More productions are shooting with 2K and 4K cameras, and facilities need a powerful storage system that supports these workflows. ISIS shared storage systems now support 4K and Ultra
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