AVID MC 210 Certification Exam Study Guide

BACKGROUND (same background Info from the previous question):You already know that there are essentially two ways to get media into your Avid Project. You can either Link to it directly (i.e. AMA Linking) or you can make a copy of the original file by using any of these processes: Importing, Consolidating, or Transcoding. MORE BACKGROUND:When Avid has made a copy of the original file through Importing, Consolidating, or Transcoding, it places that copied media into a very specific place on the hard drive you selected for it to go.A common term used for the media that has been placed into this very specific place on the hard drive is to say that the media is "Native." "Native" Media is the media inside any Avid MediaFiles folder. That's true, so make a note of that, then select this option and move on to the next question.

"Native" Media is the media inside any Avid MediaFiles folder. That's true, so make a note of that, then select this option and move on to the next question.

Importing a script into Media Composer is easy. However, it's very important that the file being imported is in what format? .pdf .psd .docx (Microsoft Word) .mxf .txt (Plain Text) .png .jpg .rtf (Rich Text) .gif

.txt (Plain Text)

QUESTION: What are the steps required to create a "Spanned Marker?" 1. Place an In-Mark and an Out-Mark. 2. Hold Alt/Opt key. 3. Click/Press the Add Marker button. 1. Hold Alt/Opt key. 2. Click/Press the Add Marker button. 1. Hold Cmd/Ctrl key. 2. Click/Press the Add Marker button. 1. Hold Shift + Cmd/Ctrl key. 2. Click/Press the Add Marker button. Noe of the above

1. Place an In-Mark and an Out-Mark. 2. Hold Alt/Opt key. 3. Click/Press the Add Marker button.

BACKGROUND: You're in Trim Mode QUESTION: What are the two entry boxes, labeled "A" and "B"? A = Estimated Render time B = Actual Render time A = Duration (of seconds and frames) that were trimmed from the A-Side shot. B = Duration trimmed from the B-Side shot. A = Pre-Roll time (of seconds and frames) for the Play Loop function. B = Post-Roll time for the Play Loop function. A = Duration (of seconds and frames) of a Transition Effect (e.g. a Dissolve) prior to the cut point. B = Duration of a Transition Effect after the cut point. None of the above

A = Pre-Roll time (of seconds and frames) for the Play Loop function. B = Post-Roll time for the Play Loop function.

QUESTION: Which answer below best describes a "Bin Layout?" A Bin Layout is simply the term used when all the project's bins are open. A Bin Layout is the term used for all the bins not currently open. A Bin Layout is similar in concept to a Workspace in that you can save various configurations of open bins (e.g. which bins are open, where on the screen they sit, and even if if they are tabbed or not). A Bin Layout is a description used for bins that enjoy lying in the sun. None of the above.

A Bin Layout is similar in concept to a Workspace in that you can save various configurations of open bins (e.g. which bins are open, where on the screen they sit, and even if if they are tabbed or not).

BACKGROUND: Avid loves to give things fancy names and/or acronyms. One example is a feature they named "Dynamic Media Folders" (DMF). Rather than that fancy name, another term that is much more commonly used in post production is "Watch Folder." Here's the overview of how a DMF/Watch Folder works: 1. You create a folder and place it in a convenient location (e.g. the Desktop). 2. Using Avid's DMF Window you will give Avid's Background Services some instructions about what process(es) it should perform whenever a file(s) are placed inside of that folder. That's where it gets the name "Watch Folder" — it's watching for someone to put a file(s) in there. The specific instructions we tell Avid's Background Services to carry out when a file is placed in the DMF/"Watch Folder" are called "Profiles." So, to say it like Avid would: "You apply a DMF "Profile" to a folder. QUESTION: What selection below best describes a Dyn

A folder created by the User that has a set of processing instructions applied to it (such as 'Copy'), so that when a file(s) is placed inside of it, it will trigger Background Services to perform whatever the instructions tell it to.

BACKGROUND: When creating a DMF you first create a folder that will be "watched" by Background Services. After creating that folder, you have to give Background Services its instructions about what you want it to do when someone puts a file(s) in that folder. Avid refers to the saved set of individual instructions you create as a "Profile." In order to add the individual instructions that make up the Profile you have to click the incredibly small button with a "+" symbol on it (see yellow arrow in the picture). QUESTION: I keep referring to "individual instructions;" that make up the overall "Profile," however, what is the actual term that Avid uses for these "individual instructions?" Operations Commands Actions Manipulations Lists Procedures Executions Walter

Actions

In the context of Consolidating a Sequence in Avid Media Composer, what are handles? When Consolidating a Project File, Handle means the added Luma Gamma. When Consolidating a Sequence, Handle means creating an extra video file out of the selected video tracks. It is an alternate method of creating a Video Mixdown. After Consolidating a Sequence, a new Master Clip will have been created for each segment within the Sequence. Handle means the Bin that holds all the ".new" clips. After Consolidating a Sequence, a new Master Clip will have been created for each segment within the Sequence. Handle means the additional frames that have been added to the Head and Tail of each new Master Clip (though they are not currently viewable in the Consolidated Sequence). After Consolidating, Handle means the section(s) of the Sequence that can be picked-up and moved to another hard drive. Handles make it easier to pick-up the

After Consolidating a Sequence, a new Master Clip will have been created for each segment within the Sequence. Handle means the additional frames that have been added to the Head and Tail of each new Master Clip (though they are not currently viewable in the Consolidated Sequence).

The file named Site Settings.xml is located where? Shared > AvidMediaComposer > SiteSettings Applications > Avid Media Composer > Settings Users > [logged-in User Name] > Documents > SiteSettings Library > Preferences > Avid > SiteSettings Chicago

Applications > Avid Media Composer > Settings

BACKGROUND: When existing on an external hard drive, The Avid MediaFiles folder has to be in a very specific location on the hard drive. QUESTION: Where must the Avid MediaFiles folder be located on an external hard drive in order for Avid Media Composer to be able to access it? At the "Root" level of the hard drive. At the "Canopy" level of the hard drive. At the "Base" level of the hard drive. At the "Dome" level of the hard drive. Within the Shared Avid Projects folder. Within the MXF folder. Within the Applications folder Within a folder labeled as "AvidMC"

At the "Root" level of the hard drive.

BACKGROUND: You already know that there are essentially two ways to get media into your Avid Project. You can either Link to it directly (i.e. AMA Linking) or you can make a copy of the original file by using any of these processes: Importing, Consolidating, or Transcoding.When Avid has made a copy of the original file through Importing, Consolidating, or Transcoding, it places that copy into a very specific place on the hard drive you have selected — it places it inside the numbered folder located at this path: Avid MediaFiles folder > MXF > folder with a number on it (e.g. "1.") QUESTION: Where must the Avid MediaFiles folder be located on any selected hard drive in order for Avid Media Composer to be able to access it? At the "Canopy" level of the hard drive. At the "Root" level of the hard drive. At the "Base" level of the hard drive. At the "Core" level of the hard drive. At the "Source" level of the hard

At the "Root" level of the hard drive.

Which of the following is the correct folder structure for what Avid refers to as "Native" media (which the author may also refer to as "Managed Media"). MediaFiles > Avid > MXF > 1 AvidMediaFiles > XFM > 1 Avid MediaFiles > MXF > 1 AvidMCState > Avid Media Files > MXF > 1 AvidMediaComposer > MediaFiles > MXF > 1 AMC > AvidMediaFiles > MXF > 1

Avid MediaFiles > MXF > 1

BACKGROUND: There are many different "Color Spaces." Each different Color Space is able to reproduce some of the colors that the human eye can see. Luckily, for all of us, we only have to focus on 2 of them at the moment. The two (2) Color Spaces are broadly the following: 1. Computer Monitors 2. Television Monitors The color space that can be reproduced by a computer monitor has the following attributes: 1. It is referred to (basically) as RGB (arr-gee-bee). 2. It is created by combining various brightness (luminance) values of Red, Green, and Blue, which are referred to as the "Color Channels." 3. Each color channel (R, G, and B) can use the "Full" scale of brightness (luminance) that we have talked about in the past. 4. The luminance scale that can be reproduced in each of the R, G, and B color channels contains a certain amount of information — in this case, 8 bits of information. So this is referred to as the

BT 709, and Rec 709

BACKGROUND: Knowing how to add Script Marks manually, one at a time, is important. However, adding them one at a time, can be slow and tedious when you're marking an entire "Take." So, Avid provides a way for you to manually add Script Marks to a "Take" in a faster way. QUESTION: To begin a faster, more automated, method of adding Script Marks, what button will you use from inside the Script Window?

Blacked-out Stop Sign symbol

BACKGROUND: The American Society of Cinematographers (ASC), developed a standardized method for describing how the image for a shot should appear (often referred to as the "Look"), so that it can be viewed consistently the same as it travels around from one application to another during post production. The ASC's method uses what is called a Color Decision List (CDL). Each color channel (R, G, and B) gets four (4) different numeric instructions (I think of it as a recipe). The 4 ingredients are: Saturation (SAT) Slope Offset Power QUESTION: Offset relates to what aspect of the image? Rap Darkness Earnestness Fuzziness Boldness Brightness Pleasantness Wellness

Brightness

BACKGROUND: In Trim Mode You Are... QUESTION: What information gets displayed in the two purple boxes which are labeled "C" and "D" in the picture, above? C = Volume level (decibels) of the the "A-Side" shot. D = Volume level (decibels) of the the "B-Side" shot. C = Duration of Pre-Roll on the "A-Side" shot. D = Duration of Post-Roll on the "B-Side" shot. C = Number of frames either added or removed from the "A-Side" shot. D = Number of frames either added or removed from the "B-Side" shot. C = Estimated Render Time. D = Actual Render Time. C = Full duration of the "A-Side" shot. D = Full duration of the "B-Side" shot. C = Resolution of the "A-Side" shot. D = Resolution of the "B-Side" shot. Answer I know not.

C = Number of frames either added or removed from the "A-Side" shot. D = Number of frames either added or removed from the "B-Side" shot.

BACKGROUND: You're Text View and you have 99 clips in the bin. You currently have the standard column for "Name" displayed, and you have also created a custom column which you have called "Original Name." You want to copy the current Clip "Names" into the "Original Name" column before you make changes to the clip names within the Name column. QUESTION: How do you accomplish this magically fast operation? Click the Column Header that says "Name" to select the entire column. Hold the Shift Key and then select the Column Header where you want to copy that information into (in this case it would be the column you named "Original Name." Lastly, go to the Bin menu and select the option "Copy Data." Click the Column Header that says "Name" to select the entire column, then use the keyboard shortcut for "Duplicate," which is Cmd/Ctrl + D. This will cause a dialog window to open. In that window, select the name of the colu

Click the Column Header that says "Name" to select the entire column, then use the keyboard shortcut for "Duplicate," which is Cmd/Ctrl + D. This will cause a dialog window to open. In that window, select the name of the column you want the duplicate information to be pasted (in this case, the column called "Original Name." Lastly, click the OK button.

QUESTION: What is the keyboard shortcut to make all the thumbnail images ("Representative Frames") that appear in the Script window larger? Cmd/Ctrl + Up Arrow Cmd/Ctrl + K Cmd/Ctrl + A Shift + Cmd/Ctrl + G Cmd/Ctrl + L Cmd/Ctrl + P Cmd/Ctrl + S Cmd/Ctrl + 8

Cmd/Ctrl + L

A feature that reduces a bit of button pressing (in order to make the editing process even faster) is called Single Mark Editing (which can be used whether you are editing from a Script or not). Where do you enable the Single Mark Editing feature? Timeline settings > Display tab > then enable Single Mark Editing Clip menu > select Single Mark Editing Command Palette > Use Button to Button Reassignment to add Single Mark Editing wherever you like to the keyboard. Right-click in the Timeline Window > choose Single Mark Editing from the menu Composer Settings > Edit tab > then enable Single Mark Editing All of the above None of the above

Composer Settings > Edit tab > then enable Single Mark Editing

BACKGROUND: The American Society of Cinematographers (ASC), developed a standardized method for describing how the image for a shot should appear (often referred to as the "Look"), so that it can be viewed consistently the same as it travels around from one application to another during post production. The ASC's method uses what is called a Color Decision List (CDL). Each color channel (R, G, and B) gets four (4) different numeric instructions (I think of it as a recipe). The 4 ingredients are: Saturation (SAT) Slope Offset Power Saturation is a concept you're familiar with already — it's the intensity of a color, or you could say the richness of a color. The other three (Slope, Offset, and Power), however, are likely to be new terms to you. The good news is that what each of those terms relates to are aspects of the image that are not totally foreign. QUESTION: Slope relates to what aspect of the image? Chroma

Contrast

What three (3) operations/processes can a Dynamic Media Folder be instructed to perform? *Select three (3) answers below. Merge Copy Flatten Consolidate Collapse Transcode Splice Overwrite Trim

Copy Consolidate Transcode

BACKGROUND: Remember that all questions relate to Media Composer version 8.6 which is the focus of the book and the 210 Exam (your Final Exam). QUESTION: Export User or User Profile is one of the options from the pull-down menu near the top of the Settings pane. What are three (3) other options available from that same menu?* Select three (3) answers below. Create User Profile Reset User Profile to Default Delete User Profile Import User or User Profile Update User Profile Expunge User Profile Erase User or User Profile

Create User Profile Import User or User Profile Update User Profile

BACKGROUND: This question is testing your memory. The answer will not be found in Lesson 2. QUESTION: Avid's AutoSync™ dialog window has some similarities with the dialog window of what other Avid feature/process? Sync Point Editing Audio Slipping Creating Group Clips Modifying Clips Guiding Clips Galloping Clips Creating a Sequence

Creating Group Clips

IMPORTANT: Make sure to take note of how version 8.6 differs (slightly) from the current version. BACKGROUND: Yesterday you set an area of dialog in the Script Window that a particular Take covers, and you have added the source clip to the Script. Today, after plaything the entire clip, you realize that the area of dialog you have set in the script is too short, and needs to be extended by another 2 lines of dialog. How do you extend the vertical line (which defines the duration of the Take)? It cannot be changed. You will have to recreate the Take and all the Script Marks. Ctrl/Cmd-click on the bottom end of the vertical Take line and drag it longer with the mouse. In version 8.6 the bottom of the vertical Take line will be a small horizontal line (as shown in the book), while in version 2020.x and later it is a black square. Script menu > Interpolate Position Select the vertical Take line so it becomes bolder.

Ctrl/Cmd-click on the bottom end of the vertical Take line and drag it longer with the mouse. In version 8.6 the bottom of the vertical Take line will be a small horizontal line (as shown in the book), while in version 2020.x and later it is a black square.

A file format known as Digital Picture Exchange is often used to exchange film/video from one application to another — for example: when visual effects work is done using two or more computer applications. They are typically a collection of files (i.e. an Image Sequence). Each file equals one frame of film or video. So, if your project is at 24 fps (frames per second), then 240 files = 1 shot that is 10 seconds long. What is the abbreviation for this type of file? X-DPP DPG MFX DPX DOH! None of the above

DPX

BACKGROUND: The picture above shows the folder and file structure of the Avid MediaFiles folder. In addition to the media files (the video and audio files) there are two other files within each and every numbered folder that is inside the Avid MediaFiles folder. QUESTION: While each file serves a different purpose, how do we refer to these two files, together, in a general way? Donut files Data-files Database files Data-Meta files Datum files Debbie's files Dailies files

Database files

BACKGROUND: Getting the film image out from one application and into another, AND ensuring that the image remains both unchanged (e.g., not errantly made a little brighter or darker), and of the highest quality is very important. It is very common to take every frame of the shot (e.g. 24 frames per second) and make (export) each frame as its own, separate digital file in a format known as "DPX." So, let's say you have a shot that is exactly 10 seconds long. After you have exported it as a "DPX Image Sequence", you will have a folder that contains 240 separate image files (10 seconds multiplied by 24 frames/second). Each file will automatically be named with a number included so they can all be reassembled properly in order in the other application. The file names would have a pattern very similar to this: [Shot Name]_0001.dpx, [Shot Name]_0002.dpx, [Shot Name]_0003.dpx, [Shot Name]_0004.dpx, etc., etc..... [Shot Na

Digital Picture Exchange

BACKGROUND: When using a Script, there is a different method than we're used to in order to load a clip into the Source Monitor. QUESTION: What is one (1) of the ways to load a clip, which is in a Script, into the Source Window? Double-click in the thumbnail image (which Avid calls the "Representative Frame"). Right-click on the Clip in the script, then select Load Clip. Double-click on the small box (outline of a square) that is below the thumbnail image. Officially, this small box is called the Take box. If you haven't already entered a Take Number then the box will be empty, while if you have entered a number, then it will appear inside that small box. Select the clip's thumbnail image, then just drag it to the Source Window. If there is more than 1 Take, then they will all be loaded into the Source Window. Lasso the clip(s) from top-left to bottom-right to select them. Next, Right-click on any of the select

Double-click on the small box (outline of a square) that is below the thumbnail image. Officially, this small box is called the Take box. If you haven't already entered a Take Number then the box will be empty, while if you have entered a number, then it will appear inside that small box.

BACKGROUND: Click the link below the picture and you'll see that on the top of some segments there are different colored lines: orange, blue, green, and red. QUESTION: What are these colored lines? The Media Alert feature is enabled and the colors are relating where frames in the original media files have become corrupted and could cause issues during export. The Dropped Frames feature is enabled and the colors are relating where frames were 'dropped" (skipped) during playback. Dupe Detection is enabled and the colors are relating what frames have been duplicated (used more than once) in the Timeline. The Render Ranges feature is enabled. Avid refers to the colored areas as "Recommended Render Ranges" that should be rendered before export. Those segments are just feeling festive. None of the above

Dupe Detection is enabled and the colors are relating what frames have been duplicated (used more than once) in the Timeline.

QUESTION: Which 4 choices below describe ways to enter into Trim Mode?* Select four (4) answers below. Enable the Smart Tool Trimming button. Press the letter "U" key on the keyboard. Lasso around a cut point (a transition). Press either the "A" or the "S" key on the keyboard which activates a behavior that has different names, depending on which version of Media Composer you're using. In version 8.6 (which the book and the exam cover) it's called "Go To Previous Edit" (key: A) and "Go To Next Edit" (key: S), while in version 2020.x and later it's better named as "Go To Previous Trim" and "Go To Next Trim." Timeline menu > Trim Settings > User > Trim Right-click in the timeline > Modify > Trim Snap your fingers

Enable the Smart Tool Trimming button. Press the letter "U" key on the keyboard. Lasso around a cut point (a transition). Press either the "A" or the "S" key on the keyboard which activates a behavior that has different names, depending on which version of Media Composer you're using. In version 8.6 (which the book and the exam cover) it's called "Go To Previous Edit" (key: A) and "Go To Next Edit" (key: S), while in version 2020.x and later it's better named as "Go To Previous Trim" and "Go To Next Trim."

BACKGROUND: You have a Timeline that is 44 minutes long. Your goal is locate all the clips that include the text "Tina Turner" in the clip name. QUESTION: Where can you go to search through the timeline for this text? A B C D E F G

F

QUESTION: What are the steps to place clips into a script window? FIRST, within the Script: Select/Highlight the dialog which the clip(s) relates to. NEXT, right-click the area you highlighted within the script. Then, from the menu, choose Associate Clips. A window opens and then you just drag the clip(s) from the bin into that window, and click OK. FIRST, within the Script: Select/Highlight the dialog which the clip(s) relates to. NEXT, from a bin: Select one or more clips, and drag them to the area you highlighted within the script. FIRST: Within a bin: Select one or more clips, and then Right-click on it/them. NEXT: From the Right-click menu select Link to Script. Within a bin: Select one or more clips, and then drag them anywhere within the open Script window. Windows menu > Script > Associate Clips > A window opens and then you just drag the clip(s) from the bin into that window, and click OK. None of the

FIRST, within the Script: Select/Highlight the dialog which the clip(s) relates to. NEXT, from a bin: Select one or more clips, and drag them to the area you highlighted within the script.

THIS STATEMENT IS TRUE: The Color Space commonly referred to as Rec 709 is what defines the range of colors that can be created in an HD video signal and displayed on an HD broadcast monitor. QUESTION -- TRUE or FALSE: The range of colors in Rec 709 is equal to the range of colors that humans can see in the world (i.e. within the visible spectrum).

False

True or False: Avid allows you to display any metadata (information) that is related to a clip using different column displays (e.g. Start TC; Color for a source clip; or Comments), but you cannot create your own custom column where you can add any data that you'd like.

False

True or False: Dynamic Media Folders (DMF) works together with Background Services, therefore Avid Media Composer must be running in order to use the Background Services feature.

False

True or False: If/When you want to remove a LUT or a CDL from either your project or from your computer system (or both), Media Composer has a Tool that will assist you with deleting it, so you do not have to do it manually.

False

True or False: In order to delete a User Setting from a computer system you will do the following: Tools menu > Settings Management > User Settings > within the window that opens, select the setting you wish to delete > Click OK.

False

True or False: In version 8.6 it is not possible to map a Workspace to the interface or to the keyboard so that you can use either one to activate it.

False

True or False: Once a LUT or CDL is applied to a Source Clip it cannot be removed or changed.

False

True or False: When a bin is placed in "Text View" it is not possible to display a thumbnail image of the clips and/or sequences in that bin.

False

QUESTION: The pathway to import a script is what? Windows > Open Script Tools > Script > Import File menu > Import > Import Script Script menu > Import File menu > New > New Script Bin menu > Import > Import Script Bin menu > New > Open Script

File menu > New > New Script

In order to have audio slipping ability (as described in the book), an Avid project MUST have been set as a ___?___ type of project when it was first created. It is not possible to set/change this after the project has been created. "Stereoscopic" "Slippable" "Slidable" "Film" "Flammable" "Faze" "Falafel"

Film

BACKGROUND: You are the editor, and your assistant added some new source clips into the DMF. The last step that Background Services will perform is to Transcode the clips. You have already "Acquired" the bin that contains the 'Linked' clips (meaning AMA Linked; the icon has the chain link symbol on it). You are actually editing the scene, using some of the newly added clips that are 'linked' (which is a great way to keep moving forward and getting work accomplished). In an hour all the processing will be completed (meaning the Transcoding will be finished) and your bin will also include Master Clips that are connected to (i.e. Linked to) the transcoded media. QUESTION: How will you get your Sequence, which includes some of the 'linked' clips, to instead connect to the newly transcoded clips? In other words: what is the general process as described by the author in the book? First, select the Sequence. Next, go t

First, move the transcoded clips into the same bin as the Sequence. Next, select the Sequence as well as all the transcoded clips. Then, Right-click on the Sequence and select Relink. In the Relink dialog window, select the option that reads, "Selected items in ALL open bins." Lastly, click the OK button.

BACKGROUND: You have a bin that contains all the source Master Clips for Scene 52. You've been given a LUT file named "Scene_52.cube" and you have already copied it to your computer's desktop so you can locate it easily later. QUESTION: What steps will you follow in order to import the LUT, so that it can later be applied to the clips? First, select all the clips in the Scene 52 Bin. Next, Right-click on the selected clips and choose Source Settings. In the Source Settings window, click the button labeled as "Color Management Settings." Within that window, select "Project" (or "Both") so that the LUT is imported and saved into that Project's folder. First, select all the clips in the Scene 52 Bin. Next, Right-click on the selected clips and choose "Color Management Settings." Within that window, select "Project" (or "Both") so that the LUT is imported and saved into that Project's folder. First, select all the cl

First, select all the clips in the Scene 52 Bin. Next, Right-click on the selected clips and choose Source Settings. In the Source Settings window, click the button labeled as "Color Management Settings." Within that window, select "Project" (or "Both") so that the LUT is imported and saved into that Project's folder.

In the context of the Avid MediaFiles folder, what are the differences between a folder that is named with only numbers and one with a name that contains a letter? **Select two (2) that apply. Folders with names containing any characters other than numbers (e.g. letters) will be invisible to Media Composer and all the related Master clips will show as "Media Offline." Folders with names containing any characters other than numbers (e.g. letters) can only be read from. The application (Media Composer) cannot write (in other words: cannot add) any more media files to that folder. Folders with names containing any characters other than numbers (e.g. letters) will cause the folders to be sorted incorrectly and cause Master Clips in the project to link to incorrect media files. Folders with names containing any characters other than numbers (e.g. letters) can only be read from. The application cannot update the databa

Folders with names containing any characters other than numbers (e.g. letters) can only be read from. The application (Media Composer) cannot write (in other words: cannot add) any more media files to that folder. Folders with names containing any characters other than numbers (e.g. letters) can only be read from. The application cannot update the database files if/when any changes to its contents happens.

The method to add a setting to the Site Settings is ___?___ In the Settings display in Media Composer, simply Right-click on the setting you want to copy. From the menu, select: Add To Site Settings. From the Settings display window in Media Composer, simply drag a setting into the open Site Settings Window. In the Settings display in Media Composer, highlight (left-click once to select) the particular setting you want to copy. Go to the File Menu and select Add Selected To Site. Windows menu > Site Settings > Right-click in the Site Settings Window. From the menu select Choose Setting > In the Settings display in Media Composer, highlight (left-click once to select) the particular setting you want to copy.

From the Settings display window in Media Composer, simply drag a setting into the open Site Settings Window.

BACKGROUND: The American Society of Cinematographers (ASC), developed a standardized method for describing how the image for a shot should appear (often referred to as the "Look"), so that it can be viewed consistently the same as it travels around from one application to another during post production. The ASC's method uses what is called a Color Decision List (CDL). Each color channel (R, G, and B) gets four (4) different numeric instructions (I think of it as a recipe). The 4 ingredients are: Saturation (SAT) Slope Offset Power QUESTION: Power relates to what aspect of the image? Ganglion Geometry Graphite Girth Gland Gable Gamma Gap Goop Gradient

Gamma

BACKGROUND: It is possible to save an unlimited number of different display setups for your Timeline (e.g. one with very wide tracks, and another with very narrow tracks). Avid calls these various display setups "Timeline Views." QUESTION: Where do you go in order to save a Timeline View, or to select one that you created previously? Timeline Toolbar > View menu (next to the audio meters) Timeline menu > Display > Views Letter A — Timeline Window Fast Menu > Views Letter F — Timeline Window text entry box, then type in the name of the Timeline View you want to be displayed. Letter C — Click that button and Avid will switch to another of your saved Timeline Views. Just click it multiple times in order to cycle through all of your saved Timeline Views. Letter E — Timeline Window > 'View' menu at the bottom of the Timeline Window (next to the Step In/Out buttons). Control Panel > View menu None of the above.

Letter E — Timeline Window > 'View' menu at the bottom of the Timeline Window (next to the Step In/Out buttons).

QUESTION:In the context of Media Composer's Script Integration features, what does Interpolate Position mean? Spline Media Composer analyzes all the dialog and automatically adds keyframes to the source in order to either raise or lower the volume of the dialog so that the result is a consistent volume of dialog throughout the scene. Elastic Bezier Fixed Media Composer will make its best guess as to where a selected (double-clicked on) line of dialog exists in the source clip. Shelf Media composer will automatically adjust the placement of the Slate Image within the Script window as you scroll up and down. Linear Animation None of the above

Media Composer will make its best guess as to where a selected (double-clicked on) line of dialog exists in the source clip.

QUESTION: In relation to adjusting the appearance of an image, what does Gamma mean? Highlights Mid-tones Shadows Hue Saturation Radiation

Mid-tones

BACKGROUND: You and your assistant are on a network (meaning that you're both connected to the same server), and are both able to connect to, and work with, the exact same project at the very same time (one of many cool things you can do with Avid Media Composer). While you are busy editing, your assistant calls or messages to tell you that they have added some new footage to the DMF/"watch" folder. QUESTION: How can you obtain the bin that contains the clips which are currently being processed by Background Services? File Menu > Input > Acquire Media Open the Dynamic Media Folder window > Click the green icon that appears in the column with the heading name of "Acquire." Open the Background Queue Window > Right-click > select "Acquire" Composer Menu > Acquire Media None of the above

Open the Dynamic Media Folder window > Click the green icon that appears in the column with the heading name of "Acquire."

QUESTION: How would you search all the comments that have been placed along with all the Markers that have been placed into anything in the project? Open the Markers Window > Type in the word you're searching for > Click the Find button. File menu > Search Markers. Open the Find Window > Enable the Markers button > Type in the word you're searching for > Click the Find button. Timeline menu > Search Markers. None of the above.

Open the Find Window > Enable the Markers button > Type in the word you're searching for > Click the Find button.

BACKGROUND: It can be annoying that when a Marker is added that a "Pop-Up" dialog window also opens — much of the time I just want to place a Marker and not have to add a comment or waste time hitting the OK button. QUESTION: Where does the book relate to go in order to modify the behavior so that when you add a Marker, then the Pop-Up dialog window does not open? PS — in version 2021.x there is a second place that you can set this preference. Do you know where it is? If not, ask me! :) Open the Markers Window > Click on the Fast Menu icon in the bottom-left corner of the Markers Window > Select "Disable Marker Pop-Up When Adding." Click on the Fast Menu in the bottom-left corner of the Timeline Window > Show Markers > Select "Disable Marker Pop-Up When Adding." Timeline menu > Markers > Select "Disable Marker Pop-Up When Adding." Settings > User > Interface > Select "Disable Marker Pop-Up When Adding." Window

Open the Markers Window > Click on the Fast Menu icon in the bottom-left corner of the Markers Window > Select "Disable Marker Pop-Up When Adding."

What is the official name that Avid has given to the instructions that are applied to a Dynamic Media Folder (DMF) which tell Background Services what it should do when someone puts a file inside the DMF? — My analogy is that they are the instructions given to/applied to a folder, while the book's author makes the analogy that they are a Script. Charles Command Buddy Order Profile Directive Procedure Process Emmett

Profile

Bin Layouts are which type of Setting? Site Setting Editor Setting Project Setting User Setting Interface Setting Deprecated Setting Special Menu Setting

Project Setting

Media Composer has three (3) general categories of settings. These settings are called what? * Select the three (3) category names: Project Settings Timeline Settings Site Settings Media Management Settings General Settings Operational Settings User Settings Moe Larry Curly

Project Settings Site Settings User Settings

QUESTION: How are Project Settings different form User Settings? Project Settings are stored inside the Avid MediaFiles folder, while User Settings are stored inside the AvidMediaComposer folder. All Project Settings are not customizable, while User Settings are. Project Settings are unique to each project that is created. They are stored inside the Project's folder — they are not saved as part of your User Settings. Project Settings are stored within a single file named P_Settings.xml, while User Settings are stored within a single file named US_Settings.xml. Project Settings are flavored as Chocolate, while User Settings are flavored as Mint Chocolate Chip. None of the above.

Project Settings are unique to each project that is created. They are stored inside the Project's folder — they are not saved as part of your User Settings.

BACKGROUND: Remember that all questions relate to Media Composer version 8.6 which is the focus of the book and the 210 Exam (your Final Exam). QUESTION: What is the pathway to Export your User Settings? File menu > Export User or User Profile. File menu > Export > Export User or User Profile. Project Window > Settings Tab > Pull-down menu near the top of the window > Export User or User Profile. Project Window > Info Tab > Pull-down menu near the top of the window > Export User Profile. Timeline Window Fast Menu > Export > Export User or User Profile. Right-click in the Record Monitor > Export > Export User or User Profile.

Project Window > Settings Tab > Pull-down menu near the top of the window > Export User or User Profile.

User Settings can be created using a menu in the the Project Selection Dialog Window that appears when you first launch Media Composer. What is a second location? ** REMEMBER, the answer relates to what is in the book, rather than in the current release of the application. Project Window > Settings tab > User Settings Menu > Create User Profile Project Window > Right-click in open area > from menu, select "New User Setting" File Menu > Settings > New User Profile Composer > Settings > User Settings > Create User Profile

Project Window > Settings tab > User Settings Menu > Create User Profile

BACKGROUND: On page 48, note the box with the purple border. JUST SO YOU KNOW: Cleaning up clip names using the method discussed in the book is old, sad, and time consuming. In version 2021.2 and later you can use the new "Find and Replace" feature. Access this feature from the Bin Fast Menu, as seen in the picture, below. REMEMBER: "Find & Replace" does not exist in version 8.6 (which your exam will focus on). Aren't you glad you live in the future, and have Find & Replace?! Now, choose this answer and move on to the next question. Don't choose this one. Choose the one above.

REMEMBER: "Find & Replace" does not exist in version 8.6 (which your exam will focus on). Aren't you glad you live in the future, and have Find & Replace?! Now, choose this answer and move on to the next question.

What are the names of the two (2) Color Spaces that we are focusing our learning on for this class? * Select the two (2) that apply. Charlie CMYK RGB XAVC Rec 709 XDcam Luma-Gamma "CL" (Chroma-Luma) Emmett CCR BTO

RGB Rec 709

BACKGROUND: If you place a Sequence into a bin all by itself, there is a way to reveal all the Master Clips that the Sequence links to (because a part of the Master Clip is being used in the Sequence). QUESTION: Which of the locations below is one of the several places you can find the menu selection for "Set Bin Display"? Right-click inside the Timeline Window > choose "Set Bin Display" > Select "Show Reference Clips." Right-Click on the Project Window (open area) > choose "Set Bin Display" > Select "Show Reference Clips." Right-click in the open bin that holds the Sequence > choose "Set Bin Display" > Select "Show Reference Clips." "Special" menu > choose "Set Bin Display" > Select "Show Reference Clips." "Windows" menu > choose "Set Bin Display" > Select "Show Reference Clips."

Right-click in the open bin that holds the Sequence > choose "Set Bin Display" > Select "Show Reference Clips."

What are the two (2) pathways to open the "Source Settings?" * Select two (2) answers below. Select a clip, or clips, in a bin. Go to the Timeline window's Fast Menu and select Show Adapters. Select a clip, or clips, in a bin. Go to the Timeline window's Fast Menu and select Clip Frames. Select a clip, or clips, in a bin. Go the Clip menu and select "Color Transformation." Select a clip, or clips, in a bin. Then (in version 8.6) go to the Project Window > Settings > User > Correction Select a clip, or clips, in a bin. The Right-click on the selected clips. From the menu that appears, select Source Settings. Select a clip, or clips, in a bin. Go to the Clip menu and select Source Settings.

Select a clip, or clips, in a bin. The Right-click on the selected clips. From the menu that appears, select Source Settings. Select a clip, or clips, in a bin. Go to the Clip menu and select Source Settings.

BACKGROUND: Last week you edited a scene, and today were given a CDL from the Colorist. You have already applied the CDL to the Master Clips used in the scene. QUESTION: What must you do in order for those changes to the Master Clips to appear in the Sequence? Select the Sequence in the bin, Right-click on the sequence; and from the menu choose Update LUT/CDL Select the Sequence in the bin, Right-click on it; and from the menu choose Reinterpret Source Data Select the Sequence in the bin. Then, Right-click on the Sequence. From the menu choose Refresh Sequence - All Select the Sequence in the bin, then go to the File menu and select Update Sequence. Do nothing — the sequence is automatically updated after the new CDL is applied to the Master Clips.

Select the Sequence in the bin. Then, Right-click on the Sequence. From the menu choose Refresh Sequence - All

BACKGROUND: The author tells us how to delete an entire Take, but does not tell us how to delete an individual Script Mark, or a selection of multiple Script Marks. There are two (2) ways to delete them, actually. Select the Script Mark(s) by clicking on, or lassoing around, it/them. Right-clicking on a selected Script Mark will produce a menu. In addition to Delete, you should take note of the other options within that menu. After selecting Delete from the Right-click menu, then a small window containing choices about what you want to delete appears. In the window, select what you would like to delete, and then click OK. NOTE: You can also simply highlight the Script Mark and its Take, and then press the Delete key on the keyboard to open the small selection window. QUESTION: Looking at the Right-Click menu in the picture, above, which answer below is one of the possible selections you can make? Sequence Settings

Set Font

BACKGROUND: There will be times when we're editing quickly — say, for a news story that has to get finished really fast — and, in our hurry, we may accidentally create a Flash Frame (just 1 frame, or a few frames, of video) or possibly a fame or more of Filler in the video track. Within the Timeline menu (main menu) you'll find selections for "Find Black Hole" (Filler) and for "Find Flash Frame," both of which can be mapped to your keyboard or interface, if you use them a lot. HOW THEY WORK: Find Black Hole — the definition of a "Black Hole" is any Filler on a Video track that is between two video segments. It will find any duration of Filler on the video track(s) you have enabled. Find Flash Frame — This feature only works on the Video Tracks you have enabled. The default setting is to find flash frames that are less than 10 frames (i.e. 9, 8, 7, etc.). "Find Flash Frame" will also search audio tracks if they are e

Settings > User > Timeline > Edit tab

BACKGROUND: One pathway to open the Workspace Properties dialog window is Windows menu > Workspaces > Properties. QUESTION: What is another pathway to open the Workspace Properties dialog window? Composer menu > Workspace Properties Tools menu > Workspace Properties Settings > User settings > Workspace View > Double-click the named Workspace to open the Properties dialog window that you want to modify. Composer menu > Workspaces > Workspace Properties Settings > Project settings > Workspace Properties Settings > Site settings > Properties > Workspace Properties None of the above

Settings > User settings > Workspace View > Double-click the named Workspace to open the Properties dialog window that you want to modify.

BACKGROUND: The book/author discusses Linking to a DPX Image Sequence (and most likely then transcoding it). There are a few different settings that may be configured for linking to a DPX Image Sequence. QUESTION: Where would you find the settings mentioned above? Clip menu > AIS Metadata Settings > User tab > Import settings > Image tab Settings > User tab > Link settings > AIS Metadata tab Settings > Project tab > AIS Metadata tab Settings > Site tab > HDR Metadata File menu > Media > Media Creation settings None of the above

Settings > User tab > Link settings > AIS Metadata tab

BACKGROUND: The default setting behavior for the Video Monitor is to move to the same track that you're patching to — Avid calls this Auto Monitoring. This often causes some frustration — one example is when you're working on an effect with multiple video tracks, and you'd prefer that the Video Monitor stay at the track you placed it while you're patching. For example: in the picture, above, you'd prefer that the Video Monitor stay at V10 even though you're patching to V4. QUESTION: Where would you go in order to turn off the Auto Monitoring behavior? Timeline menu > Auto Monitoring (DEselect it) Timeline Window Fast Menu > Monitoring > Auto Monitoring (DEselect it) Settings > User tab > Timeline settings > Edit tab > Auto Monitoring (UNcheck it) Settings > User tab > Composer Settings > Move tab > Auto Monitoring (UNcheck it) Settings > Project tab > Edit settings > Auto Monitoring (UNcheck it)

Settings > User tab > Timeline settings > Edit tab > Auto Monitoring (UNcheck it)

BACKGROUND: While I think the Smart Tools are pretty cool, I prefer to set it so that only one of the Segment Mode Tools can be enabled at a time — either the red Lift/Overwrite arrow, or the yellow Extract/Splice-In arrow. QUESTION: I just sent you an email saying that I've totally forgotten where to set the preference to allow only one Segment Tool to be enabled at a time. Where will you direct me to go to turn this preference on? Timeline menu > Smart Tools > select "Single Seg Tool" Timeline Window Fast Menu > Smart Tools > select "Single Seg Tool" Settings > Project tab > Edit settings > select "Single Seg Tool" Settings > User tab > Timeline settings > Edit tab > put a check in the box to enable: "Only one Segment tool can be enabled at a time." Settings > User tab > Composer Settings > Viewer tab > > put a check in the box to enable: "Only one Segment tool can be enabled at a time." Settings > Project t

Settings > User tab > Timeline settings > Edit tab > put a check in the box to enable: "Only one Segment tool can be enabled at a time."

In the context of color management, what does SOP stand for? Standard Operating Procedure Saturation, Opacity, and Parameter Separation Of Powers Saturation, Offset, and Polypropylene Slope, Offset, and Power Spatiotemporal, Oxidase, and Protocol None of the above

Slope, Offset, and Power

BACKGROUND: The author talks about "LUT"s and "CDL"s. First: LUT stands for "Lookup Table," and CDL stands for "Color Decision List." I think of these as instructions, or a recipe, that are applied to Source Clips, which tell Avid how to interpret the luma and chroma in an image for when it is displayed. In general, these two things (a LUT and a CDL) can be referred to with a few different names: as "Color Transformations," as "Color Encoding," or even as "Real Time Color Adapters. "QUESTION: Where do we access the Color Transformation/Color Encoding ability in order to apply a LUT to a Source Clip(s)? Bin Settings Bin menu Interface Settings Clip Menu Source Settings FrameFlex Settings Noe of the above

Source Settings

BACKGROUND: You are exporting your User Settings and have opened the Export User Profile window. Your goal is to have these settings not to Auto-Load and Auto-Save. QUESTION: What option do you choose within the Export User Profile window in order to achieve your goal? Personal Group Normal Bundle Standard Private

Standard

BACKGROUND: You have Linked to 67 source clips, and already applied a Color Transformation (a.k.a. a 'Real Time Color Adapter,' 'Color Encoding,' or a 'LUT') to all of them. Now you would like to Transcode all of those clips. You have already selected all the clips in the bin, and opened the Transcode dialog window. In that window is a section titled as "Apply Color Transformations." QUESTION: What happens if you enable the check box for "Color Encoding" and then perform the transcode? The LUT will be remain separate from the new media file that's created, so that it can be changed at anytime in the future. This is very often referred to as 'frosting' the LUT. The LUT will be permanently merged into the new media file that's created during the transcode process. This is very often referred to as 'baking in' the LUT. Avid saves the LUT data in a folder located at Applications > Settings > Color Encoding. Avid cr

The LUT will be permanently merged into the new media file that's created during the transcode process. This is very often referred to as 'baking in' the LUT.

BACKGROUND: The video image has been captured by the camera using what is called a Logarithmic color space (people just say "Log" for short). QUESTION: When viewing one of those camera files inside Avid (you've linked to them), and not having made any adjustments to it in any way, which of the following statements is true? When viewing "Log" footage on a computer monitor, it is best to use lighting in the room (i.e. lamps) that has an obvious reddish or yellowish color. There is no need to do anything with the clip. Avid reads each clip's metadata and automatically applies what Avid calls a "Color Transformation." The image will look dull, meaning that the contrast is low. This means that areas in the image that should appear black, are appearing more like dark gray; and the bright parts of the image may appear as if they are being restricted. Because of this, some might describe the entire image as looking "wash

The image will look dull, meaning that the contrast is low. This means that areas in the image that should appear black, are appearing more like dark gray; and the bright parts of the image may appear as if they are being restricted. Because of this, some might describe the entire image as looking "washed out."

BACKGROUND: You're in Trim Mode . . . and you're trimming . . . because that's what you do when you're in Trim Mode ;) QUESTION: What happens when you click on the button pictured below: Playback skips forward to the next cut point (transition). The playback loops in order to playback a short time before the cut point that you're trimming and a short time after it. It continues looping until you either click that button or press the Space Bar. The trim that you just made is changed back to how it was before making the trim. Nothing — this function has no relation to Trimming. None of the above

The playback loops in order to playback a short time before the cut point that you're trimming and a short time after it. It continues looping until you either click that button or press the Space Bar.

BACKGROUJD: One of the tools in the Script window allows you to mark a portion of dialog to indicate that it was delivered "Off Screen" (also known as "Off Camera"). QUESTION: Which icon below is for the "Set Offscreen" button?

The symbol with the capital I and a zig zag running through it

BACKGROUND: You are editing and your assistant just started some new source clips being transcoded with a DMF. Your assistant just let you know that the Background Services "job" has been started. So, you have "Acquired" the bin. Looking inside the bin you just acquired, you see clips with the link icon on them and those are online (you can see the image and hear the audio). Also in the bin are clips with the same names, but at the end of the name of each clip there's an added ".new" When you load one of the clips with ".new" on the end of its name into the Source Monitor what appears is the sad, gray "Media Offline" graphic. QUESTION: Why is the "Media Offline" graphic being displayed? There has been an error in processing. Any clips that show "Media Offline" are not needed. The transcoded media files have not yet been created and then automatically linked to those Master Clips. Your assistant has not yet loa

The transcoded media files have not yet been created and then automatically linked to those Master Clips.

QUESTION: Which three (3) below are User Settings? — Meaning that the name below appears as a selection within the User Settings pane.* Select three (3) answers below. Timeline Alpha Channel Calibration Bin Composer Matrix Interpolation Toolbar Timecode Synchronize Raster

Timeline Bin Composer

BACKGROUND: When you create a new Sequence, by default, it is created with only 1 video track and 2 mono audio tracks. You want to change this to your preference of 2 video tracks, 4 mono tracks, and 1 stereo track. QUESTION: Where can this setting be customized to your preference? Timeline Window Fast Menu > Track Panel Timeline menu > Set Default Tracks Timeline Settings > Edit tab Timeline Window Fast Menu > Default Tracks

Timeline Settings > Edit tab

BACKGROUND: You'd like to be able to color code some segments/shots directly your Timeline. QUESTION: What must you do first in order to be able to do this? Timeline Window Fast Menu > Clip Color > Enable the checkbox for "Timeline Local" Timeline menu > Local Colors Composer settings > Display tab > Local Colors Tools menu > Local Colors None of the above

Timeline Window Fast Menu > Clip Color > Enable the checkbox for "Timeline Local"

BACKGROUND: In the Sequence, we are used to seeing only the the name of each segment's source clip displayed. However, there is actually a sizable variety of information that can be displayed, as seen in the picture above. QUESTION: Where do you go to be able to display this extra clip information? Timeline Settings > Display tab > Show Clip Contents Clip menu > Modify > Display Clip Text Timeline Window Fast Menu > Clip Text Clip menu > Unlock Tracks > Display Clip Text None of the above

Timeline Window Fast Menu > Clip Text

BACKGROUND: Back in the days when the original film negative from the camera had to be cut-up in order to match how the film had been edited* it was vitally important to keep track of any frames (even just one of them) that were used more than once . . . because there was only 1 of them in existence! If a frame or a shot had to be used more than once in the movie then a duplicate negative had to be created by the film lab. That was the primary purpose of a feature in Avid called Dupe Detection. Today, however, Dupe Detection is less about detecting a frame or two that gets used more than once, and we use it as a helpful feature to identify shots that have been used more than once and, if so, how far apart they are used. * The person that did this job was called either a "Negative Conformer" or a "Negative Matcher." QUESTION: Where do you go in order to turn the Dupe Detection feature on? Tools Menu > Dupe Detecti

Timeline Window Fast Menu > Dupe Detection

BACKGROUND: You decide that you would like to color code your audio tracks. For example, you decide that A1 and A2, which are tracks reserved for dialog, will be light blue; tracks A3 thru A6, which are reserved for Sound Effects, will be light green; and tracks A7 & A8, which are reserved for music, will be light red. QUESTION: Where can you set the tracks to these custom colors? Interface settings > Timeline & Viewers tab Timeline Settings > Tracks tab > Color Timeline Settings > Edit tab > Custom Colors (tracks) Timeline Window Fast Menu > Clip Color Timeline Window Fast Menu > Track Color Timeline Window Fast Menu > Show Track Timeline Window Fast Menu > Clip Frames Timeline Window Fast Menu > Dupe Detection

Timeline Window Fast Menu > Track Color

BACKGROUND: In your bins, you have color coded the clips so that each character is a different color. You now want to have those colors displayed in your Timeline. QUESTION: Where do you go to turn that feature on? Clip menu > Modify > Clip Color Timeline Window Fast menu > Clip Color > Enable "Source" Timeline menu > Unlock Tracks > Display Source Color Timeline Window Fast menu > Clip Color > Enable "Timeline Local" All of the above

Timeline Window Fast menu > Clip Color > Enable "Source"

BACKGROUND: Some new source clips have been placed into the Dynamic Media Folder for processing. QUESTION: Where is one of the two places you could go in order to check on the progress? Windows menu > Background Queue Composer menu > Background Queue File menu > Input > Background Queue Tools menu > Background Queue Clip menu > Background Queue None of the above

Tools menu > Background Queue

BACKGROUND: There have been some changes and improvements to Script-based editing (btw: the formal name for script-based editing is "Script Integration") which, of course, the version 8.6 book does not talk about. In the User Settings, you'll find a selection for Script settings. One of the changes that could confuse you, if no one told you about it, is the new Pre-Roll setting. What that means is that Avid will back-up before playing from the Script Mark you placed within a clip. You can set the value to Zero, .5 seconds, or greater. QUESTION: Where will find the Add Script Mark button so that you can map it to your interface and/or your keyboard? Script menu > Script Tools Tools menu > Command Palette > Other tab Windows menu > Script Tools User Settings > Script None of the above

Tools menu > Command Palette > Other tab

BACKGROUND: The Dynamic Media Folders window can be opened by Right-clicking the circle-shaped icon, as shown in the picture, above. QUESTION: What other method for opening the Dynamic Media Folder (DMF) window is mentioned in the reading? Composer menu > Dynamic Media Folders File menu > Dynamic Media Folders Clip menu > Dynamic Media Folders File menu > Media > Dynamic Media Folders Tools menu > Dynamic Media Folders Windows menu > Dynamic Media Folders Avid Link > Dynamic Media Folders

Tools menu > Dynamic Media Folders

BACKGROUND: You've added 37 Markers of various colors (because you have assigned a meaning to each color) and placed them in many different places within your Sequence (or, for that matter, in a Master Clip); and now you'd like to see a window that shows of all those Markers for two reasons: 1. So you can easily double-click on any Marker in the display window and have your Playhead in the Timeline jump immediately to that location in the Sequence. 2. You'd like to read any comments you may have included when you first added the Marker. QUESTION: What pathway would you take in order to open the Markers Window? Windows menu > Markers Tools menu > Markers Timeline Window Fast Menu > Show Markers Timeline menu > Markers Settings > User > Interface > Markers Settings > Project > General > Markers

Tools menu > Markers

True or False: It is possible to connect ("Link") a Workspace and a Timeline View so that when a particular Workspace is activated that it also activates your chosen Timeline View at the same time.

True

True or False: It is possible to create a PDF of, or to print out, the information in the Markers Window.

True

True or False: It is possible to highlight a portion of a Take by assigning it a color (e.g. red, blue, yellow, etc.) This is generally done because you like the way the actor read her lines during that portion of the Take and you want to be able to locate that portion of the performance in the future.

True

True or False: The Color Space of a broadcast television display is different than that of a computer monitor display.

True

BACKGROUND: You have color coded the 64 clips in your bin using several different colors, and you can easily see these assigned colors when you're in Text View. However, you'd like to be able to see the colors that you assigned when you're viewing that bin in Frame View. QUESTION: Where would you be able to enable being able to see the assigned clip colors when any bin is placed in Frame View? User Settings > Interface > Bins > Lables > enable the check box for "Show Border Colors" as well as the for the selection "Use Clip Color." User Settings > Bin > enable the check box for "Show Border Colors" as well as for the selection "Use Clip Color." Clip menu > "Show Border Colors" Project Settings > Interface > Bins > Border Color Site Settings > Bins > "Show Border Colors"

User Settings > Bin > enable the check box for "Show Border Colors" as well as for the selection "Use Clip Color."

BACKGROUND: It is possible to connect (Avid says "link") a Bin Layout to a Workspace so that when the Workspace is activated, then the Bin Layout is also activated at the same time. One pathway to be able to set this up is: Settings > User > open the Workspace View setting (for the one which you want to connect the Bin Layout to) > select the saved Bin Layout from the Bin Layout Menu. QUESTION: What is another general pathway to being able to connect/link a Bin Layout to a Workspace? Interface settings > Bins tab > Bin Properties Bin menu > Align and Fill > Properties > select the saved Bin Layout from the Bin Layout Menu. Windows menu > Workspaces > Properties > select the saved Bin Layout from the Bin Layout Menu. Site settings > HDR Metadata > Properties > select the saved Bin Layout from the Bin Layout Menu. Follow the Yellow Brick Road None of the above

Windows menu > Workspaces > Properties > select the saved Bin Layout from the Bin Layout Menu.

There are several commonly used names for the specification that refers to broadcast television. For example, in some instances Avid refers to it as "Legal." Which one choice below is another of the many different names you might see that refers to the Broadcast color space? SMPTE-601 CMYK CM-YK-Cr YCbCr Larry CmYk-Cr 601

YCbCr

BACKGROUND: The picture, above, illustrates one of the two (2) places that various windows can be opened that relate to using Dynamic Media Folders, and Background Services. The three (3) windows available to be opened are the "Background Queue" window; the Background Services Dialog window; and the Dynamic Media Folders window. Before you can actually use Background Services you must "Start" them. Clicking this Background Services icon will reveal a menu where you can do things such as Start/Stop Background Services; or view the "Background Queue;" or even Quit Background Services entirely, as seen in the screen shot, below: QUESTION: Which of the icons below is the Background Services icon, that can be accessed even when Media Composer is not running??—— Note: on a Mac the icon will be in the menus across the top of the screen, while on a PC it will be located in what they call the "Taskbar."

the dotted lined arrows going right symbol

TOPIC: Using the AutoSync™ feature in Avid to sync a separate video clip with a separate clip of high-quality audio in order to create a brand new "AutoSynced" clip which has the video and high-quality audio married together into a single Clip, which is then used for editing. BACKGROUND: Just as was done in the days of shooting actual film, it is still very common today to have audio recorded separately from the video image. This is very often referred to as "Double System," because one thing (the camera) records the image and another (the audio recorder) records the audio. There are three (3) general scenarios you may encounter in present day filmmaking: Common, Jam-Synced Timecode:The camera (and possibly multiple cameras) along with the audio recorder are all supplied with the same timecode. This is often referred to as "Jam Syncing." If both the camera(s) and the sound recording equipment all share the same ti

the right bracket symbol

QUESTION: Which image below best illustrates what Script Marks look like?

the symbol with the non-filled pointy tips