AVID MC 200 Certification Exam Study Guide

The book discusses the two most common types of the MXF format. Both begin with "OP", which stands for "Operational Pattern." One is called OP-Atom while the other is called OP-1a. Question: How is OP-Atom different than OP-1a? OP-Atom is limited to 2GB file size. OP-Atom contains a proton and an electron, but does not contain a neutron. OP-Atom has every video and audio track as a separate media file. Video and audio are contained together in a single file, just like QuickTime works.

OP-Atom has every video and audio track as a separate media file.

You are already very familiar with the yellow "Splice In" arrow function, and the red "Overwrite" arrow function. But there is a third editing function available, which is colored blue. What is its name? Reinforce Edit Rearrange Edit Replace Edit Ripple Edit Reverse Edit None of the above.

Replace Edit

In the context of video production and post production, what are "Fields?" Large expanses of video information that can be used to produce an image. "Fields" is the correct way to refer to 24 contiguous frames of "Progressive" video footage. The two (2) parts that make up an "Interlaced" frame of video are referred to as "Fields." "Fields" is the term used to describe a collection of files that make up an "Image Sequence." Sally

The two (2) parts that make up an "Interlaced" frame of video are referred to as "Fields."

What is a simple description of a "Workspace" (as discussed in the lesson)? The location of your computer system (e.g. within an edit bay). A saved layout/arrangement that can include both windows and tools. Workspaces allow the editor to customize a working environment to their needs and preferences for when they are performing a particular type of work (e.g. Effects or Audio Mixing). The arrangement of the various external hardware used while editing. For example the arrangement of the editing monitor, Broadcast monitor, and local external hard drives. Don't choose this one. It's the wrong answer.

A saved layout/arrangement that can include both windows and tools. Workspaces allow the editor to customize a working environment to their needs and preferences for when they are performing a particular type of work (e.g. Effects or Audio Mixing).

BACKGROUND:In your Sequence is a Group clip that contains the following shots/angles: Wide Shot of both characters, Close-up of Actor 'A", and Close-up of Actor 'B." You're in Multicam Mode and you decide you'd like to take this Group Clip shot (a segment) that is in your Sequence and cut it into two separate video segments so you can change then the camera angle in one of the video segments — For example, instead of showing the Wide Shot, you want to change it to show the Close Up of Actor 'B.' QUESTION:What tool can you use to cut the video segment into two separate halves before changing the camera angle/shot? Blade Add Cut Razor Add Edit Cut Tool Slicer

Add Edit

How is a "Match Frame" edit indicated in the Sequence? A "+" symbol. A "\" symbol. A "∆" symbol. An "=" symbol. None of the above.

An "=" symbol.

Avid has set the default of a Project's Audio Sample Rate to 48K. If, for some very uncommon reason you wanted/needed to change this setting to 44.1K or 32K, what is the name of the setting category you'd open and would be able to do this? Playback Rate Settings Audio Bit Depth Settings Audio Project Settings Max Decibel Adjustment Settings

Audio Project Settings

When looking inside an Avid Media Composer Project Folder the files with the extension ".avb" are what type of files? Avalon Bay Communication Files Avid Binary Files Avid Broadcast Video Files Avid Bin Files Audio Video Bridging Files Audio Visual Busker Files

Avid Binary Files

In addition to video tracks and audio tracks, a Sequence can also have a Data Track. What is this track commonly used for? Closed Captioning Closed Captioning Closed Captioning Closed Captioning All of the above ← ← ←← ← ← ←

Closed Captioning

Depending on the version of Avid Media Composer you are using, you may have to map the functions that allow you to switch which camera's footage is made visible during editing — or, possibly you don't like where those functions are placed by default, and you'd like to put them somewhere on the keyboard that you prefer. Question: Where can the functions called "Previous in Group" and "Next In Group" be found? Tools Menu Button to Button Reassignment Control Palette Command Palette Multicamera Mode

Command Palette

You have placed a Mark In and a Mark Out (in either the Source Monitor or the Timeline) that are about 6 seconds apart. Holding the Opt/Alt key and then hitting the "Play In to Out" button does what? Plays everything that is outside the marked portion only. Continuously loops the portion between the 'Mark In' and the 'Mark Out' until you stop it by either hitting the "Play In to Out" button again, or just pressing the Space Bar. Plays forward only until the Playhead reaches the 'Out Mark.' Plays the selected portion backwards.

Continuously loops the portion between the 'Mark In' and the 'Mark Out' until you stop it by either hitting the "Play In to Out" button again, or just pressing the Space Bar.

When working in a project with a Raster (frame size), that is larger than HD's size of 1920 x 1080, Avid's codec has a slightly different name. Rather than being referred to as DNxHD, it's referred to as: DNxBL DNxGFA DNxEL DNxHR DNxUS None of the above

DNxHR

BACKGROUND: The client has provided you with a still image of their logo which they ultimately want you to place over the video, into the lower right corner of the frame. Bonus info: this is often referred to as a "bug." The dimensions of the graphic are 400 pixels x 250 pixels. The client has communicated to you that the graphic designer created it at the correct, final size. QUESTION: What Import Setting would you select? Image sized for current format Crop/Pad for DV scan line difference Do not resize smaller images Resize image to fit format raster None of the above

Do not resize smaller images

Removing an AMA Plug-in is easy becauseyou are able to use the Remove Plug-In Tool. True False

False

BACKGROUND: Your Avid MC project is High Definition (HD). You were provided (or you created) a still image that is 1920 x 1080. QUESTION: What selection would you make in the Import Settings? Image sized for current format Crop/Pad for DV scan line difference Do not resize smaller images Resize image to fit format raster All of the above

Image sized for current format

BACKGROUND — The following information is true: When you're Importing a file (either still or video) by dragging it from your computer directly into a bin you must have earlier/previously used Media Creation Settings to set two things: 1) the Video Resolution (a.k.a. the Codec) and 2) the hard drive/location where the media file(s) that get created will be stored. —— I'm pretty sure the book forgets to mention this important information, so make a note of it. QUESTION: When you're Importing a file (either still or video) by dragging it from your computer directly into a bin you must have earlier/previously set the Media Creation Settings (as discussed above) — What other settings must be pre-configured, too? Export Settings Safe Colors Setting Import Settings Video Display Setting All of the above

Import Settings

If you wanted to change the color of the Timeline Window's background from gray to dark purple, or to change the default font size for whenever you create a new bin, within which Settings Category would you be able to make these customizations? Presentation General Interface Windows

Interface

When working in a project with a Raster (frame size), that is larger than HD's 1920 x 1080, the various compression levels are denoted in a different way. These include "HQ", "SQ", and "LB," as in "DNxHR HQ," "DNxHR SQ," and "DNxHR LB." Question: What does "LB" stand for? Low Bandages Low Bandwidth Litres Buoyant Libra Bundle Lousy Burgers None of the above

Low Bandwidth

Which method below will allow you to make sure that ALL the tracksin your Sequence (the one loaded into the Timeline Window) become selected/enabled? MAC: Shift + Command + A PC: Shift + Control + A MAC: Option + A PC: Alt + A MAC: Command + F2 PC: Control + F2 MAC: Command + A PC: Control + A Hold the Shift Key while dragging the cursor up or down along the Track Selectors. Timeline Menu > Select All Tracks None of the above.

MAC: Command + A PC: Control + A

What is the Keyboard Shortcut to create a Group Clip? MAC: Command, G, RPC: Control, G, R MAC: Shift, Command, GPC: Shift, Control, G MAC: Shift, GPC Shift, G MAC: Opt, GPC: Alt, G

MAC: Shift, Command, G PC: Shift, Control, G

Media Creation Settings let you set default preferences for what things? Select the three answers below that apply: The raster size (frame size) of the image. Onto which drive media files will be stored. The frame rate of the project. The codec (the compression type, which Avid refers to as "Resolution") into which media will be created. Stopping media files from being stored on the Internal Hard Drive. The Color Space of the project. Maximum size of a media file (e.g. 100MB).

Onto which drive media files will be stored. The codec (the compression type, which Avid refers to as "Resolution") into which media will be created. Stopping media files from being stored on the Internal Hard Drive.

What are the two (2) possible colors of a Match Frame Edit Symbol in the Timeline?* Select the two (2) that apply. It depends on the color of the Segment. White Blue Green Red Cyan Yellow Magenta Black All of the above.

Red White

There are times when you want to see inside the Avid MediaFiles folder and locate the actual media file(s) of video and/or audio that are linked to a specific Master Clip in your bin. What is the process to be able to do this? Select the Clip in the bin, then go to the Clip Menu. From there select "Release File." Select the Master Clip in the bin, then go to the File Menu. From that menu select "Reveal File." Select the Clip in the bin, then go to the Tools Menu. From there select "Media Tool." Select the Clip in the bin, then Right-Click to reveal the menu. From that menu select "Set Bin Display" None of the above.

Select the Master Clip in the bin, then go to the File Menu. From that menu select "Reveal File."

GOAL: You have a really long Timeline that is 45 minutes in duration. You've been working at lightning speed and you're concerned you might have some Flash Frames. QUESTION: What would you do in order to change the setting for the "Find Flash Frame" function from its default value of 10 frames to your preference of 15 frames? This default value cannot be changed. Timeline Window Fast Menu > Set Flash Frames > Enter 15 in the dialog box that opened > Click OK. Settings > Timeline settings > Edit Tab > then, in the small entry box near the top, change the value from 10 to 15. Then click OK. Right-click in the Timeline. From the menu that appears: choose "Set Flash Frames" > Enter 15 in the dialog box that opened > Click OK.

Settings > Timeline settings > Edit Tab > then, in the small entry box near the top, change the value from 10 to 15. Then click OK.

When necessary, Media Composer will apply a Real Time (green dot) "Adapter" to a video segment (shot) in your Timeline. What are the three (3) indicators you could see? G, F, and/or A T, S, and/or C A, W, and/or R K, L, and/or S U, W, and/or M

T, S, and/or C

The terms Online and Offline can have different meanings,depending on the context of the conversation you're having.In the context of the editing process itself, the term Offline means what? * Select the 2 answers below that apply: Not currently available; i.e. not linking. The creative part of the editing process; i.e. the Crafting Stage. Only working with video that is Broadcast/Finishing quality (i.e. High Resolution). Indication that the Sync Pulse for Interlaced footage is not correct. The footage is very often at a low resolution (e.g. DNxHD36; DNxLB). You have lost the fish.

The creative part of the editing process; i.e. the Crafting Stage. The footage is very often at a low resolution (e.g. DNxHD36; DNxLB).

Avid uses the terms "Private," "Shared," and "External." What do these terms refer to? The Permissions setting on a particular file. Exporting the completed film or TV show. The location of where the Project folder is stored. Importing the media files.

The location of where the Project folder is stored.

Visually, how do you know if "Sync Point Editing" is currently enabled? There is no indication visually, you just have to be aware when you have it enabled or disabled. When you make an edit into the Sequence, a dialog window will appear to alert you, and ask you how you want to proceed. In the lower left corner of the Source Window, a small green square will be displayed to show that "Sync Point Editing" is enabled for use. The red Overwrite arrow icon will have a small orange mark displayed on it. The yellow Splice In arrow turns green.

The red Overwrite arrow icon will have a small orange mark displayed on it.

BACKGROUND — The following information is true: The book discusses the terms "Legal Range" and "Full Range." This relates to the range of brightness levels (Luminance Levels) available in each of the three Color Channels (in other words, the Red Channel, the Blue Channel, and the Green Channel). QUESTION: Full Range (a.k.a. "RGB Color Space") is a Luminance range from 0 to 255; and Legal Range (a.k.a. "Broadcast Levels") is a range from 16 to 235. True False

True

BACKGROUND: There will be times when video or animation are not provided to you as a single file (e.g. a QuickTime file). Instead, you will be provided with a folder that has multiple still images inside (e.g. 500 of them!). QUESTION: Each still image is an individual frame of the video or animation? True False

True

When you want to display the mask in the Record Monitor, how do you do that? Right-click in the Record Monitor and select "Target Mask." Windows menu > Display Mask Right-click in the Timeline Window and select "Target Mask." Composer menu > Display Mask

Windows menu > Display Mask

BACKGROUND INFO:In order to have the "Gang" button displayed, you must do one of the following: 1) Settings > Composer Settings > Window Tab > Button Display section > enable Two Rows — The Gang button appears by default on that second row of buttons--OR-- 2) Map the Gang function to a desired location using the Command Palette (it's in the section labeled "Other"). QUESTION: What icon below would you enable in order to "Gang" multiple monitors together so that when you move the Playhead in one monitor it will move an equal amount in all the other monitors because they have been "Ganged" together?

c.

The Effects Palette is one place you can get to the audio effects. What are the two broad categories that the Effects Palette organizes audio effects? * Select the two (2) that apply. "Global" — Effects that are applied globally to all clips in the sequence at once. "Audio Clip" — Effects that can be applied to a single segment in the timeline. "Omnidirectional" "Audio Track" — Effects that can be applied to an entire audio track in the timeline. "Parabolic" "Audio FX I/O" — Effects that are applied only to clips between the In and Out Marks set in the Timeline. All of the above.

"Audio Clip" — Effects that can be applied to a single segment in the timeline. "Audio Track" — Effects that can be applied to an entire audio track in the timeline.

Which of the icons below is for the function called "Collapse?"

D.

When you are viewing the different camera angles in "Quad Split" or "Nine Split" view, there is not a way to change the order of the shots (meaning: to change which shot appears in a particular "quadrant"). True False

False

When you complete a project and later delete the actual Project folder from your hard drive, Avid Media Composer will also automatically remove/delete the back-up bin files that were saved within the "Attic" for that project. True False

False

While it is possible to mute an entire track in a Sequence, it is not possible to mute an individual segment in a Sequence. True False

False

BACKGROUND: A group called the Advanced Media Workflow Association (AMWA) has made an effort to standardize the way files are provided (delivered) for various purposes, such as delivering a film, TV show, or commercial to a client for archiving ("AS-02"); or delivering to a Broadcaster so they can air/stream it ("AS-11").The AMWA developed almost 40 different specifications, and each specification is designed for a different purpose/use — or, in other words, for a different application. In your reading there was discussion about "AS-02." AS-02 stands for "Application Specification Zero-2." Another one of these is AS-11, which we'll learn more about after the midterm exam. Related to the various "Application Specifications" are files called "Shims." Shims are basically a set of rules that tell Avid how to output a bunch of items (files) into a single folder — this folder of stuff is called a "Bundle." The Bundle contains some text-based types of files (metadata) as well as the actual media, which is referred to as the "essence." In the various "Application Specifications," even the Codec of the exported video media is defined/dictated. Additionally, depending on the "Application Specification" & the Shim being used, the Bundle may also include additional metadata (information such as the Show Title, the Episode Number, the Output Date, even the editor's email address, and more). MORE BACKGROUND: In version 8.6 of Avid Media Composer (which your exam will cover) there are two (2) different ways to begin the process of making an AS-02 Bundle. One method is to go to the Project Window, then select the "Volumes" tab, and then click the "New Volume" button, as seen in the picture below. QUESTION: What is the second method available in version 8.6? Composer menu > New Export Volume Tools menu > New Export Volume File menu > New > New Export Volume Windows menu > New Export Volume Window Bin menu > New Export Volume

File menu > New > New Export Volume

Rather than have a source clip be displayed in the Source Monitor, how can you get it to be displayed in its own individual "pop-up" monitor. Select the clip in the bin, then Right-click and select "Open in Pop-up" from the menu. Press/Hold the Opt/Alt key when you double-click the clip in the bin. Press/Hold the Cmd/Ctrl key when you double-click the clip in the bin. Press/Hold both the "P" and "U" keys at the same time when you double-click the clip in the bin.

Press/Hold the Opt/Alt key when you double-click the clip in the bin.

QUESTION: How are the frequencies being effected in the picture above? The "Mid-Range" is "Boosted" The "Mid-Range" is "Cut" The "High End" is "Boosted" The "High End" is "Cut" The "Low End" is "Boosted" The "Low End" is "Cut" No adjustment has been made

The "Low End" is "Boosted"

QUESTION: How are the frequencies being effected in the picture above? The "Mid-Range" has been "Boosted" The "Low End" is "Boosted" and the "High End" is "Boosted" The "Low End" is "Boosted" and the "High End" is "Cut" The "Mid-Range" has been "Boosted" The "Low End" is "Cut" and the "High End" is "Boosted" No adjustment has been made

The "Low End" is "Cut" and the "High End" is "Boosted"

You have clicked the circled button in the picture below, and its appearance has changed to being gray, as illustrated below: QUESTION: What does this indicate? Track V3 is now "Unlocked" so it can be moved. Disables "Blending Modes" on all of Track V3 The entire Track V3 is "Muted." In other words, that track (and that track only) has been turned off and Avid plays like there's only Filler on that track — the Sequence plays as if nothing at all was on Track V3. Segments on Track V3 are permanently erased.

The entire Track V3 is "Muted." In other words, that track (and that track only) has been turned off and Avid plays like there's only Filler on that track — the Sequence plays as if nothing at all was on Track V3.

TRY THIS FIRST: Take a look in the Fast Menu that's in the bottom-left of the Timeline Window, and select the menu item "Show Adapters" and take a look at what's listed. QUESTION: The author of the book incorrectly labels the names of the 2 of the Real Time Adapters. The letters are correct, but the names are not.1. The Author says that "S" = Size, but the correct name is Spacial.2. The Author says that "T" = Timing, but the correct name is Temporal. True False

True

When copying the media files off of a Camera's storage card,It is very, very, very important to maintain the folder and file structure exactly as it exists on the camera's storage card. True False

True

When the operation "Commit MultiCam Edits" is used, each Group Clip is replaced by a regular clip/segment that references only the shot/angle that was selected/active at that time. True False

True

When you drag a file (still image or video) from the Desktop of the computer directly into a bin within Avid Media Composer, it is imported — meaning that a new media file is created that will be placed into an Avid MediaFiles folder. True False

True

With a GroupClip in in your Sequence: It is possible to be playing that Sequence in Real Time, and when you press an "M" key, or a number key on the Number Pad, then the system automatically places a cut in the Sequence and switches to the camera angle that corresponds to the button you pressed. True False

True

BACKGROUND: The term "File Extension" refers to the file type dictated after the dot/period in the file name. For example: in the file name Avid-Logo.jpg the portion ".jpg" is the file's extension. FYI: in the previous example the extension refers to a graphics file type called JPEG. QUESTION: Which one of the following file extensions would you expect so see on a file that is inside your Avid Project Folder? .mov .avi .mxf .avp .png .aaf

.avp

This icon is related to what feature of Avid Media Composer? "Faster-Faster" — It makes the selected clip(s) play faster. "PLT" — It starts/stops the Playlength Toggle function. "Avid Background Services" — Whether Media Composer is running or not, this reveals a menu with several selections. "SegForward" — It takes selected segments (shots) in the Sequence and moves them forward in time by an amount the user sets in preferences. None of the above.

"Avid Background Services" — Whether Media Composer is running or not, this reveals a menu with several selections.

Rather than use the Keyboard Shortcut to create a Group Clip, you can also select the "Group Clips..." command from one of the main menus that are up top. Which menu contains the Group Clip command? 1) Tools Menu 2) File Menu 3) Clip Menu 4) Composer Menu 5) Bin Menu 6) None of the above

3) Clip Menu

Avid's codecs (DNxHD & DNxHR), as well as Apple's ProRes codec, use what general method of compression? Long GOP Short POG Intraframe Extraframe None of the above

Intraframe

There are two (2) places where you can enable/disable the "Sync Point Editing" feature. Where are those two (2) places?* Select the two (2) correct answers below. Timeline Window Fast Menu > select "Sync Point Editing." Right-click anywhere within the Composer Window. From the menu that appears, select "Sync Point Editing." Make sure that the Composer Window is selected/active, then go to the Composer Menu and select "Sync Point Overwrite." Open the Control Panel > For the track you want to use Sync Point Editing you will click on the "Sync Point" button to enable it. Timeline Menu > select "Sync Point Overwrite."

Right-click anywhere within the Composer Window. From the menu that appears, select "Sync Point Editing." Make sure that the Composer Window is selected/active, then go to the Composer Menu and select "Sync Point Overwrite."

There are three ways that you can enable a feature called "Phantom Marks." One way is to go to Settings > Composer Settings > Edit Tab > Enable the checkbox for Phantom Marks. What are the other two ways?* Select the two (2) answers below With the Composer Window selected/active, go to the Composer Menu > Select to enable "Show Phantom Marks." Edit Menu > Select to enable "Show Phantom Marks." Timeline Window Fast Menu > Show Track > Select to enable "Show Phantom Marks." Right-click in the Timeline > from the menu that appears: Select to enable "Show Phantom Marks." Tools Menu > Select to enable "Show Phantom Marks."

Right-click in the Timeline > from the menu that appears: Select to enable "Show Phantom Marks." With the Composer Window selected/active, go to the Composer Menu > Select to enable "Show Phantom Marks.

Using multiple cameras during productionhelps speed both production and post production. It's generally referred to as "Multicamera" or simply "Multicam."In order to edit with Multicam footage we have to getall the different cameras' footage into alignment,which you already know is called "Syncing." Question:What three (3) methods listed below could be usedto get several cameras' footage into sync?* Select all 3 that apply. 1) If all the camera footage has the same sound on it as the separate audio files, then the common audio can be the sync-reference. 2) While recording, have all the camera people start recording at the same time. 3) Have all the cameras using the exact same Timecode. 4) Have the main ("A") cameras using Non-Drop Frame Timecode while the other ("B") cameras are using Drop-Frame Timecode. 5) Having all the cameras record the same visual event at the start of recording — for example: the director clapping her hands. 6) All of the above 7) None of the above

1) If all the camera footage has the same sound on it as the separate audio files, then the common audio can be the sync-reference. 3) Have all the cameras using the exact same Timecode. 5) Having all the cameras record the same visual event at the start of recording — for example: the director clapping her hands.

BACKGROUND: You have just imported 8 sound effects clips, and you realize they are not set to be displayed and processed in the Sequence as Stereo clips. What is one of the ways that you can set them to "Stereo?" 1. Select the first clip you want to be changed to Stereo.2. Next, Right-click on it, and from the menu that appears select Alter Clip...3. Third, select Stereo.4. Repeat the steps above on each of the remaining clips, one at a time. 1. First, select all the clips you want to be changed to Stereo.2. Next, Go to the Clip Menu and select Set Audio Playback...3. Third, select Stereo 1. First, select all the clips you want to be changed to Stereo.2. Next, Right-click an the selected clips, and from the menu that appears select Modify > Modify Clip...3. Third, select Set Multichannel Audio.4. Lastly, choose the selection that makes them Stereo. 1. First, select all the clips you want to be changed to Stereo.2. Next, Right-click an the selected clips, and from the menu that appears select Alter To Stereo.

1. First, select all the clips you want to be changed to Stereo.2. Next, Right-click an the selected clips, and from the menu that appears select Modify > Modify Clip...3. Third, select Set Multichannel Audio.4. Lastly, choose the selection that makes them Stereo.

QUESTION: How many "Voices" does this audio track playback? 1 2 3 4 5 6 7 8 9 10

8

BACKGROUND: Unfortunately, Avid uses two (2) terms for the same button... <sigh>The buttons that have been enlarged in the graphic above are called both of these things, so be familiar with both names:1. Audio Activate/Deactivate button2. Audio Enable/Disable button3. And... they may, or may not, use the word "Audio" at the beginning of the name. MORE BACKGROUND: In the graphic, above, since none of the enlarged buttons are gray, this indicates that they are "Activated"/"Enabled." If/When they are gray, that would indicate that they are "Deactivated"/Disabled." EVEN MORE BACKGROUND: The circle icon with a square around it (v8.6), and the one that is colored black (v2020.x), are said to be "Primary" tracks. On the other hand, the circle icon without a square around it, and the one that is not a solid black color, are said to be "Non-Primary." THE QUESTION . . . finally!: In version 8.6 and later, how many "Primary" tracks does Media Composer allow? 2 4 6 8 10 12 14 16 18 20 22 24

16

QUESTION: How many "Voices" does this audio track playback? 1 2 3 4 5 6 7 8 9 10

2

BACKGROUND: Break out the calculator for this one, and really think it through! QUESTION: How many more Voices can you add to this sequence? 3 6 8 12 16 18 20 24 26 30 32 33 36 38 42 48 54 58 60 64 68

24

The book mentions at least two (2) ways to activate "Multicam Mode. "Which one below is one of those methods: 1)Select the Sequence in the Bin, then Right-click on it. From the menu, select "Enter MultiCam Mode." 2)Right-click in the Sequence (in the Timeline Window). From the menu, select "Enter MultiCam Mode." 3)Mac: Shift + Command + MPC: Shift + Control + M 4)Mac: Command + MPC: Control + M 5)With either the Record Monitor or the Timeline Window selected...On a Mac hold the Command Key or on a PC hold the Ctrl key...then tap the "M" key two times (quickly) to activate Multicam Mode. 6)Tap the "M" key two times (quickly) to activate Multicam Mode.

3)Mac: Shift + Command + MPC: Shift + Control + M

It is possible to place multiple Real Time Audio Effects onto an entire track in the Sequence. What is the maximum number of Real Time Audio Effects that can be applied to a single audio track? 2 3 5 6 8 12 18 24 It depends on the number of 'Voices.'

5

QUESTION: How many "Voices" does this audio track playback? 1 2 3 4 5 6 7 8 9 10

6

What is the greatest number of audio tracks that are available in Media Composer version 8.6 and later? 24 99 64 32 46 36

64

What is the maximum number of "Voices" that Media Composer version 8.6 (and later) can playback at one time? 12 24 48 64 76 100

64

An audio effect known as a "Compressor" would be used for what purpose? A Compressor reduces the volume of audio when it exceeds a specified level (also known as the "Threshold"). A Compressor allows you to fit more Frequencies within the amplitude by compressing them into smaller sound waves. A Compressor reduces only the low frequencies. A Compressor is used to compact the audio signal into a smaller data stream during export. All of the above.

A Compressor reduces the volume of audio when it exceeds a specified level (also known as the "Threshold").

Of the items listed below, what four (4) items would be typical things to be included within a Sequence when it is output/exported for Final Delivery? * Select the four (4) that apply. Delivery Specifications AMA Plug-ins A Mask Bins Color Bars A 'Slate' of information about the program Snacks 1 kHz Reference Tone Donuts All of the above

A Mask Color Bars A 'Slate' of information about the program 1 kHz Reference Tone

Where is one (1) of the two places that you can find the "Reformat" selection? It can be mapped from the Command Palette. From the Timeline Window Fast Menu. Open "Settings," then open the Media Creation. A column that can be displayed in a bin. All of the Above None of the Above

A column that can be displayed in a bin

QUESTION: How are the frequencies being effected in the picture above? The "High End" is "Boosted" The "High End" is "Cut" The "Low End" is "Boosted" The "Low End" is "Cut" A narrow "band" of frequencies, centered on 3kHz, is being "Cut" A narrow "band" of frequencies, centered on 3kHz, is being "Boosted" A narrow "band" of frequencies, centered on 500Hz, is being "Boosted" A narrow "band" of frequencies, centered on 500Hz, is being "Cut" A narrow "band" of frequencies, centered on 100Hz, is being "Boosted" A narrow "band" of frequencies, centered on 100Hz, is being "Cut" No adjustment has been made

A narrow "band" of frequencies, centered on 500Hz, is being "Cut"

The term "Aspect Ratio" means what? Calculating all aspects of a project with the same percentages. The specific Raster Size (Frame Size), such as 1920 x 1080. A numeric expression relating the relationship between the width and the height of something. The amount of "Aspect" in a given frame size. The total "Aspect" available on either a hard drive or a partition.

A numeric expression relating the relationship between the width and the height of something.

What production situations is shooting with multiple cameras very common? Music Video Television Sit-Com Television Talk Show Sporting Event Concert / Live Performance All of the above

All of the above

BACKGROUND: The top image is the "Before" and the bottom image is the "After." You have Right-clicked in the Effect Editor, and made a selection from the menu that appeared. QUESTION: What command was selected/given to Media Composer? Extrapolate Fixed Reverse Keyframes Slip Keyframes Remove Redundant Keyframes Elastic Align Keyframes Delete Keyframe Hold

Align Keyframes

You open your Keyboard settings and you notice that "M1," M2," "M3," and "M4" are already mapped by default onto the keys F9, F10, F11, and F12. What happens when you press the M3 button? The Workspace changes to one of the four different pre-set Workspaces for using MultiCam editing. At the location of the Playhead (blue line), a cut (a.k.a. "Add Edit") is placed in the Group Clip that's in your Timeline, and the 'camera angle' automatically switches to the shot that sits in the third position within the Group Clip. The letter "M" refers to "Mute" and the number 3 refers to audio track A3, so pressing M3 will mute audio Track A3. None of the above.

At the location of the Playhead (blue line), a cut (a.k.a. "Add Edit") is placed in the Group Clip that's in your Timeline, and the 'camera angle' automatically switches to the shot that sits in the third position within the Group Clip.

Avid Media Composer is able to link directly to files that were created with cameras that use a Codec that the main Avid Media Composer application does not normally understand. This is done by using an "interpreter" which is added-on to Media Composer. The correct term for this add-on is that it is a "plug-in." What name has Avid given to this type of plug-in? Avid Media Accelerator Avid Media Alias Avid Media Access Avid Media ALP Avid Media Action

Avid Media Access

BACKGROUND: You have only two (2) video tracks in your sequence (V1 and V2). You are using the Lift/Overwrite Segment tool (the red arrow) and have selected a segment (shot) that's on track V2. QUESTION: What happens if/when you drag that segment upward? The system will "beep" and a dialog window will open that reminds you that you must create a new track before moving the segment. Nothing happens; you can only move segments left or right on a track. Avid automatically creates a new V3 track and lets you place the segment there. A dialog box opens that has a menu that allows you to choose the video track you want to create that you want to place the segment onto (e.g. V12) None of the above

Avid automatically creates a new V3 track and lets you place the segment there.

There are four (4) methods named for controlling the animation behavior (or we could also say the "interpolation") between keyframes. What are these four (4) possibilities? *Select four (4) answers. Straight Bezier Premultiplied Shelf Warp Tangent Linear Floating Spline Hold Ellen

Bezier Shelf Linear Spline

Within Adobe Photoshop it's possible to create various effects that cannot be recognized by Avid Media Composer. Below are some examples of the many selections available in Photoshop. Select the six (6) examples below that Avid cannot interpret when a Photoshop file is imported. *Select six (6) of the choices below. RGB Chroma information Blending operation (called "Blending Mode" in Photoshop): Overlay Pixels Layer effect (called "Layer Style" in Photoshop): Drop Shadow Blending operation ("Blending Mode"): Screen Layer Names in Photoshop Blending operation ("Blending Mode"): Multiply Alpha Channel Proof Colors Layer effect ("Layer Style"): Emboss Indexed Color Rasterized Layers Layer effect ("Layer Style"): Bevel

Blending operation (called "Blending Mode" in Photoshop): Overlay Layer effect (called "Layer Style" in Photoshop): Drop Shadow Blending operation ("Blending Mode"): Screen Blending operation ("Blending Mode"): Multiply Layer effect ("Layer Style"): Emboss Layer effect ("Layer Style"): Bevel

QUESTION: What are the issues with the image? The Red, Green, and Blue color channels are less than (below) the "Legal" value allowed for broadcast. The Yellow Channel exceeds (is greater than) the "Legal" value allowed for broadcast. Both the Composite video signal as well as the Luminance are greater than the "Legal" values allowed for broadcast (in other words: they're too high). The "RGB Parade" is not properly calibrated.

Both the Composite video signal as well as the Luminance are greater than the "Legal" values allowed for broadcast (in other words: they're too high).

In the Source Browser, there is a choice to either "Import" or to "Link." What does it mean to "Import" the media? Bring it from one country into another. Bring it into the project without creating any new media files. Bring it into the project by leaving the original file where it is, and making a copy of that media. Once created, the media file is placed inside the Avid MediaFiles folder. Bring it into the project by copying the file into the Avid MediaFiles folder and then deleting the original file in order to save hard drive space. All of the Above

Bring it into the project by leaving the original file where it is, and making a copy of that media. Once created, the media file is placed inside the Avid MediaFiles folder.

BACKGROUND: The image above is how the Audio Mixer looked in version 8.6 (which your exams relate to). If you're using the very latest release of Media Composer (2020.12 or later), you'll see that the Audio Mixer's interface has been updated and that it has a cool resize behavior. MORE BACKGROUND: The highlighted button has three settings, each essentially revealing an Audio Mixing Tool with different abilities and features. These are known as the "Audio Mixer Modes." QUESTION: What are the three possible Audio Mixer Modes? Mono, Stereo, and Multichannel Set-up, Gain, and Gamma Clip, Clop, and Clip-Clop Clip, Auto, and Live Clip, Attenuate, and EQ Clip, Keyframe, and Mono Clip, Mono, and Stereo Auto, Stereo, and Surround

Clip, Auto, and Live

Which of the sections or choices below are found within the Image Tab of the Import Settings Window?* Select all five (5) that are correct Autodetect Broadcast Wave Monophonic Groups Maintain events as logged Color Levels Maximum Imported File Size Image Size Adjustment Multichannel Audio Autodetect Sequentially-Numbered Files Alpha Channel Frame Import Duration Convert Proxy Audio

Color Levels Image Size Adjustment Autodetect Sequentially-Numbered Files Alpha Channel Frame Import Duration

From the choices below, which is another term for "Color Levels"? Video Height Todd Chro-Luma Color Space Range Roy-G-Biv All of the above

Color Space

The 'Multiple Mix' function is used for what?' Generating multiple, alternate takes of a performance. Combine/Mix down multiple video tracks into a single Master Clip. Combine/Mix down multiple audio tracks in whatever configuration(s) requested within the Delivery Specifications. Combine/Mix down video tracks in a random fashion to quickly experiment with various creative possibilities. Combine/Mix down audio tracks in a random fashion to quickly experiment with various creative possibilities, such as adding audio effects.

Combine/Mix down multiple audio tracks in whatever configuration(s) requested within the Delivery Specifications

In the most simple of explanations, in Avid MC what is "Nesting?" When two effects work together to create a pleasant living environment for themselves in anticipation of making a future for themselves, and possibly making more effects in the future. Combining two or more effects onto the same segment in the Sequence. Merging multiple video tracks that make up a video composite (a.k.a. a "vertical effect") into a single, brand new Master Clip. Hiding two or more tracks in order to simplify the display of the Sequence in the Timeline Window. It is another term for a "Video Mixdown" None of the above.

Combining two or more effects onto the same segment in the Sequence.

When your Sequence that contains Group Clips is completely finished (in other words, everyone on the creative team has signed-off on it and agreed that there will be no further changes) what operation is recommended in order to aid with Exporting, Consolidating, Sending the Sequence to another editing system (e.g. Pro Tools), etc.? Commit Multicam Edits Ungroup Force Group Unlink Assign Multicam Edits

Commit Multicam Edits

It is possible to Nest (combine) multiple audio effects onto a single audio clip in the Sequence. True False

True

To add your own Effect Templates to the Quick Transition dialog window's selection menu list, you will do one of these things below: Open the Quick Transitions dialog Window. Now drag one or more Effect Templates into that window to add them to the selection list menu. Create a folder in your project named exactly like this: "QuickTransitionEffects" (no spaces). Any Effect Templates placed in that folder will appear in the selection list menu. Create a bin in your project and name it (exactly) "Quick Transitions"; then, place the Effect Template(s) in there and they will appear in the dialog window's selection list menu. Bonus info: The bin doesn't even have to be open for this to work. Create a folder inside the Avid Media Composer's Application folder named exactly like this: "QuickTransitions" (no spaces). Any Effect Templates placed into that folder will then appear in the selection list menu.

Create a bin in your project and name it (exactly) "Quick Transitions"; then, place the Effect Template(s) in there and they will appear in the dialog window's selection list menu. Bonus info: The bin doesn't even have to be open for this to work.

BACKGROUND: The scene you're editing was shot in the woods at night. Crickets can be heard very prominently. QUESTION: What type of effect would you use to reduce the sound of the crickets without (hopefully) overly affecting the dialog? A)Dub Effect B)Audio ISO Effect C)"Q" Boost/Cut Effect D)EQ Effect E)Octave Limiter Effect

D)EQ Effect

What are the names of the two (2) default groups or "tabs" of tools/controls in Media Composer's default Color Correction tool set? * Select the two (2) that apply. RGB Curves Premultiplied Straight HSL CMYK Hugo

Curves HSL

The only way to set clips to "Stereo" is during either the Linking or Importing process. If not done during one of those operations, then the clip(s) will have to be re-imported/re-linked in order to have them be recognized as "Stereo." True False

False

You are already very familiar with having Video tracks and Audio tracks in your Sequence. What is a third type of track that can also be added to a Sequence? Composite Track Adjustment Track Data Track 3D Track Closed Caption Track All of the above None of the above

Data Track

When you are given a folder with many still images inside which are numbered in order — which is known as an Image Sequence — what do you have to do in the Import Settings window so that during the import the images will be combined into a single clip? Choose "Invert Alpha Channel" Enable the setting that says "Combine Still Images" Right-click to reveal a menu. From that menu select "Autodetect Sequentially Numbered Files" Enable the small check box that says "Autodetect Sequentially Numbered Files" Nothing — Avid knows automatically

Enable the small check box that says "Autodetect Sequentially Numbered Files"

BACKGROUND: The question below tests your memory (so, don't kill yourself trying to locate the answer within Lesson 9). This lesson focuses on "output" of your program/film to a digital file, and mentions that Color Bars are often still included (just like we used to do back in stone ages when we output onto video tape). Even though it may not be specified in the Delivery Requirements, I encourage including Color Bars & Tone, even when exporting a digital file for the "Final Master" for delivery (unless expressly told not to, of course — so, it's always a good idea to ask). But, it's a lot easier to remove them (if you have to) than to add them! Avid provides a couple of Color Bars files that meet the standards set by SMPTE (found here: Applications > Avid Media Composer > SupportingFiles > Test_Patterns). Either one can be imported and then placed at the beginning of your Sequence. You learned about doing this in your 100-Level Avid course. In this class we also talked about Color Levels (a.k.a. Color Space): "Full Range" (0 - 255) and "Legal Range" (16 - 235). QUESTION: When you import one of the Color Bars files that Avid provides, what is the proper setting for Color Levels within Avid's Import Settings window? Do not Rasterize Do not invert (black = opaque) Rasterize Strawberry Dither image colors Do not modify, treat as legal range Scale from full range to legal range Alpha Encoding: Uncompressed None of the above

Do not modify, treat as legal range

Very often we like to compare the image changes we've made with how the image looked originally. What button/function helps us to do that? 2-Up-Display Dual Split A/B View Before/After Luma/Chroma Pre/Post Split

Dual Split

QUESTION: Which arrow points to the "Timeline View Menu?" A B C D E F G

E

When you are in Color Correction Mode, the only way you can save a Color Correction Template is to store it on one of the "bucket" buttons (C1 through C8). True False

False

QUESTION: What is the name of this type of button? Switch Activate On/Off Trigger Animate Enable Start Energize Flip Enhance

Enable

BACKGROUND: You have over 40 Match Frame edits in various tracks, and they're spread throughout your entire Sequence. They are all "Continuous" (colored white). At the moment, there is not an "In" or "Out" Mark in the Timeline. Your goal is to clean-up the Sequence by removing them ALL so that when you export an AAF and then also create an EDL there is less likelihood of problems down the road. Plus... who doesn't enjoy a nice, tidy Timeline? QUESTION: How do you remove ALL of them? Tools menu > Cleaner Tool > Check the box for "Remove Match Frame Edits," then click the OK button. Timeline Window Fast Menu > "Remove Match Frame Edits." Enable all the Track Selector buttons for all the tracks. Then, Right-click in the Sequence. From the menu that appears, select "Remove Match Frame Edits." Windows menu > "Remove Match Frame Edits."

Enable all the Track Selector buttons for all the tracks. Then, Right-click in the Sequence. From the menu that appears, select "Remove Match Frame Edits."

Changing a setting called "Dissolve Midpoint Attenuation" from the default of "Linear" to "Constant Power" will do what? —— NOTE: this question relates to a topic which is discussed in Lesson 1 as well as in the Lesson 1 Exercises. Sets where the exchange of audio will occur when two audio segments are transitioning from one to the other. Settings are Start, Center, and End. Boosts all in a Sequence by 3dB. Ensures that the center of an Audio Dissolve (more commonly referred to as as a Crossfade) between two segments (clips) of audio will not become lower in volume, i.e. will not "dip." Reduces the audio level of a Master Clip by 6dB

Ensures that the center of an Audio Dissolve (more commonly referred to as as a Crossfade) between two segments (clips) of audio will not become lower in volume, i.e. will not "dip."

Editing a Group Clip into a Sequence uses a different method than Splice or Overwrite. You must use a function that has to be be mapped onto the keyboard. True False

False

In both the HSL and Curves groups (tabs) of tools/adjustments what is the icon on the button that lets you make a selection of a specific spot within the image in order to help remove a color cast? Syringe Eyedropper Magnifying Glass Sponge Pointer None of the above.

Eyedropper

The author makes a good suggestion. He instructs to make a change to the Color Correction Mode Settings for how the Eyedropper behaves. Which selection below would you enable in the "Correction Mode Settings" to change the way that the Eyedropper makes a selection? Show Eyedropper Info Eyedropper AutoSqueeze™ Eyedropper 3x3 Averaging Eyedropper Absolute Selector Eyedropper Operatio

Eyedropper 3x3 Averaging

Layers in a Photoshop file cannot be imported into Avid Media Composer. The workflow is to save/export each separate layer as either a .jpg file or .png file before importing them into Avid Media Composer. True False

False

Rendering all the effects in a Sequence before Exporting it will not make the export process go faster. True False

False

After you have created a project, you can easily change the project's Frame Rate (NOTE: this is not discussed in the MC201 book. This question is testing your general knowledge attained from the MC101 course and your own experience) True False

False

What are three (3) ways that it's possible to add a Segment Effect (also called a "Filter") to a segment in your Sequence?* Select the three (3) that are correct. First, enter into Effect Mode. Next, select a Segment in the Sequence so it becomes highlighted (bonus info: hold the Shift key to add more Segments to your selection).Lastly: Timeline Fast Menu > Apply Effect to Selected. First, enter into Effect Mode. Next, select a Segment in the Sequence so it becomes highlighted (bonus info: hold the Shift key to add more Segments to your selection).Lastly, in the Effect Palette, simply Double-Click the effect you want to apply to the selected segment. Mind-meld with the Sequence and send brain waves to it about which effect you want to apply and which Segment in the Sequence it should be applied. Use either Segment Mode Tool (red or yellow) to first select the Segment (bonus info: hold the Shift key to add more Segments to your selection). Then, in the Effect Palette, simply Double-Click the effect you want to apply to the selected Segment(s). In the Effect Palette, select the Segment Effect/Filter you want. Then, drag it onto the Segment in the Sequence you want to apply it. With a very stern voice, say, "Avid, add a Segment Effect."

First, enter into Effect Mode. Next, select a Segment in the Sequence so it becomes highlighted (bonus info: hold the Shift key to add more Segments to your selection). Lastly, in the Effect Palette, simply Double-Click the effect you want to apply to the selected segment. Use either Segment Mode Tool (red or yellow) to first select the Segment (bonus info: hold the Shift key to add more Segments to your selection). Then, in the Effect Palette, simply Double-Click the effect you want to apply to the selected Segment(s). In the Effect Palette, select the Segment Effect/Filter you want. Then, drag it onto the Segment in the Sequence you want to apply it.

What are the two (2) ways that it's possible to add a Transition Effect to your Sequence? NOTE: two (2) methods are mentioned in the book, but there's actually two more ways, so ask me about it, if I forget to tell you.* Select the two (2) below that are correct. Use either Segment Mode Tool (red or yellow) to first select the Transition. Then, in the Effect Palette, simply Double-Click the effect you want to apply to the selected Transition(s). First, enter into Effect Mode. Next, select a transition (a cut point) in the Sequence so it becomes highlighted (bonus info: hold the Shift key to add more transitions to your selection).Lastly, in the Effect Palette, simply Double-Click the effect you want to apply to the selected Transition(s). In the Effect Palette, select the transition effect you want. Then, drag it to the transition in the Sequence you want to apply it. First, enter into Effect Mode. Next, select a transition in the Sequence so it becomes highlighted (bonus info: hold the Shift key to add more transitions to your selection).Lastly: Timeline menu > Apply Effect to Selected.

First, enter into Effect Mode. Next, select a transition (a cut point) in the Sequence so it becomes highlighted (bonus info: hold the Shift key to add more transitions to your selection).Lastly, in the Effect Palette, simply Double-Click the effect you want to apply to the selected Transition(s). In the Effect Palette, select the transition effect you want. Then, drag it to the transition in the Sequence you want to apply it.

BACKGROUND: You have saved Color correction Templates to all of the "Color Correction Buckets" (all of the C1 through C8 buttons), and you'd like to remove the templates that are on the C1 and C5 "bucket" buttons. QUESTION: How do you remove the Color Correction Templates from the C1 and C5 bucket buttons? First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) onto any segment (shot) that does not have a Color Effect on it. Lastly, hold Opt/Alt and Click onto the C1 and then the C5 "Bucket" buttons. This will remove the Template and return the button to displaying "C1 and "C5." First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) onto any segment (shot) that does not have a Color Effect on it. Lastly, hold Cmd/Ctrl and Click onto the C1 and then the C5 "Bucket" buttons. This will remove the Template and return the button to displaying "C1 and "C5." First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) onto any segment (shot) that does not have a Color Effect on it. Lastly, hold Shift + Cmd/Ctrl and Click onto the C1 and then the C5 "Bucket" buttons. This will remove the Template and return the button to displaying "C1 and "C5." First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) onto any segment (shot) that does not have a Color Effect on it. Lastly, hold Cmd/Ctrl along with Opt/Alt and Click onto the C1 and then the C5 "Bucket" buttons. This will remove the Template and return the button to displaying "C1 and "C5."

First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) onto any segment (shot) that does not have a Color Effect on it. Lastly, hold Opt/Alt and Click onto the C1 and then the C5 "Bucket" buttons. This will remove the Template and return the button to displaying "C1 and "C5."

BACKGROUND: You have already made a color correction to a shot, and you decide that you'd like to save it, because you know that further down in the timeline there is a shot from the same take, and by saving it now, you'll be able to add it quickly to that shot later. QUESTION: How do you save a Color Correction Template to one of the "Color Buckets" (these are the button labeled C1, C2, C3, C4, C5, C6, C7, and C8). First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) somewhere within the segment (shot) that has the Color Effect on it. Lastly, simply Click onto any of the "Bucket" buttons (C1 through C8). First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) somewhere within the segment (shot) that has the Color Effect on it. Lastly, hold Opt/Alt and Click onto any of the "Bucket" buttons (C1 through C8). First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) somewhere within the segment (shot) that has the Color Effect on it. Lastly, hold Cmd/Ctrl and Click onto any of the "Bucket" buttons (C1 through C8). First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) somewhere within the segment (shot) that has the Color Effect on it. Lastly, hold Shift + Opt/Alt and Click onto any of the "Bucket" buttons (C1 through C8).

First, make sure the corresponding video track is enabled. Then, place the Playhead (blue line) somewhere within the segment (shot) that has the Color Effect on it. Lastly, hold Opt/Alt and Click onto any of the "Bucket" buttons (C1 through C8).

How do you add a bin to your "Favorites" so that whenever you open any project the selected bin(s) that are 'favorite' will automatically appear? First, select the bin in the Project Window (in our version of MC it's now the "Bin Container Sidebar"), then click the Star icon at the top of the bin. First, select a bin in the Project Window (in our version of MC it's now the "Bin Container Sidebar"). Then you have a choice to use either the Right-click menu or to use the Bin Fast Menu to choose "Add Bin to Favorites." First, select the bin in the Project Window (in our version of MC it's now the "Bin Container Sidebar"), then use Opt/Alt + F to instruct that bin to be added to "Favorites." All of the above None of the above

First, select a bin in the Project Window (in our version of MC it's now the "Bin Container Sidebar"). Then you have a choice to use either the Right-click menu or to use the Bin Fast Menu to choose "Add Bin to Favorites."

BACKGROUND: There are 2 ways you can Reduce (a.k.a. "Zoom Out") the image being displayed in the Effect Preview Monitor, so that you can see elements that are placed "outside" of the visible broadcast image area. For example: you want to have a title start off screen and animate onto the screen. Reducing the display will greatly help you position the title off screen where you want it to start. QUESTION: What are two (2) ways you can Reduce the display so you can see "outside" the broadcast image area? *Select two (2) answers below. First, select the Effect Preview Monitor to make it active. Second, use the keyboard shortcut Cmd/Ctrl with the - key (minus key). First, select the Effect Preview Monitor to make it active. Second, click/press any magnifying glass icon which has the - sign (minus sign) inside of it. Right-click in the Effect Preview Monitor to reveal a menu. From the menu select "Reduce Image Display." First, select the Effect Preview Monitor to make it active. Second, use the keyboard shortcut Cmd/Ctrl + K Composer Menu > "Reduce Image Display"

First, select the Effect Preview Monitor to make it active. Second, click/press any magnifying glass icon which has the - sign (minus sign) inside of it. First, select the Effect Preview Monitor to make it active. Second, use the keyboard shortcut Cmd/Ctrl + K

Background: There is a segment (shot) in your Sequence that has a Color Effect already applied to it. You want to add a Mask effect to that same segment. Question: Which one (1) answer below is truly one of the methods you can use to accomplish this? First, use either of the Segment Mode tools (yellow or red arrows) to select the segment. Then, press and hold the Shift key before double-clicking the Mask effect in the Effect Palette. Simply drag/drop the Mask effect onto the segment that has the Color Effect already applied. First, use either of the Segment Mode tools (yellow or red arrows) to select the segment; or you can also select the segment while in Effects Mode. Then, Right-click on the selected segment and choose "Combine Effect." Into the window that opens: drag/drop the Mask effect from the Effect Palette, then click OK. First, you have to select the segment. You can use either of the Segment Mode tools (yellow or red arrows) to select the segment; or you can select the segment while you're in Effects Mode. Press and hold the Option/Alt key before double-clicking the Mask effect in the Effect Palette. All of the above None of the above

First, you have to select the segment. You can use either of the Segment Mode tools (yellow or red arrows) to select the segment; or you can select the segment while you're in Effects Mode. Press and hold the Option/Alt key before double-clicking the Mask effect in the Effect Palette.

The yellow arrow is pointing to a button at the top of the Source Browser. In certain cases it's useful. What does it do? It's called the Volume View button and lets you see a visual representation of the volume level (loudness) of the audio that's part of a clip so you can know where there are problems with the audio recording. This is called the Volumetrics Button. It allows you to measure the amount of drive space required to copy media from a Volume. For certain camera formats, such as Red and XDCAM, it allows you to select the "Parent" folder that contains subfolders, where each subfolder is a different shot. It then let's you see all the shots/clips inside the Parent folder without having to go inside each subfolder one at a time. None of the Above

For certain camera formats, such as Red and XDCAM, it allows you to select the "Parent" folder that contains subfolders, where each subfolder is a different shot. It then let's you see all the shots/clips inside the Parent folder without having to go inside each subfolder one at a time.

Where do you go in order to set the aspect ratio for the feature called "Mask Margins?" Project Settings > Configure Mask Format Settings > Mask Margins button Aspect Settings > Ratio Menu Mask Settings > Configure menu None of the above

Format Settings > Mask Margins button

BACKGROUND: Your project is High Definition (HD) with the standard Raster size (frame size) of 1920 x 1080. You have been provided (or you created) a still image that is larger (for example, it's 3840 x 2160). Your creative goal is to create some animation that zooms-in to an area in the upper left corner of the image in order to draw the viewers' attention there (without losing image quality/resolution). QUESTION: Avid Media Composer comes with two (2) methods to allow you to achieve your creative goal. What are these two methods named? Select the two (2) answers that apply. The Avid Tilt & Pan Effect The Avid Pan & Zoom Effect FlexiFoto™ After Effects Stage Tools FrameFlex BCC Image Warp

FrameFlex The Avid Pan & Zoom Effect

The type of clip that is created for use with Multicam editing is called what? Gang Clip Gathered Clip Group Clip Galvanize Clip Google Clip

Group Clip

Where can you find the menu selection called "Audio Follow Video"? Composer Menu Group Clip Menu Timeline Fast Menu Windows Menu

Group Clip Menu

After editing a Group Clip into your Sequence, how is it possible to tell the difference between a regular clip and Group Clip? Group Clips have "(G)" after the clip name Group Clips are Orange Group Clips have "[Grp]" after the clip name There is no visual difference, you must know which are which

Group Clips have "(G)" after the clip name

There are two general methods of compression discussed: "Intraframe" and "Long GOP." What does the "GOP" stand for? Gallup Outboard Protection Grand Old Party Ganglion Operational Pattern Group of Pictures General Operating Procedure

Group of Pictures

BACKGROUND: You are Color Correcting an image of two classic cars. You've already spent some time in Color Correction Mode and adjusted the image so that it looks great. However, there are some areas of the image that are still too bright (in other words: the Luminance exceeds the "Legal" value of 235). Further, the areas that are too bright are simply reflections of the sun coming off of the shiny parts of the cars. Your goal is to apply an effect that will automatically restrict/stop the Luminance from going over 235. Doing this is often referred to as "Clipping." QUESTION: How will you accomplish the goal stated above? Right-click on the Color Correction effect that you already applied. From the menu that appears, select "Safe Limit." In the "Curves" group (tab) of controls: Lower/Reduce the "Master Saturation" until the Luminance value is adjusted to be below the maximum value of 235. Hold Opt/Alt and add the Safe Color Limiter Effect on top of the Color Correction Effect that's already been applied. Another way to say this would be: "Autonest" the Safe Color Limiter onto the segment/shot. Hold Opt/Alt and add the "Color LUT" effect on top of the Color Correction Effect that's already been applied. Another way to say this would be: "Autonest" the "Color LUT" effect onto the segment/shot.

Hold Opt/Alt and add the Safe Color Limiter Effect on top of the Color Correction Effect that's already been applied. Another way to say this would be: "Autonest" the Safe Color Limiter onto the segment/shot.

BACKGROUND: You have 5 video tracks in your Sequence. Your goal is to insert a brand new (empty) video track into the V3 position. QUESTION: How do you accomplish this amazing feat of raising/moving what is on V3 onto V4 (and what was on V5 also being raised/moved to V6). Timeline Window Fast Menu > Insert Track. Then, in the dialog window that opened, type-in the track you want to insert (e.g. type A4, or V3). Hold Opt/Alt while you use any of the several methods available for adding a video track (e.g. keyboard shortcut or menu selection). This will open a dialog window that lets you select the track number you want to insert (in our example, it's V3). After clicking "OK," another dialog window will open which lets you choose to "Insert." In the Timeline Window, Right-click on any track, then select "Insert Track." In the dialog window that opens, type-in the track you want to insert (e.g. type A4, or V3). You have to create a new track (V6) and manually move (with Segment Mode) the material off of V5 onto it. Then repeat by moving all the material from V4 to V5 . . . and lastly move all the material from V3 onto V4.

Hold Opt/Alt while you use any of the several methods available for adding a video track (e.g. keyboard shortcut or menu selection). This will open a dialog window that lets you select the track number you want to insert (in our example, it's V3). After clicking "OK," another dialog window will open which lets you choose to "Insert."

In the Color Correction Tool there are various "Enable" buttons (just like in the 3D Warp effect). How do you use them if you want to reset something(s) back to their default value(s)? Turn it off (disable it). Right-Click on it, then select "Restore to Default." Hold the Command/Ctrl key, then click on the Enable button. Hold the Opt/Alt key, then click on the Enable button. Hold the Shift key, then click on the Enable button. None of the above

Hold the Opt/Alt key, then click on the Enable button.

After you have entered Color Correction Mode, there is a "tab" of controls that has the label "HSL." What does HSL stand for? Harvey, Sam, Larry Hugh, Saturnalia, Luma Hue, Saturation, Luminance Hue, Sample, Laminate Horizontal, Skew, Lift

Hue, Saturation, Luminance

BACKGROUND: Image files have what are called "Channels" of information in them. There are 3 channels for color: Red, Green, and Blue (RGB). Some files can also have information that relates instructions about what areas of the image are transparent. This information about transparency is called the "Alpha Channel." When the "Alpha Channel" is part of the file itself (just like RGB are), it would be common to say that the file has an "embedded alpha channel." Not all types of files can have an embedded alpha channel. For example, a .jpg ("jay-peg") file, which is very common for still photos and for images on the internet cannot have an embedded alpha channel. Some types of files can have an embedded alpha channel. For example: QuickTime files, .png, .gif, Targa, and TIFF files can have an embedded alpha channel. QuickTime files have to be instructed to include the alpha channel information if you want it when they're being created, while .png, .gif, Targa, and TIFF always have alpha channel information within them (whether you're going to use it or not). The Alpha Channel's information that's embedded in the file (which provides instructions about the transparent areas of the image) makes it pretty easy to composite (combine) one or more images on top of each other, by using multiple video tracks. QUESTION: Who knew there'd be all this techie stuff?!

I did . . . [sigh] . . .

Avid describes media as being "Native" when which of the following is true? It was created/shot in the same country that you are editing the project. It resides inside the MXF folder, which is itself inside the Avid MediaFiles folder. It resides in a location on your hard drive of your choosing. The media is unchanged from the format that the camera created it. None of the above

It resides inside the MXF folder, which is itself inside the Avid MediaFiles folder.

QUESTION: In general, automatic color correction tools do not work well in which of the following situations?I'm giving you the ANSWER: Answer by selecting ALL 5 of the choices below because everyone of them is a reason that automatic color correction is likely not to do an acceptable job. As you make the selection, be sure to read each one and make a mental note of the issue mentioned. Again, all of them are common reasons that the automatic color correction tools may not produce good results — which means that you'll need to make the adjustments manually.

Images without distinct black and white regions make it difficult for the system to make corrections to offset (correct) "color cast." Video that was poorly shot because it was not calibrated (i.e White Balanced). When the image has been under-exposed or over-exposed (whether intentionally or by accident). This makes it much more difficult for Avid to analyze the image in order to make a correction. When the scene/image has mixed lighting conditions that cause extreme color balance problems. An example of a mixed lighting situation would be a living room with lamps turned on (lamps typically emit reddish light), and there is also a window with Mid-day sunlight shining through (compared to the reddish light of the lamps, the sunlight would appear more blue). When the first frame of the shot does not represent the lighting conditions of the rest of the shot. Automatic color correction tools are programmed to only analyze the first frame of the segment (shot). So, if the first frame is very different from the middle and end of the shot, then the correction it makes will not be acceptable.

BACKGROUND: You've created a cool effect of one smaller video image on top of another larger image using what is called a "Picture in Picture" or "PIP" effect. The smaller image on top is the one with the PIP effect on it. You've added keyframes and created animation of the PIP image moving across the screen. You like the PIP effect and its animation, and you want to save it as an "Effect Template" for use later. QUESTION: How do you make an Effect Template which includes only the effect and the keyframe animation you created? In other words: you are not saving the video along with the template, it's just the effect and its keyframes.. In the Effect Palette, Right-click on the effect you want to designate as a template. From the menu, select Make Template with Current Keyframes. In the Timeline Window, use either of the Segment tools to select the segment with the effect on it. Hold the Option or Alt key while you then drag that template to any open bin. In the Effect Editor there is a menu that includes the selections "Make Template," and "Make Template +Source." You would select the first one (Make Template). In the Effect Editor the icon for the effect will appear in the top left corner. Click onto that icon, and drag it into any bin that is open.

In the Effect Editor the icon for the effect will appear in the top left corner. Click onto that icon, and drag it into any bin that is open.

BACKGROUND: In the Effect Palette there are two (2) ways to locate/find a particular effect. QUESTION: What are the two (2) ways?* Select the two (2) that are true. In the Effect Palette: First, select the button to display the general type of effect you're looking for (i.e. Filter, Transition, Audio Track, or Audio Clip). Second, select the Category Name in the left column (e.g. Blend, Key, Image, Timewarp, etc.).Lastly, select the specific effect from the category you are within (e.g. 3D Warp, Flop, Trim to Fill, etc.) File Menu > Search Effects. Then type in the name (or partial name) of the effect you're looking for, and the Effect Palette will then display only effects that correspond to what was entered. Edit Menu > Find... -or- Use Cmd/Ctrl + F.This will open the Find Window.Select the Effects Tab. Then, type in the name (or partial name) of the effect you're looking for, and the Effect Palette will then display only effects that correspond to what was entered. At the top of Effect Palette: Use the Search entry field. Type in the name (or partial name) of the effect you're looking for, and the Effect Palette will then display only effects that correspond to what was entered (this process is often referred to as "Sifting").

In the Effect Palette: First, select the button to display the general type of effect you're looking for (i.e. Filter, Transition, Audio Track, or Audio Clip). Second, select the Category Name in the left column (e.g. Blend, Key, Image, Timewarp, etc.).Lastly, select the specific effect from the category you are within (e.g. 3D Warp, Flop, Trim to Fill, etc.) At the top of Effect Palette: Use the Search entry field. Type in the name (or partial name) of the effect you're looking for, and the Effect Palette will then display only effects that correspond to what was entered (this process is often referred to as "Sifting").

BACKGROUND: The book (and certification exam) focus on Avid Media Composer version 8.6 (rather than the more current 2020.x releases). QUESTION: In version 8.6: What are the three (3) ways to display the Effect Palette?*Select the three (3) that apply. Tools menu > Command Palette In the Project Window, select the display tab button that has a diagonal purple icon on it — it's located in the same row as the buttons to display Bins, Settings, and Format. Tools menu > Effect Editor Tools menu > Effect Palette Use the keyboard shortcut: Cmd/Ctrl + 3 Use the keyboard shortcut: Cmd/Ctrl + 6 Use the keyboard shortcut: Cmd/Ctrl + 8 Windows menu > Effect Palette

In the Project Window, select the display tab button that has a diagonal purple icon on it — it's located in the same row as the buttons to display Bins, Settings, and Format. Tools menu > Effect Palette Use the keyboard shortcut: Cmd/Ctrl + 8

Yesterday you made an adjustment to a Master Clip (a shot) in a bin using FrameFlex. Today you make a FrameFlex change to that same Master Clip. When you look at the clip in the Source Monitor the clip appears as you now want it to (how you just changed it). However, in the Sequence (Record Monitor) it still displays like it did yesterday. How do you solve this? In the bin, select the Sequence, then Right-Click and select Repopulate Timeline. Right-Click on the Sequence in your Timeline Window, and from that menu select Update Timeline. In the bin, select the Sequence, then Right-Click and select Refresh Sequence. In the bin, select the Sequence, then go to the File Menu and select the Refill Sequence option. In the bin, select the Sequence, then Right-Click and select Redirect Updates to Sequence. None of the above.

In the bin, select the Sequence, then Right-Click and select Refresh Sequence.

BACKGROUND: When you're performing Color Correction and/or Color Grading it's important to keep the video within "Broadcast Range" (also known as "Legal Range"). Media Composer has a feature that can alert you if some area of the image is exceeding the Legal Range (16 to 235). The feature is called "Safe Color Settings." QUESTION: The Safe Color Settings alert is not enabled by default. How do you enable it? Tools menu > Safe Color > Within that window are two menus that are set to "Ignore" by default. To enable both types of alerts, simply click on each menu and set it to "Warn." In the top-right area of the Color Correction Mode Window/Controls Panel is an icon of a triangle. Click on that icon to open the Safe Color Settings window. Within that window are two menus that are set to "Ignore" by default. To enable both types of alerts, simply click on each menu and set it to "Warn." Right-click in the center display (the 2nd one from the left). From the menu that appears, select Safe Color > Within that window are two menus that are set to "Ignore" by default. To enable both types of alerts, simply click on each menu and set it to "Warn." Edit menu > Safe Color > Within the window that opened, simply click on the Enable button to activate the feature. None of the above

In the top-right area of the Color Correction Mode Window/Controls Panel is an icon of a triangle. Click on that icon to open the Safe Color Settings window. Within that window are two menus that are set to "Ignore" by default. To enable both types of alerts, simply click on each menu and set it to "Warn."

QUESTION: Drawing from your experience and what you learned in the MC110 course, what does the highlighted (half yellow, half green) button/menu actually do? It opens the Effect Palette. Or, from the menu you can choose to make it open the Effect Editor. Displays whatever is loaded in the Source Window within the Timeline Window. It allows you to set the display quality of the video when it's played. This lets you temporarily change to a lower quality playback image so that the computer has an easier time processing (computing) complex video effects and/or high resolution video (e.g. 4K). Without lowering the playback quality, it might be too much work for the computer and it can't play every frame as it should. Instead, it drops (skips) frames and the playback stutters/is jerky. It makes the Sequence taste like Lemon/Lime. It's the Dual Split button that lets you compare the image before color correction and after color correction.

It allows you to set the display quality of the video when it's played. This lets you temporarily change to a lower quality playback image so that the computer has an easier time processing (computing) complex video effects and/or high resolution video (e.g. 4K). Without lowering the playback quality, it might be too much work for the computer and it can't play every frame as it should. Instead, it drops (skips) frames and the playback stutters/is jerky.

What is a Timeline View?

It is a saved set-up/display of various Timeline features such as track heights, track colors, font size, and various features enabled, e.g. Clip Gain adjustment, Dupe Detection, Clip Color, etc. They allow you to save your own library of many different "Timeline Views" so that you can quickly/easily switch from one to another, depending on your needs at the moment. You can even map your favorites to the keyboard!

Which one of the following statements is true about Transcoding media? It is making copy of the media without changing its codec. It is making a copy of the media, and at the same time changing its codec to the one you selected. It is looking at where you placed Markers in the Master Clip and automatically dividing them into separate clips and media files based on the Markers. It is compressing the selected files in such a way that they are translated into files that can be used within a different editing application.

It is making a copy of the media, and at the same time changing its codec to the one you selected.

Within the Avid Media Composer application, which of the following statements is true about Consolidating media? It is combining all the selected Master Clips' media files into a brand new, single file. It is making a copy of the media, and at the same time changing its codec to the one you selected. It is making a copy of the media without changing its codec. It is compressing the selected files in such a way that they play 2 times faster.

It is making a copy of the media, and at the same time changing its codec to the one you selected.

What is an "Alpha Channel?" The first channel on a Greek television A combination of all the color channels (i.e. R + B + G) A combination of all the Primary color channels (RGB) added with the Complementary color channels (CMY) It is the part of some file types that provides information about which part(s) of the image are transparent. It is the part of some file types that provides information about the file's Luminocity levels (brightness levels). It is the part of some file types that provides added information about the file's Chrominance values (color values).

It is the part of some file types that provides information about the file's Luminocity levels (brightness levels).

What does it mean when Avid calls one or more keyframes "Redundant?" It simply means any one or more keyframes that have been copied and then pasted within the effect. When an effect is in the process of "down-sizing" very often keyframes have to be dismissed. Any keyframes that are removed when the effect is "down-sized" are said to be "Redundant." Redundant keyframes are also known as "Radiant" keyframes. These are the minimum number of keyframes required for the animation to work. Keyframes have been added, but they have no effect on the overall animation — they don't serve a purpose — so they can be removed/deleted. Redundant Keyframes are those that create the core animation.

Keyframes have been added, but they have no effect on the overall animation — they don't serve a purpose — so they can be removed/deleted.

One way to Link (meaning: AMA linking) to a file from a camera card is through using the Source Browser. Which answer below is another method that can be used? Highlight the file (or files), then Right-Click. From the menu that appears, select AMA Link Into Avid Simply drag the file (or files) from your computer directly into a bin inside of Avid. MAC: Hold Option while you drag the file (or files) from your computer into a bin inside of Avid.PC: Hold ALT while you drag the file (or files) from your computer into a bin inside of Avid. Using the Source Browser is the only method that can be used to AMA Link to camera files.

MAC: Hold Option while you drag the file (or files) from your computer into a bin inside of Avid.PC: Hold ALT while you drag the file (or files) from your computer into a bin inside of Avid.

When in MultiCam Quad Split or Nine Split display, how can you see all of the clip names (often also called the "camera angles" in this situation)? Right-Clck on the 4 or 9 image display and select "Display Camera Angle Names" Hold the "N" key on the keyboard MAC: Hold the Command Key PC: Hold the Control Key MAC: Command + NPC: Control + N

MAC: Hold the Command Key PC: Hold the Control Key

BACKGROUND: You have just used the "Enlarge" button (or the keyboard shortcut) to increase the size of the displayed image of video within the Effect Preview Monitor (which is often simply called "Zooming In"). MORE BACKGROUND: Your goal is to reposition the video image within the Effect Preview Monitor so that you can see the woman's entire face (a giant red arrow is pointing at the back of her head in the image above). QUESTION: What is the keyboard shortcut (mentioned in the book) that you will hold down in order to turn your cursor into a little Hand Icon, so you can then use it to "click and drag" the video image to reposition it within the Effect Preview Monitor? MAC: Cmd + H PC: Ctrl + H MAC: Shift + Cmd PC: Shift + Ctrl MAC: Option + Cmd PC: Alt + Ctrl MAC: Option + Shift + H PC: Alt + Shift + H MAC: Option + Left or Right Arrow PC: Alt + Left or Right Arrow

MAC: Option + Cmd PC: Alt + Ctrl

Which method below will allow you to make sure that ALL the tracks in your Sequence (the one loaded into the Timeline Window) become DE-selected/DIS-enabled? MAC: Shift + Command + A PC: Shift + Control + A MAC: Option + A PC: Alt + A MAC: Command + F2 PC: Control + F2 MAC: Command + A PC: Control + A Hold the Shift Key while dragging the cursor up or down along the Track Selectors. Timeline Menu > Deselect All Tracks None of the above.

MAC: Shift + Command + A PC: Shift + Control + A

Which of the following is the Container type (also called a "Wrapper') that Avid Media Composer uses? AVI MP4 Sirius-XM XAVC MXF MREF FeXM

MXF

Some tools and functions can change how they behave by pressing a modifier key(s) when using them. What key would you press to change the normal behavior of the functions called Match Frame, Find Bin, Lift, and Extract? Mac: Command + Shift PC: Control + Shift Mac: Command PC: Control Mac: Shift PC: Shift Mac: Option PC: Alt Mac: Shift + Tab PC: Shift + Tab None of the above.

Mac: Option PC: Alt

The "Group Clip Menu" doesn't appear by default. How do you get it to be displayed? Map it from the Command Palette. Window Menu (up top) > "Display Group Clip Menu." Open Settings > Composer Settings > Window Tab > Enable the option that relates "Always Show/Display Two Rows of Data." Timeline Fast Menu > "Display Group Clip Menu."

Open Settings > Composer Settings > Window Tab > Enable the option that relates "Always Show/Display Two Rows of Data."

BACKGROUND: For the past several months you have been editing 14 different commercials, each one for a different client, and each commercial has its own separate Avid Project. All of these projects have their media files on the same hard drive (which means they are all mixed together in the same Avid MediaFiles folder). You are completely finished with one of the commercials whose project is named "McNulty Consulting Commercial - Spot #83" — in other words: the commercial has been exported and delivered to the client. You have already archived the "McNulty Consulting Commercial - Spot #83" project and all its associated assets, and the client has confirmed that the project is completed and that the media can be deleted. (i.e. they will not be requesting any further changes; they are happy with what was delivered to them). You now want to free-up drive space by deleting all the media files used by the "McNulty Consulting Commercial - Spot #83" project. QUESTION: In the situation described above, what is the best method to most efficiently, quickly, and thoroughly delete all the media files for the "McNulty Consulting Commercial - Spot #83" project? Open each bin and use the Reveal File command to locate the actual media file(s) for each clip in the bin, and then delete it. Repeat this process for each Master Clip within each bin. Simply delete the entire Avid MediaFiles folder that holds the media for the Batman Promo. Open Media Creation Settings, select the hard drive, and then delete all the media associated with the "McNulty Consulting Commercial - Spot #83" project. Open the Media Tool, select the hard drive(s) where media for that project is/may be stored, and also select the "McNulty Consulting Commercial - Spot #83" project. Then, select (enable) Master Clips, and both types of 'Precompute'/Render files. Click OK. After those are displayed in the Media Tool window you will select them all, and permanently delete them. Within each bin: Select all of the different types of clips (e.g. Master, Sub-, Effects, Titles, etc.), then press the Delete Key. In the Delete Window that then appears, be sure to select only media and not the clips themselves, and also make sure that any Sequences are not selected. Then click OK. None of the above.

Open the Media Tool, select the hard drive(s) where media for that project is/may be stored, and also select the "McNulty Consulting Commercial - Spot #83" project. Then, select (enable) Master Clips, and both types of 'Precompute'/Render files. Click OK. After those are displayed in the Media Tool window you will select them all, and permanently delete them.

I'm testing your memory of things learned in the previous class, though the answer is also mentioned in the MC201 book, too. Your goal is to manually add some audio keyframes by using the default keyboard button for "Add Keyframe" (which is the apostrophe key). Before the system will allow you to manually add a keyframe this way, what must you do first? Set the Audio Mixer to "Clip." Open the Track Control Panel, then click on the Audio Menu icon to reveal the menu, then select Keyframes. Open the Track Control Panel, then click on the Audio Menu icon/button to reveal the menu, then select Volume. Right-Click on the Track Selector for the track you want to add audio keyframes to (e.g. A3). Then, from the menu that appears, select Add Volume Keyframes. Set the Audio Mixer to "Live" None of the above

Open the Track Control Panel, then click on the Audio Menu icon/button to reveal the menu, then select Volume.

When importing a Photoshop file that contains separate layers, Avid Media Composer will display an options window with what three (3) import options? * Select three (3) below. Merge Visible Flattened Image Include Layer Styles Grouped Only Select Layers... Visible Only Sequence of Layers

Sequence of Layers Flattened Image Select Layers...

BACKGROUND:You have just selected (clicked onto) the Effect Preview Monitor to make it active. QUESTION: From the selections below: What are the keyboard shortcuts you could use to "Enlarge" the image (a.k.a. "Zooming In")? * Select the two (2) that are correct Shift and Opt/Alt, along with the "+" symbol. Press and hold Cmd/Ctrl and then click on the image that is displayed in the Effect Preview Monitor. Cmd/Ctrl along with the "+" symbol on the keyboard. Cmd/Ctrl along with the letter "L" on the keyboard. Tab + "L" key on the keyboard Shift + Tab + L key on the keyboard

Press and hold Cmd/Ctrl and then click on the image that is displayed in the Effect Preview Monitor. Cmd/Ctrl along with the letter "L" on the keyboard.

QUESTION: What is the difference between a "Primary" track and a "Non-Primary" track? Primary tracks can have audio effects applied to them, while Non-Primary cannot have audio effects applied to them. Primary tracks can have up to five (5) audio effects applied to them, while Non-Primary can only have up to two (2) audio effects applied to them. Primary tracks will be heard when 'scrubbing' through the audio tracks, while Non-Primary tracks will not be heard. Primary tracks are simply the first 16 tracks (A1 - A16), while Non-Primary tracks are all other tracks that may exist after those (i.e. A17 and higher). None of the above

Primary tracks will be heard when 'scrubbing' through the audio tracks, while Non-Primary tracks will not be heard.

QUESTION: In version 8.6, where will you find the Mask Margin Settings? Composer Menu > Mask Margins > this opens the Target Mask Settings window. Project Window > Effect Palette Tab > Film Category. Windows Menu > Mask Margins > this opens the Target Mask Settings window. Project Window > Format Tab > Click the Mask Margins button to open the Target Mask Settings window. Tools Menu > Mask Margins > this opens the Target Mask Settings window. None of the above

Project Window > Format Tab > Click the Mask Margins button to open the Target Mask Settings window.

While not as common as it was in the past, you still may be asked to"Reformat" High Definition video's 16x9 aspect ratio image to that ofStandard Definition, which is 4x3. The shot above is High Definition (HD), which means its aspect ratio is 16 x 9. If we had to reformat this for Standard Definition (SD), which has an aspect ratio of 4 x 3, one possible solution is to use the "Pan & Scan" Effect, and to set it to keep only the portion in the middle of the 16 x 9 frame. Keeping just the middle area of the frame is called making a "Center Extraction." In many cases this works just fine. In other cases, however, you will have to reposition the 4 x 3 portion that is "extracted." In the image above there is an added issue you have to deal with: if you repositioned the 4 x 3 area in order to keep/see only the guy on the left within the 4 x 3 frame, then you wouldn't see the guy on the right . . . and vice versa. One solution is likely to be what is illustrated in the image below. What you might do is to start the "Pan & Scan" Effect with the red 4 x 3 area including the man on the left for some time (let's say 10 seconds), and then animate the 4 x 3 frame to create a "Pan" so the frame includes only the guy on the right — with final position represented by the green 4 x 3 area. And, if it was necessary, after seeing the guy on the right for a while (let's say 12 seconds) you could even "Pan" back to the guy on the left. QUESTION: What 'category' within the Effect Palette is the amazingly coo land very helpful "Pan & Scan" Effect located? Image Extraction Scan & Pan Scoop & Scrap Blend Reformat Conceal Xpress 3D Effect Key None of the above

Reformat

QUESTION: Holding Opt/Alt and then clicking on the highlighted button does what? Enlarges the text of the Parameter(s) within that Group so that they will be easier to read. Using Opt/Alt when clicking that button does nothing. Creates an Effect Template that contains only the information from that specific Parameter Group. Resets all parameters within a Parameter Group back to their default value. Meaning: Makes any changed value(s) return to the starting value(s) — the default value(s) that are set "at the factory" — before you made changes to it/them. Disables all the parameters within a Parameter Group. The entered value(s) are not erased, but simply ignored, and the Parameter Group can be re-enabled in the future and the value(s) will then be applied again. Hides that Parameter Group to make the interface less cluttered.

Resets all parameters within a Parameter Group back to their default value. Meaning: Makes any changed value(s) return to the starting value(s) — the default value(s) that are set "at the factory" — before you made changes to it/them.

How do you rename a video or audio track? In Settings, go to Sequence Settings. There you can change the name of any track that is visible. In the Sequence (displayed in your Timeline Window): Right-click anywhere on the track you want to rename. From the menu select Rename Track. Right-Click on the Track Selector (e.g. V1, A1, A2,) for the track you want to rename. From the menu select Rename Track. Timeline Menu > Change Track Names All of the above.

Right-Click on the Track Selector (e.g. V1, A1, A2,) for the track you want to rename. From the menu select Rename Track.

The following information is true:The Broadcast TV Color Space is referred to in many different ways (because humans just have to make things difficult!!). Honestly, the different ways are just different names/terms used to relate the same thing. They all relate to us that the Color Space (a.k.a. Color Levels) are set for a television monitor (rather than a computer monitor). Some of the many different names/terms you'll see used to relate Broadcast TV Color Space are:• Legal — this is a very commonly used name, especially by Avid.• YCbCr — The letter "Y" stands for Luminance; "Cb" stands for Chroma-Blue; and "Cr" stands for Chroma-Red.• ITU-R BT.709 — this is the full, technical name that was given by SMPTE (Society of Motion Picture and Television Engineers).• Rec. 709 — this is a very commonly used name.• BT.709 — this name is becoming more commonly used.• YCbCr 709 — this is the name Avid uses when you create a new project. Try it — create a new project and you'll see that's the default Color Space setting. BACKGROUND: A graphic artist used Adobe After Effects to create a really cool animation for the opening graphics of your TV show, and provided it to you as a QuickTime file. You choose to import the animation file so you can edit it into the program. QUESTION: What Color Levels (another name for Color Space) setting will you choose in the Import Settings? Invert on Import Do not modify, treat as legal range Do not invert Scale from full range to legal range Maintain events as logged Heck if I know . . . None of the above

Scale from full range to legal range

BACKGROUND: You are using the Lift/Overwrite segment tool (the red arrow) and your goal is to duplicate a segment that is on track A4. QUESTION:How would you accomplish this? Use the Shift Key while making the selection, and then move/drag the "copy" to the location you'd like it to be placed and release the mouse button. Select the segment and continue to hold down the mouse button. At the same time, press and hold the Opt/Alt key, then drag the segment either left or right. A small "+" symbol will appear near the cursor. Now, simply move the "copy" to the location you'd like it to be placed and release the mouse button. Enable the Copy Segment tool, then select the segment. After selecting, move the playhead (blue line) to the location you'd like it to be placed. Click the Copy Segment tool button a second time to place the "copy" at that spot. Select the segment and continue to hold down the mouse button. At the same time, press and hold both the Shift and Cmd/Ctrl keys, then drag the segment either left or right. A small "+" symbol will appear near the cursor. Now, simply move the "copy" to the location you'd like it to be placed and release the mouse button. All of the above

Select the segment and continue to hold down the mouse button. At the same time, press and hold the Opt/Alt key, then drag the segment either left or right. A small "+" symbol will appear near the cursor. Now, simply move the "copy" to the location you'd like it to be placed and release the mouse button.

BACKGROUND: The top image is the "Before" and the bottom image is the "After." You have Right-clicked in the Effect Editor, and made a selection from the menu that appeared. QUESTION: What command was selected/given to Media Composer? Extrapolate Fixed Reverse Keyframes Slip Keyframes Remove Redundant Keyframes Elastic Align Keyframes Delete Keyframe Hold

Slip Keyframes

QUESTION: How are the frequencies being effected in the picture above? The "Mid-Range" is "Boosted" The "Mid-Range" is "Cut" The "High End" is "Boosted" The "High End" is "Cut" The "Low End" is "Boosted" The "Low End" is "Cut" No adjustment has been made

The "High End" is "Boosted"

QUESTION: How are the frequencies being effected in the picture above? The "Mid-Range" is "Boosted" The "Mid-Range" is "Cut" The "High End" is "Boosted" The "High End" is "Cut" The "Low End" is "Boosted" The "Low End" is "Cut" No adjustment has been made

The "High End" is "Cut"

In the Import Dialog Window there is a section labeled as "Color Levels." It mentions "Full Range" and "Legal Range." What does "Full Range" refer to? The color levels are free to roam the entire spectrum. The Luminance (brightness) of the color values (R, G, and B) are set for display on a television (i.e. from 16 - 235). The Luminance (brightness) of the color values (R, G, and B) are set for display on a computer screen (i.e. from 0 - 255) The Chroma (color) values have been enhanced to make the image more intense.

The Luminance (brightness) of the color values (R, G, and B) are set for display on a computer screen (i.e. from 0 - 255)

In the Import Dialog Window there is a section labeled as "Color Levels." It mentions "Full Range" and "Legal Range." What does "Legal Range" refer to? It is of legal age to marry without parental consent. The Luminance (brightness) of the color values (R, G, and B) are set for display on a television (i.e. 16 - 235). The Luminance (brightness) of the color values (R, G, and B) are set for display on a computer screen (i.e. 0 - 235). The Chroma (color) values have been reversed. The Chroma (color) values have been enhanced to make the image more intense.

The Luminance (brightness) of the color values (R, G, and B) are set for display on a television (i.e. 16 - 235).

QUESTION: What is the issue with the image? The Composite video signal as well as the Red, Green, and Blue channels are too low and falls below the value that is "Legal" (in other words, it's below 16). The Luminance in the image is greater (brighter) than the value that is allowed in order to be "Legal" (in other words, it's over 235). The Chroma is "Out of Range." The YCbCr Histogram is not calibrated properly

The Luminance in the image is greater (brighter) than the value that is allowed in order to be "Legal" (in other words, it's over 235)

QUESTION: What are the issues with the image? The Chrominance is not correctly calibrated. The Composite video signal is too low (below the "Legal" value allowed) The Luminance is both too high (above the "Legal" value allowed, which is 235) as well as too low (below the "Legal" value allowed, which is 16) The Red, Green, and Blue channels are above the "Legal" value allowed.

The Luminance is both too high (above the "Legal" value allowed, which is 235) as well as too low (below the "Legal" value allowed, which is 16)

BACKGROUND: You have six video tracks (you've been doing a lot of compositing!). You hold the Cmd/Ctrl key and then click on the Monitor Icon for Track V4. QUESTION: What happens when you do that? Turns off all video monitoring for all the video tracks in the Sequence. The V4 Video Monitor Icon turns green to indicate that all the segments on V4 are now displayed at 50% Transparent in order to help align them with the segment(s) that are below. Cmd/Ctrl clicking on the Monitor Icon a second time will return the display to as it was before. The V4 Video Monitor Icon turns green to indicate that V4 is the only one that is being displayed. In other words, it is said that you are "Soloing" Track V4. Cmd/Ctrl clicking on the Monitor Icon a second time will return Track V4 to being displayed as normal. The V4 Video Monitor Icon turns red to indicate that all the segments on V4 are now "muted" (in other words you cannot see them). Cmd/Ctrl clicking on the V4 Monitor Icon a second time will return the display to normal.

The V4 Video Monitor Icon turns green to indicate that V4 is the only one that is being displayed. In other words, it is said that you are "Soloing" Track V4. Cmd/Ctrl clicking on the Monitor Icon a second time will return Track V4 to being displayed as normal.

Other than the using the number pad keys, or the keys that have the "M" function mapped to them, what is another way you can change the camera angle of a Group Clip that's in your Sequence? The book relates that by default: Use Shift + P to switch to "Previous in Group" or Shift + N to switch to "Next in Group." (Cmd = Command key; Ctrl = Control key) —— The book relates that by default: Use Cmd/Ctrl + P to switch to "Previous in Group" or Cmd/Ctrl + N to switch to "Next in Group." The book relates that by default: Use the Up Arrow Key or the Down Arrow Key to switch to "Previous in Group" or "Next In Group." **NOTE: In the latest release of the software (which we're using) the new mapping is Shift + Up Arrow, and Shift + Down Arrow. Press or click either the Quad Split or Nine Split button.

The book relates that by default: Use the Up Arrow Key or the Down Arrow Key to switch to "Previous in Group" or "Next In Group." **NOTE: In the latest release of the software (which we're using) the new mapping is Shift + Up Arrow, and Shift + Down Arrow.

Avid created its own method of compressing video (which is known as a Codec). Avid named it "DNx." When working in a High Definition (HD) project, some of the choices for codec (also known as "Resolution") could be DNxHD 220, DNxHD 145, or DNxHD 36. In those examples, what does the 220, the 145, and the 36 refer to? The number of milliseconds required to decompress the video file. Velocity of a European Swallow accounting for the number of coconuts it is tasked with carrying, expressed in terms of Miles per coconut (Mi/c). The speed of the file transfer, expressed in terms of Kilometers per second (Km/s). The data rate of the video, expressed in terms of Megabits per second (Mb/s). The weight of the file, expressed as Nanograms per Hard Drive Sector (Ng/s)

The data rate of the video, expressed in terms of Megabits per second (Mb/s).

BACKGROUND: You are in an HD Project that is 1080i (that means the Raster/Frame Size is: 1920 x 1080, and the format is interlaced — each video frame is composed of 2 Fields). In addition to your computer monitor, you're fortunate to also have a 'Broadcast Monitor/Screen' connected to your editing system. This is, essentially, a high-end, professional television that can be very precisely calibrated much more accurately than a regular TV that you'd have at home. A Broadcast Monitor can correctly display the two Fields of Interlaced footage, where a computer monitor cannot. Standard Definition video (SD) also goes by the name "NTSC." You'll see both names used. SD footage always has 2 Fields and is said to be 'interlaced." THE ISSUE: The client has given you an SD video file. You import the SD video file into your HD Avid project. You watch the clip on your Broadcast Monitor, and — UH OH! — you notice that the image appears to stutter or to flicker when it's playing — and you know that's not the way it should look. QUESTION: What is the likely cause of this stuttering/flickering issue in this situation? The file has been imported incorrectly. The footage is backward. To correct it, you need to apply a Timewarp Effect to the clip, and set it to play back in Reverse. The file has been imported incorrectly. To correct it, you need to apply a "Flip" effect to the clip. The file has been imported incorrectly. To correct it, you will need to Re-import the file and, at that time, adjust the "Field Order in File" selection that's within the Import Settings window. The file has been imported incorrectly. To correct it, you will have Re-Import the file and, at that time, adjust the Alpha Channel selection to "Ignore."

The file has been imported incorrectly. To correct it, you will need to Re-import the file and, at that time, adjust the "Field Order in File" selection that's within the Import Settings window.

How does the author of the book define the term "Workflow?" The speed by which you are able to complete a particular task. The management of media as it moves through the various stages of post production. The steps required to create the Rough Cut The ease by which you are able to collaborate with other post production departments.

The management of media as it moves through the various stages of post production.

It is very common that there will be more tracks in your Sequence than are available (or requested) on the output format. For example, if "outputting" to a tape format, there may only be four (4) audio tracks available on the tape. If outputting to a digital file, there are likely to be instructions about what kind of audio (e.g. music, dialog, etc.) should be on a particular audio track of the file.In order to meet these requirements, it is very common to combine/"mix down" (another term is "Bounce") multiple Sequence tracks into a single track. You can create each "mixed-down" element one at a time. For example, you'd perform an audio mixdown for all the tracks labeled with the red #1, in the picture, above. After that was created, you'd go back and mixdown all the green #2 tracks, and so on. This is not difficult, but it is a bit tedious — especially when you have to deliver a variety of audio track mixes. So, Avid helped us out and gave us the Multiple Mix feature. Using this feature, rather than have to perform each mixdown one at a time (and sit there and wait for it get done in order to do the next one), you can configure one or more output set-ups, then have Avid do all the mixdowns at one time with the Multiple Mix feature. The picture below shows the set-up of the Mixdown that is numbered in the picture above. QUESTION: Where is the Multiple Mix feature located?? Composer menu > Mixdown > Multiple Mixes... Timeline menu > Mixdown > Audio > To Sequence... Tools menu > Multiple Mixes... Timeline menu > Mixdown > Audio > Multiple Mixes... Windows menu > Audio Mixdown > Multiple Mixes... None of the above

Timeline menu > Mixdown > Audio > Multiple Mixes...

Your Effect Palette is not currently available. From which menu would you open it? Composer File Tools Windows Project Effects Right-click in the Timeline Window to reveal a menu.

Tools

BACKGROUND: Someone whose job focuses on correcting and improving the image during the final phases of finishing the film or TV show, is typically called a "Colorist." I'm told that Colorists have to work quickly. Avid helps with this by allowing you to map the Color Correction "buckets" to buttons on your keyboard, so you can apply the templates without using the mouse. QUESTION: Where would you go in order to get the "bucket" buttons so you could map them to keys on the keyboard? Tools menu > Correction Assist Windows menu > Command Palette > "Correction" tab Tools menu > Command Palette > "Buckets" tab Tools menu > Command Palette > "CC" tab Tools menu > Options Palette > "CC" tab

Tools menu > Command Palette > "CC" tab

If you are using what's referred to as an "Extended Keyboard" which has the number pad keys on the right side, you can actually switch camera angles using those keys. True False

True

A video Segment Effect (also called a "Filter") can be applied to Filler on any track. True False

True

BACKGROUND: You enabled the Media Tool to display both "Master Clips" as well as "Linked Master Clips" and then clicked the OK button. Within the resulting Media Tool Window there are indeed a mix of both Master Clips and Linked Master Clips.You select all the clips (of both types) that appear in the Media Tool Window, and then press the Delete Key . . . and then you click OK to delete. STATEMENT that is either True or False: When Linked Master Clips are deleted with the Media Tool, no actual media files are deleted, and no clips that are within bins are deleted either. What IS deleted are the metadata file(s) located in the "AMA Management" Folder. True False

True

Because the Timecode Burn-In effect works like all other Avid effects, it is possible to customize the display settings and then save it as an Effect Template for use in the future? True False

True

QUESTION: What's the name for the highlighted (half yellow, half green) button/menu? External Monitor Menu Non-Real-Time/Real-Time Menu Lemon/Lime Menu Video Quality Menu Samantha None of the above

Video Quality Menu

Background: You are editing a 75 minute documentary that's in the final stages of completion. Three weeks ago you were supplied with 12 still image files and a QuickTime file of an 8 second animation. Three weeks ago you edited all of them into different locations of your Sequence. Today you were given updated versions of all these files. Question: What would be the easiest/fastest way to incorporate these updated files into your Sequence? Link to the files, then Consolidate. Import the new files. Then locate the old versions in the sequence, one at a time. Use Mark Clip to mark the segment in the Sequence and use the Overwrite function to make the update. Work your way through the Sequence to make all the updates. Use Media Composer's Batch Import feature. Use Media Composer's Dynamic Replace feature. None of the above.

Use Media Composer's Batch Import feature.

BACKGROUND: You created the "Composite" of images (a.k.a. a "layered effect" or a "vertical effect") by using a Picture In Picture effect (this could also be accomplished using a 3D Warp). The following is your creative goal: The background image on V1 MUST remain black & white. You want to tint each of the inset images to match their border color. For example: Tint the image of the woman to be red, tint the image of the man in the center of the screen to be purple, etc. QUESTION: How will you accomplish this amazing feat? Create a new track (V7). Place "Add Edits" (cuts) in the V7 track that correspond to the beginning and end of the video segments — In other words, you're creating a region/segment of Filler that is same length as the inset video images below it. Now, apply/place a Color Effect onto the region/segment of Filler you just created. Lastly, adjust the colors to what is desired. Use "AutoNesting" (that means holding the Opt/Alt key as you apply the effect so that it is added to the current effect on the segment rather than replacing it) to add a Color Effect on top of each PIP effect, then adjust each one to the color desired. Use either "Simple Nesting View" or "Expanded Nesting View" to place a Color Effect underneath (some might also say "within") each of the PIP effects, then adjust each one to the color desired. Create Tracks V7, V8, V9, V10, V11. Next, apply/place a Color Effect onto each track. Adjust each color effect as needed to match the borders.

Use either "Simple Nesting View" or "Expanded Nesting View" to place a Color Effect underneath (some might also say "within") each of the PIP effects, then adjust each one to the color desired.

What are the steps to "Mute" either a video or an audio segment in the Sequence? Place a Mark-In and a Mark-Out around the segment(s) you want to mute. Then Right-Click in the Timeline Window to reveal a menu. From the menu, select "Mute Clips." Use either the Extract/Splice-In Segment Tool (yellow) or the Lift/Overwrite Segment Tool (red) to select a segment. Then Right-Click in the Timeline Window to reveal a menu. From the menu, select "Mute Clips." Enable the Track Selector button for the track where the segment exists. Place the Playhead (blue line) somewhere on the segment you want to mute. Then Right-Click in the Timeline Window to reveal a menu. From the menu, select "Mute Clips." Tools Menu > Mute Tool. Use the Mute Tool to select the segment (to mute) and deselect (to unmute).

Use either the Extract/Splice-In Segment Tool (yellow) or the Lift/Overwrite Segment Tool (red) to select a segment. Then Right-Click in the Timeline Window to reveal a menu. From the menu, select "Mute Clips."

BACKGROUND:"Nesting" and "AutoNesting" are also the terms used to describe when you place a single effect (e.g. a Color Effect, a 3D Warp, etc.) across two (or more) segments that all touch each other (in other words: the segments are 'contiguous'). In the picture, above, we see six (6) segments all "Nested" within a single 3D Warp effect. QUESTION: How do you perform this magic? How do you get one, single effect to cover 2 or more segments at the same time (as seen in the example picture, above). First, enable the track that the segments are on,. Then, Mark In and Out around the multiple segments you want to 'Nest' the single effect onto. Then, after all the segments have been selected: hold down the Opt/Alt key while you Double-click the effect you want to apply from within the Effect Palette. Use either the Lift/Overwrite (red) Segment Tool or the Extract/Splice-In (yellow) Segment Tool to select all the segments. One of the several ways to do that is to select the first segment, then hold the Shift key while you select the others. Then, after all the segments have been selected: In the Effect Palette you Right-click on the effect you want to apply. A menu appears. From the menu select "AutoNest Effect." Use either the Lift/Overwrite (red) Segment Tool or the Extract/Splice-In (yellow) Segment Tool to select all the segments. One of the several ways to do that is to select the first segment, then hold the Shift key while you select the others. Then, after all the segments have been selected: hold down the Opt/Alt key... then, from within the Effect Palette, Double-click the effect you want to apply. None of the above

Use either the Lift/Overwrite (red) Segment Tool or the Extract/Splice-In (yellow) Segment Tool to select all the segments. One of the several ways to do that is to select the first segment, then hold the Shift key while you select the others. Then, after all the segments have been selected: hold down the Opt/Alt key... then, from within the Effect Palette, Double-click the effect you want to apply.

BACKGROUND: You've already added a "Lo-Fi" effect onto an audio clip (and adjusted its 'Distortion' and 'Noise' values to make the audio sound degraded and to include the sound of static), and now you'd like to apply (combine) the D-Verb effect to add a touch of reverb/echo. QUESTION: What are the three (3) ways that the book mentions that you can use to "Nest" (combine) the two Audio Clips Effects? * Select the three (3) correct answers. Select the clip/segment using either of the Segment Mode arrows (either red or yellow). Then go to the Clip Menu and select Nest Effect. Drag the Audio Clip effect into the window that has appeared, and click OK. Right-Click on the audio clip/segment and, from the menu that appears, choose Nest Effect. Drag the effect into the window that has appeared, and click OK. Use the "Auto-Nest" method, just like with video effects. Simply hold Opt/Alt while you apply an Audio Clip Effect (in this case the D-Verb effect) onto the clip. Enable the audio track (e.g. A5) and then use the Step-In button (just like with video effects). After "Stepping In" then apply the additional Audio Clip Effect. Mark the clip/segment by using the Mark Clip button. Then go to the Clip Menu and select Nest Effect. Drag the effect into the window that has appeared, and click OK. Within the AudioSuite Tool/Window there is a menu in the lower left that is named the "Nested Level" menu (or something similar to that). Use that menu to select the "level" that does not have an effect applied yet. Then you can put another effect there. Timeline Menu > Nest Effect > Drag the Audio Clip effect into the window that has appeared, and click OK.

Use the "Auto-Nest" method, just like with video effects. Simply hold Opt/Alt while you apply an Audio Clip Effect (in this case the D-Verb effect) onto the clip. Enable the audio track (e.g. A5) and then use the Step-In button (just like with video effects). After "Stepping In" then apply the additional Audio Clip Effect. Within the AudioSuite Tool/Window there is a menu in the lower left that is named the "Nested Level" menu (or something similar to that). Use that menu to select the "level" that does not have an effect applied yet. Then you can put another effect there.

In production and post production, the term "Interlaced" relates to what? Interleaved YCbCr or YPbPr Video Fields Progressive Scan Lines Combining footage of two or more frame rates

Video Fields

What are "Fixed" keyframes in Avid's effects? Any keyframe that has had its value altered from the default value. When a segment is trimmed longer or shorter: Fixed keyframes will remain locked at the place in time which they were originally placed. When a keyframe has undergone an operation so that it can no longer create dependent keyframes. There are times that the data within a keyframe becomes corrupted. To repair it, you would select the keyframe, Right-click, and from the menu that has appeared select "Fix." This will repair the data. None of the above

When a segment is trimmed longer or shorter: Fixed keyframes will remain locked at the place in time which they were originally placed.

Which of the following statements is true when you are in Effect Mode? When you are in Effect Mode it is not possible to hear audio during playback of a complex effect. When you are in Effect Mode, the only way to add a keyframe is to click on the Add Keyframe button within the interface. When you make a change (e.g. changing scale or position) directly in the Effect Preview Monitor, using what Avid calls "Direct Manipulation" (using your cursor), in most instances a keyframe will be automatically created and placed where the playhead (blue line) is positioned. When you make a change (e.g. changing scale or position) directly in the Effect Preview Monitor, using what Avid calls "Direct Manipulation" (using your cursor), you must press and hold the Opt key (Mac) or Alt key (PC). In order to make a change directly in the Effect Preview Monitor, using "Direct Manipulation" you must first enable the Direct Manipulation feature/button.

When you make a change (e.g. changing scale or position) directly in the Effect Preview Monitor, using what Avid calls "Direct Manipulation" (using your cursor), in most instances a keyframe will be automatically created and placed where the playhead (blue line) is positioned.

BACKGROUND: You have already applied a Color Effect to a segment (shot) and made adjustments so that the image has a yellow tint to it. Now you want to also add a 3D Warp effect to the same segment because you'd like to create animation where the image spins on the "Z Axis.". QUESTION: What are the two (2) different ways (of those mentioned below) that you could accomplish this? *Select two (2) answers. While in Effect Mode: first, select the segment with the color effect already on it. Then, Right-click on the segment and a menu will appear. From the menu select "AutoNest Effect." Now, in the Effect Palette, you can either drag and drop the 3D Warp, or Double-click it to apply it. While in Effect Mode: first, select the segment with the color effect already on it. Then, hold down the Opt/Alt key and at the same time, from the Effect Palette, Double-click on the 3D Warp Effect. While in Effect Mode: first, select the segment with the color effect already on it. Then, hold down the Shift key and at the same time, from the Effect Palette, Double-click on the 3D Warp Effect. While in Effect Mode: first, select the segment with the color effect already on it. Second, Enable the "AutoNest" button. Now, in the Effect Palette, you can either drag and drop the 3D Warp, or Double-click it to apply it. While in Effect Mode: first, select the segment with the color effect already on it. Then, hold down the Opt/Alt key while you go to the Effect Palette and drag the 3D Warp effect to the Sequence and drop it onto the segment.

While in Effect Mode: first, select the segment with the color effect already on it. Then, hold down the Opt/Alt key and at the same time, from the Effect Palette, Double-click on the 3D Warp Effect. While in Effect Mode: first, select the segment with the color effect already on it. Then, hold down the Opt/Alt key while you go to the Effect Palette and drag the 3D Warp effect to the Sequence and drop it onto the segment.

NOTE: You will have to try this out when completing exercises or practicing to better hone your skills. I don't believe the answer is discussed in the book. BACKGROUND:You have a four minute long Group Clip in your Sequence and you are using MultiCam Mode. The currently displayed shot/angle corresponds to the "M4 key." You press the Play button and then, after a few seconds, you hit the key that has "M2" mapped to it. Then, after another few seconds you keep pressing only the "M2" key every now and then, over and over again, before stopping the playback. QUESTION:What is the result in your Sequence after you stop the playback? There will be just one cut point that corresponds to the first time you hit the "M2" key. Each time you hit the "M2" key a cut is placed where the Playhead is located and the shot/angle will switch to "Next in Group" each time, automatically working its way through all the different shots/angles within the GroupClip. With the first press of "M2" a cut will be placed in the Sequence where the Playhead is located and the shot/angle will be switched to the one that corresponds to "M2." As you continue to play, and continue to hit the "M2" key, you will keep seeing the "M2" shot/angle. Then, after you stop, you will end up with a bunch of Add Edits (a.k.a. Match Frame Edits) at the other spots where/when you hit the "M2" key. The software does not allow this.

With the first press of "M2" a cut will be placed in the Sequence where the Playhead is located and the shot/angle will be switched to the one that corresponds to "M2." As you continue to play, and continue to hit the "M2" key, you will keep seeing the "M2" shot/angle. Then, after you stop, you will end up with a bunch of Add Edits (a.k.a. Match Frame Edits) at the other spots where/when you hit the "M2" key.

NOTE: The author of the book may also refer to the luminance part of the video signal as the "black & white part of the image" as a way to underscore that luminance contains no information about color. QUESTION: Color Correction Mode provides a variety of tools/displays to help you analyze the image. What is the name of tool/display that allows you to examine just the luminance (brightness values) within the image? RGB Histogram YCbCr Parade Vectroscope Y Waveform Dana Wavy-lines

Y Waveform

BACKGROUND: Even if you are using an image file (still or video) that did not have an embedded alpha channel in it. There is still a way to give it instructions to make parts of it transparent so that it can be composited with other images. This is possible by using a separate file that contains only the instructions about what areas in another file should be transparent. This image file is commonly referred to as a "Matte." The separate Matte file communicates the transparency information to the other file by using black, white, and gray. Most commonly in the graphics world (though not all the time inside of Avid) the instructions work like this: Pure White areas are instructions to NOT be transparent at all — we cannot see through them. The term used to describe that NON-transparent area would be "Opaque" (pronounced Oh-Pake). On the other hand, Pure Black areas give the instruction to be totally transparent — you could also say that the totally transparent areas are "0% Opaque." Areas that are some shade of gray (we say "level" of gray) give instructions to be various amounts of transparent. For example: a very dark gray is an instruction to be very transparent, but not totally — you can still see some of the image; while a very light gray area is an instruction that the area is only a small amount of transparent. ' QUESTION: When we use this black, white and gray Matte, how do we use it so that it communicates the transparency instructions to another file? Don't select this one, it's not the answer. Don't choose this one; it's not the answer either. You use three (3) tracks in the Avid Sequence. On the very bottom track you edit-in the image/video that will be the Background. On the track above the Background will be the image/video that you want to composite on top of the Background. We would say that the image/video that appears on top of the Background is the "Foreground" image. Then... directly above the Foreground image is where the Matte goes. If we were using tracks V1, V2, and V3, it'd be like this: V1 = Background Image; above that, on V2 = Foreground Image; and directly above that, on V3 = The Matte. FInally, we put a "Matte Key Effect" onto the Matte so it will send it's instructions to the still/video that is directly below it on V2. The result is that whatever is on track V2 is composited on top of whatever is on track V1. None of the above

You use three (3) tracks in the Avid Sequence. On the very bottom track you edit-in the image/video that will be the Background. On the track above the Background will be the image/video that you want to composite on top of the Background. We would say that the image/video that appears on top of the Background is the "Foreground" image. Then... directly above the Foreground image is where the Matte goes. If we were using tracks V1, V2, and V3, it'd be like this: V1 = Background Image; above that, on V2 = Foreground Image; and directly above that, on V3 = The Matte. FInally, we put a "Matte Key Effect" onto the Matte so it will send it's instructions to the still/video that is directly below it on V2. The result is that whatever is on track V2 is composited on top of whatever is on track V1.

In three dimensional space (a.k.a. "3D") there are three axes (that's the plural of 'axis', which is pronounced AX-EEZE) that define the movement of animation and rotation. What are the the three axes labeled as? *Select the three (3) that apply A U Z H (horizontal) Y X V (vertical) Charlie

Z Y X

Match the functions to their names. 1. A 2. B 3. C 4. D 5. E 6. F 7. G 8.White Text & Arrows

__3__ Play Loop __6__ Z Rotation (Direct Manipulation Button) __5__ Effect Icon, used to make an Effect Template __2__ Reduce (the display) __1__ Enable Button __8__ The white text and arrows must be important information, otherwise Ben wouldn't have gone to all the effort to put it there ;)* You do have to make a match for this, so don't ignore it. __7__ Add Keyframe __4__ Remove Effect