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Avid Community Tips
  • Telegram! - Add "Handheld look" using Stabilize FX

    (4/13/2018. Work in progress: a downloadable, zipped v8.85 MC Bin showing a multi-track FX Sequence template, available shortly.)


    Sometimes you want to add a little motion to a still, a lock-down shot, or even to a boring, robotic Pan & Zoom move. There may be plenty of plugins and 3rd party software available, but here’s how to do it in a stock MC...



    First, the Trick:

    A short, steady, handheld iPhone movie of a window frame was recorded and imported into MC into a 1080p/30 Project. (30p chosen to match the iPhone movie app's framerate).

    The movie clip was edited onto the timeline, then MC was switched to Effects Mode.

    Next, from the Effects Palette, the Image > Stabilize FX was applied to that 14 second  movie clip on the timeline.

    Opening the Effects Editor, the Tracking icon (circled in red) was pressed, revealing the Tracking Window:


    From the "Choose Tracking Engine" drop-down menu, the Fluid Stabilizer option was selected and immediately, a calculation began which resulted in a stabilization improvement of the window frame shot.

    Finally, the Stabilize FX icon (upper left corner of the Effects Editor ) was saved by dragging it into to a bin.


    Next Step:

    A variety of Importable graphics, were brought into the project.

    A mult-track (9 layer) timeline was made, including Pan & Zooms on some of the imported stills.

    That saved Stabilize FX was added onto each track's clip.

    Magically, the original movie clip’s subtle handheld motion was now ADDED to the stills and Pan & Zoom shots on the timeline. 


    The concept for this was originally presented by community members in these Forum threads:







  • Telegram! - AniMatte #1


    This How-to starts with the above sideways Jpeg, and once Key > Animatte is used to cut out just the "Everything 90% Off” Sign, it was Scaled, Repositioned, Rotated and Spectramatte-keyed using Blend > 3D Warp FX.

    The Animated GIF version shown above is low-res with a low 10FPS framerate due to apparent maximum file-size upload restrictions. The final result is actually much smoother.



    Zipped v8.8.5 Bin plus Imports

    (After un-zipping, in MC, use Open Bin to add to your Project. It was originally created in 2997 HD Project)



    The Red Arrows are there to indicate some of the tools used to make this. Step In and Step Out, Collapse and the relatively new Mute Clip feature was used just to help make it easier to correctly FLIP the sign using 3D Warp Rotation only...so it would look double-sided at the turn, rather than printed backwards.

    The edits you see were made to shorten the overall length of the final animation.

    The use of Mute Clip on V2 (above) is optional- I’ll explain why I did that another day...but as you can see, V3 ignores the muted clip on V2.

    (Tone on A1 is unimportant)

    The best advice I found on these forums on how to do 3D Warp FX to only the Animatte effect, (but not the affecting the clips below on V1) and entirely using just stock MC tools, came from TaT in this 10/2005 post:


    Seems complicated but it isn't -

    1. Move you clip with Animatte cutout to V3

    2. Create Title with solid Geen or Blue color background only

    2. Put created Title to V2

    4. Collapse V3 and V2 to V2

    5. Put (don't alt+put!, just put) 3DWarp effect on collapsed clip

    6. Open 3DWarp effect editor and change in Foreground Full Key to Chroma key or better SpectraMate Key

    7. Set keying Color with eyedropper clicking on Green or Blue background and then you can do what you want with

    your cutout without affecting V1... and without BCC or AvidFX”




    Animatte, Matte and Paint FX - Discussions/Solutions/Tutorials:






    Below: the view after Step-In once, to show Animatte FX. I used Poly Tool to form the skewed cut-out.

    Stepping IN again on V3 reveals the imported JPEG with the sign. You can Replace this Jpeg with your own Image to begin learning 'How-to" use Animatte. Enjoy!




  • Telegram! - Fixing a crooked shot.


    This how-to is about using Blend / 3D Warp keyframes (along with SpectraMatte for Chroma key) to create a "touch-screen" illusion.

    Download and Unzip these 4 links to see how this effect is put together on your system. I improved the key, and tried to make the whole thing loop-able by changing the ending. (Those changes are not shown above)

    I would call attention to the Blend / 3D Warp key frames, particularly the use of Spline vs. Shelf for Twist (rotate) vs. Tap (scaling) shots.

    The Green Screen shots were recorded with the hand placed directly on an LCD monitor displaying all green. It was lit with a low watt bulb in a clamp lamp... decidedly low tech. but a fun experiment from 7 years ago. Enjoy!

    MC v8.4.5 Project Folder




  • Telegram! - How to Display ALL* Sequences in a Project with FIND Tool

    Sometimes you need to FIND a Sequence, but you cannot remember the exact Name or where you put it... plus you have tons of bins where it might be. Our wonderful FIND tool, is capable of locating EVERY Sequence inside every Bin in a Project, but the tool seems to require a Name, or partial Name, in its text input window.


    This is a way I've found to get the FIND tool to display all of my 16x9 Sequences, which are then sortable by Name, Creation Date, Bin Name, Duration, etc. in the results window.  I didn't realize it could do all that-- like a MediaTool for Sequences.


    With any sequence loaded in Composer, open the FIND tool;

    Click on the Clips and Sequences Tab;

    Change the Filter dropdown from "Any Column" to "AFD";

    in the Search dropdown, use "Bins in Project".

    In the Find text field, type: 16x9

    Press the Find button on the upper right.

    *If ALL your Project's Sequences were 16x9, I believe you will see EVERY Sequence of that type and therefore all your available sequences.

    yippee!... AFD or Active Frame Data is described on pg 24 here:



    Looks like the "AFD" concept started at MC version 6.5. Check your Sequences Bin "AFD" Column Setting to ensure those 3 letters are seen, otherwise this workaround... won’t work.

    This is the only way I could see get Find to display ALL my Sequences - my test delivered 524 results, with no stray masterclips among them as the “AFD” column seems to only apply to Sequences.

    --- If there is a better, easier way to do this, I'm all ears.

    Hopefully, further development will make this kind of FIND request available with a big fat dedicated button... or wildcard.

  • issues with relinking older files

    I'm working in a newer project set up in HD 1080 but need to access older files that were set up as dailies in an older project.  this older project was set up on a different version of media composer from a different computer, and the files are probably not in the same format.  When I try to re-link the files, which are offline, I check all the boxes so that it might accept a wide range of material and options, but once I submit, the computer doesn't even seem to think about it, it directly tells me that it can't do it.

    In other versions of media composer (i'm working off the newest one, rented month to month), it would ask where to find the media if it couldn't automatically connect.  I don't see that option here beyond what drive to select.

    Can anyone help?

    thank you!

  • Barkin Tutorials - Titler Pro 6 Rolling Credits

    I often hear people talk about how difficult it is to use Titler Pro in Avid. Users long for the replacement of the original title tool with one as simple that also supports 4K. While Titler Pro can be a bit overwhelming at first glance, it can certainly be quite easy to use once you become comfortable with its idiosyncrasies. In this tutorial, I demonstrate an easy way to setup rolling credits using Titler Pro in Media Composer 8.9.4: https://youtu.be/eCUMcDcBujI


    (Please visit the site to view this media)

  • Moving Selected Clips Vertically without a Mouse (v8.8.5 on Win7)

    This has been a frequent request on the Avid Community FR forum, from mouse-averse editors seeking an alternative to moving clips between tracks. The maneuver is normally handled with constricted lateral movement (to maintain sync), using Ctrl+Shift+Mouse Dragging up or down on Highlighted Clip(s). 

    I personally like this MC tool very much since I edit all day with a mouse in one hand and have my left hand on the keyboard.

    But nonetheless, here's what I discovered can possibly do the same task WITHOUT USING A MOUSE, by using a Windows OS 7 Pro (or other?) built-in tool found in Control Panel/Ease of Access. It is called "Mouse Keys".

    I suggest you check out this URL below & make note of all the keyboard shortcuts:


    You may want to play first with mouse movement and tweak ballistics to taste***. Mouse Keys works with the NUM LOCKS Keypad # keys to navigate the mouse pointer in various directions and then it also permits mouse-like selection/drag/drop of whatever is below the mouse pointer*.

    * This is done with the "/" Forward Slash key followed by the "5" key (always use the numeric keypad).

    Note: If you normally prepare for segment-highlighting your MC Clip(s) on the timeline by having the Red Segment Arrow pre-lit, your track(s) pre-selected, and your In-Out Marks visible, this works well. Pressing "/" will result in a Highlight of your Clip Selection. 

    Next, to engage the mouse drag function, press "0".

    At this point, you should have a highlighted clip that you now can Drag Up (press "8") or Down (press "2"). And yes, you can move your selection left and right with "4" and "6" as well.

    I'm pretty sure you do not need to worry about using CTRL+SHIFT during an UP or DOWN drag, but you may want to double check sync on your results.

    Then you Drop your Dragged Clip(s) by pressing the  "." period key on numeric keypad.

    That's it. To review: Move mouse over your clip(s) pressing keypad keys; press "/", "5", "0", "8" (or "2" for down),"."


    As always, try at your own risk, but hopefully this may give "Mouse-Only" fans something to try.

    **And yes, you can still use your real mouse at the same time.

    *** If the mouse moves too slowly for you, there is a setting on Mouse Keys to speed it up.








  • Telegram! - Creating "Mirror Sidebars" to pad 4:3 into 16:9 footage

    BEFORE, with black sidebars.                                    AFTER, using

                                                                                MC v7.0.4 Blend/3D Warp FX (using Crop, Rotation, and position)

      BEFORE                                                                        AFTER


    Download the Zipped Folder containing MC v7.04 Bin and one jpeg

    The un-zipped folder contains an Avid Bin with two similar Sequences-- both of which demonstrate a way to accomplish this. There's also a jpeg file. The offline Sequence needs to be Batch Imported and Relinked to bring the to offline sequences back online. Enjoy.-Telegram

  • orange line in a clip???

    Hello people!

    Im workin with avid 8.4 and i noticed that appear an orange line in the top of a clip while editing a clip, this color line, i never saw in older versions...

    I thought it was happened by a jpeg, so i tested and now im more confused:

    As you can see in the image attached, i cut the V1 in four pieces and put in V2 a text... in the first piece without v2, orange line still shows; in the second piece with a text, orange line still show but in the fourth piece with v2, now appears a green line and then dissapear

    Anyone can tell me what is that orange line?

    my testing timeline doesnt have any effects, only V1 that is a jpg and v2, a text.

    Thanks in advanced!


  • making a 23.976 fps deliverable CCM, reconformed with some 29.97 fps video cadence sources in Avid Symphony

    Duration and horizontal lines preserved when going from 29.97 to 23.976 frames per second by playing back the video cadences of 2:3, 2:3:3:2, or 2:2:2:4 as 2:2:2:2. A slight crackle from a fire. Look and feel the water before diving in might have some value. Deep into the forest, rays of light, slight fog rolls in, waterfalls in the distance. The water was so clear, and super cold.

    Inside the Avid Symphony with a source-file, here is an example using 5 frames at 29.97 fps and making 4 frames at 23.976 fps. Circled is from my test results of what makes the progressive video output. Listed which "Field Motion"selection for progressive video output.

    In Avid Media Composer: 
    29.97 fps Master Clips that have cadance, the bin heading "Field Motion", settings/steps, and output 23.976 frames per second.

    2:2:2:4 cadence:
    In the Avid Bin, assign the Master Clip(s) "Progressive" by clicking under the "Field Motion" column.

    2:3:3:2 cadence:
    In the Avid Bin, assign the Master Clip(s) "2:3 Film" by clicking under the "Field Motion" column.

    2:3:2:3 cadence has specific steps to preserve all horizontal lines that made up the interlaced picture to move as progressive video:
    In the Avid Bin, assign the Master Clip(s) "2:3 Film" by clicking under the "Field Motion" column.

    Step 1) Load the Master Clip with the 2:3 Film selection into the "Source Monitor"
    Step 2) I would use frame 11 and after giving the avid at least a 10 frame pad to hold onto/hide & then make sure and place an In Mark using an "A" frame, and then edit.
    Step 3) On the Record Side Timeline, park the blue position indicator on the clip with the 2:3:2:3 cadence and go to the "Tools Menu > Motion Effect Editor"
    Step 4) In the "Motion Effect Editor" click the "Promote" button.

    The promote button turns the motion effect into a "Timewarp" effect.

    configure the following in the "Motion Effect Editor"
    "Type: Both Fields"
    "Source Film With 2:3 Pulldown" 
    "2:3 Pulldown: AA BB BC CD DD"

    Before using thousands of files for online, a choice in that same source might be awaiting the artist if the deliverable specification is 23.976 fps.
    Play 29.97 fps sources as 23.976 fps progressive sources with the same duration intact, keeping audio sync in place and true progressive video frames can be output. Source File Internal GUI Signal Flow like a patch bay.

    Test Video File Source Using an Avid Interlaced Project First:

    "Step Forward One Field" Avid button to see what pattern of video repeats.

    This is fantastic for seeing a possible video choice to play with complete unique frames in 23.976 fps and understand to train your eye what you are seeing play at 29.97 fps with the repeated video flickering. Get the most out of the picture in question. With video sources that are file-based I can look to see which video cadence is present. I have found awesome use with the Avid for looking at the video to figure out which standards were used to going all out progressive video which is a pure treat!!! (convert 2:2:2:4 cadence or 2:3:3:2 cadence to a 2:3 for that standard in the 59.94 online!!! The Avid has the power to do it perfectly!!!)

    In an interlaced project for analyzation purposes: Using the keyboard, step through field 1 then field 2. 

    The Avid will display a "2" in the upper right hand corner, telling you that you are parked on video field 2.

    What type of video repeat cadence is present?
    Step through to manually figure out the cadence pattern. Precisely analyzing interlaced video.
    With Video cadence patterns, repeated cycles of either 2:3, 2:3:3:2, and 2:2:2:4 are present in the 29.97 frames per second source. 

    Once one knows the cadence pattern type, enter a 23.976 fps project and this will preserve the duration too!!! Video and Audio maintains sync with this method.

    Set-up Media Composer to display clean frames please:

    First: new 23.976 fps Avid Project.

    Second: Set-Up Video Quality Menu Choosing A Both Field View:

    Third: Go to the Avid User "Render" Settings make sure there is not a check mark next to the words "Use frame blending in Motion Adapters".

    Before changing render user settings, please clear the Source and Record Monitors and Menus!!!

    Avid Tech-tip from my test results with Transcode Convert Command Choices:

    if using transcode convert for needs. situations where the cut cannot contain the first frame of video in the sequence, etc, attempting to explain how to proceed for clean results.

    Select master clips with 2:2:2:4 or the 2:3:3:2, So far the transcode > convert command for the master clips converted to 23.976 frames per second and have perfect clean frames output.

    If I select a sequence or a subclip and perform the "Transcode > Convert" command: When performing the transcode convert command please test and look at the results. ---> for sequences and subclips "Edit Start" and "Handle length" are a factor for results.

    Here are a couple of examples with using "Transcode > Convert" command on a sequence where I achieved clean frame transfers.

    Example 1) 2:3:2:3 cadence then transcode>convert command my repeated tests are showing me. do not use the first 10 frames of a master clip in the edit and then mark an in later, and use a "3" frame handle length choice in the Transcode Window. This seems to work with clips of various durations. 

    Example 2) "BB BC CD DD AA" editing on the "B" with "1" frame handle in the transcode>convert command is working.

    Frames and fields used for video extraction from the 29.97 frames per second source to 23.976 fps, make every 5 frames into 4 frames.

    2:2:2:4 cadence removal extraction test results:

    master clip "Progressive" populated under "Field Motion" column
    29.97fps ---> 5 Frames ---> 4 Frames 23.976 fps
    TC 01:00:00:00 field 1 and field 2 lands to form ----------> TC 01:00:00:00
    TC 01:00:00:01 field 1 and field 2 lands to form ----------> TC 01:00:00:01
    TC 01:00:00:02 field 1 and field 2 lands to form ----------> TC 01:00:00:02
    TC 01:00:00:03 field 1 and field 2 lands to form ----------> TC 01:00:00:03
    TC 01:00:00:04 - **************

    2:3:3:2 cadence removal: A master clip with "2:3 Film" selection under the column "Field Motion" transfer results:
    29.97fps ---> 5 Frames ---> 4 Frames 23.976 fps
    TC 01:00:00:00 field 1 and field 2 lands to form ----------> TC 01:00:00:00
    TC 01:00:00:01 ******* *** field 2 lands to form ----------> TC 01:00:00:01
    TC 01:00:00:02 field 1 *** ******* lands to form ----------> TC 01:00:00:01
    TC 01:00:00:03 field 1 and field 2 lands to form ----------> TC 01:00:00:02
    TC 01:00:00:04 field 1 and field 2 lands to form ----------> TC 01:00:00:03

    2:3:2:3 cadence removal: A master clip with "2:3 Film" selection under the column "Field Motion" transfer results: 
    29.97fps ---> 5 Frames ---> 4 Frames 23.976 fps
    TC 01:00:00:00 field 1 and field 2 lands to form ----------> TC 01:00:00:00
    TC 01:00:00:01 field 1 and field 2 lands to form ----------> TC 01:00:00:01
    TC 01:00:00:02 ******* *** field 2 lands to form ----------> TC 01:00:00:02
    TC 01:00:00:03 field 1 *** ******* lands to form ----------> TC 01:00:00:02
    TC 01:00:00:04 field 1 and field 2 lands to form ----------> TC 01:00:00:03
    2 field extraction is done by promoting the Motion Effect and configure the fallowing in the Motion Effect Editor:
    Type: "Both Fields"
    Source: "Film With 2:3 Pulldown"
    2:3 Pulldown: "AA BB BC CD DD"

    Avid tech note with single field results: only half of the horizontal lines of pictures is used by Avid when "Interlaced" in the "Field Motion" is the selection for master clips with a frame per second of 29.97 in a 23.976 fps project. And is only converting using a single field for the transfers, as far as I can tell. And an important note is this seems to apply when the avid takes 59.94 interlaced in a 29.97 progressive project too!!! This is avid Motion effect avtivity test results here.

    "Field Motion" setting configuration only uses 1 field for 1 progressive frame
    cadence removal: A master clip with the "Field Motion" of "Interlaced"
    When using the transcode convert command if the "Field Motion" column is populated with "Interlaced" the Avid creates a single field sample in a progressive frame loosing 1/2 of the horizontal lines in the transfer.: 
    field 1 - 01:00:00:00 30fps 01:00:00:00 23.976 fps
    field 1 - 01:00:00:01 30fps 01:00:00:01 23.976 fps
    field 2 - 01:00:00:02 30fps 01:00:00:02 23.976 fps
    field 2 - 01:00:00:03 30fps 01:00:00:03 23.976 fps
    field 1 - 01:00:00:05 30fps 01:00:00:04 23.976 fps
    field 1 - 01:00:00:06 30fps 01:00:00:05 23.976 fps
    field 2 - 01:00:00:07 30fps 01:00:00:06 23.976 fps
    field 2 - 01:00:00:08 30fps 01:00:00:07 23.976 fps
    field 1 - 01:00:00:10 30fps 01:00:00:08 23.976 fps

    Note Audio is not touched and is kept perfect:
    The original 48,000 samples per second of audio plays in sync with the 23.976 frames per second of video.
    Extracting pictures from a 29.97 frame per second count, with exact precision placing progressive video frames in a 23.976 frame per second count.

    Thoughts about Letters "A","B","C","D":

    "A" - 1 unique progressive video frame
    "B" - 1 unique progressive video frame
    "C" - 1 unique progressive video frame
    "D" - 1 unique progressive video frame

    About the Letters "A","B","C","D" with the numbers of either "1" and "2" added:

    "A1" - odd numbered horizontal lines make up half of an original frame "A"
    "A2" - even numbered horizontal lines make up half of an original frame "A"
    "B1" - odd numbered horizontal lines make up half of an original frame "B"
    "B2" - even numbered horizontal lines make up half of an original frame "B"
    "C1" - odd numbered horizontal lines make up half of an original frame "C"
    "C2" - even numbered horizontal lines make up half of an original frame "C"
    "D1" - odd numbered horizontal lines make up half of an original frame "D"
    "D2" - even numbered horizontal lines make up half of an original frame "D"

    Thoughts about Numbers "2","3", and "4", they are describing something:

    "2" - 1 progressive video frame
    "3" - 1 progressive video frame in 3 fields of interlaced video with 1 repeated field
    "4" - 1 progressive video frame in 4 fields of interlaced video with 1 repeated frame

    "Timewarp" effect can be set-up to remove video cadence too!!!:
    (circled gets pulled as selected)

    In the Avid Bin for a Master Clip that you would like to remove "2:2:2:4" cadence, select "Progressive" in "Field Motion".

    In the Avid Bin for a Master Clip that you would like to remove "2:3:3:2" cadence, select "2:3 Film" in "Field Motion".

    In the Avid Bin for a Master Clip that you would like to remove "2:3:2:3" cadence, select "2:3 Film" in "Field Motion" and then promote the motion effect to a "Timewarp Effect", then choose cadence pattern "AA BB BC CD DD".

    I hope this is helpful!!!

    - scott freeman

    Test using Avid Media Composer version 8.3.1 & 8.4
    Please test the Media Composer and each version to make sure you get the desired results.

Avid Actu

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