In the above screenshot, I had to manually select all the tracks that I wanted to move and make sure I had a trim roller on each one so that they stay in sync with the actual shots I was trimming. If you wanted to use Trim Mode to trim a cut point, you had to make sure you selected all the correct trim points to keep everything where you wanted it. In the early days of Avid, I don’t think there even were sync locks, but, if there were, the default was for them to be switched off (this has now changed). So in this example, I’d work with a Media Composer timeline that looks like this: I want those to stay in sync with their clips. But the sound effects and dialogue are specific to the shots that I’ve placed them with. The music must be 60 sec long (often it’s a pilot track that’s already been composed to the correct duration), the end title has to be 3 seconds long, and the packshot and title has to come over that. Unlike most forms of editing, I prefer those elements to stay in place while I trim the others, and I never want them to move.Ī commercial timeline might look like this:Īs you can see, some of the items need to stay where they are. So often you put down elements that you want to keep in place: music, VO and titles are some examples. Not because commercial cuts are simple-far from it-but because they’re short enough that you can see what you need at a glance.Īlso, a lot of TV commercials are music-driven, and the length is strictly adhered to. I then started using Avid on commercials with a lot more audio and video tracks, but I didn’t use the sync lock functionality at all. (I think there was something wrong with me because I loved working with him!) One editor I assisted used to actually name his clips ‘thing’, on the NLE, making my life as an assistant quite tricky. We used to love doing three-way dissolves by doing a dissolve in the NLE, playing that dissolve to U-matic tape and digitizing it again so we could dissolve from that digitized ‘thing’ to a new shot. The first NLE I used was a Lightworks with four (yes, 4) audio tracks and one (1) video track. Locking tracks will prevent them from moving while you move everything else. This essentially is the opposite of a sync lock: sync lock will lock tracks to each other so they will move with each other. In Media Composer and Adobe Premiere Pro, you can also LOCK your actual tracks which prevents them from moving when you’re trimming. Some NLE systems do this automatically, like the magnetic timeline in FCP X, but there are plenty of occasions where you don’t want them locked together. Sync locks allow you to lock certain tracks together in order to keep them in sync with each other. If you only had your video track selected and you deleted some time, it would only affect your video layer, bumping everything else out of sync. In other words, if you were adding or removing time, you had to make sure you were doing it across all the tracks you wanted to adjust. In the early days of non-linear editing, the systems were designed to emulate a flatbed for film editing. You can’t afford to start trimming in the middle of your cut willy-nilly if you’re not 100% sure that everything else in your timeline is going to be where you want it to be. That’s where “Sync Lock” comes in. There are a number of ways to do this, but of course, the main thing you need to do is keep everything else in the right place. The director wants to add in a few shots and extend the montage part of this scene. This scene has dialog, SFX, buzzes and a couple of music tracks that correspond to specific hit points in the film. The director wants to change a scene in the middle of the film, one of the complex ones. The first and last scenes have both specifically got a lot of audio and video tracks, as do some of the scenes in the middle of the film. I have 26 tracks of audio and 5 tracks of video in my timeline. It’s 105 minutes long and fairly complex: I’m using Avid Media Composer because of its unmatched power when it comes to collaborative projects. I’m cutting a film and we are close to having the director’s cut completed.
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