Helping facilities and individuals alike to put together the puzzle of every project from start to finish is Avid MediaCentral, a modular and flexible front end to access common tools from media creation to post-production. MediaCentral promises to allow third party developers greater access to delivering tools and plugins through its platform -- with ensured compatibility. You can also access and share any media stored by an application connected to MediaCentral Platform, which means you can do things like stream content to a tablet or phone. MediaCentral will allow much more metadata to come out of the software, which is good news for the future of content organization and asset management systems.
Avid's Media Composer Cloud, formerly Interplay Sphere, allows editors to log in from anywhere they can find an Internet connection (including over 4G) to work collaboratively on all kinds of projects. Pre- and post-production tasks like ingesting media or generating dailies can happen as a team and from the field, so edits can start more quickly and be shared easily.
Media Composer - Advanced Color Effect Editing
Joining the subscription-based club, Avid Media Composer will now be offered in a monthly or annual subscription as well as a perpetual license. Like other subscription software, Media Composer will be downloaded and operated on a local system.
Users who choose the perpetual license option will need to pay a yearly renewal fee to get updates and support, but otherwise the software will keep working as long as the computer can run it. Avid is also offering license packs for facilities that may need more than one license, with some flexibility between systems. These floating licenses can be moved from system to system, or checked in and out with a Windows-based server. Avid's software was also organized into suites -- the artist suite includes Media Composer and Pro Tools, media suite contains tools to manage and monetize media, and storage suite is all about capture, storage, and delivery.
Cloud-based collaboration tools were also added to Pro Tools, which will allow musicians and sound designers greater flexibility in sharing and working on sessions together.
Avid's updates to software acquisition and collaborative workflows that promise flexibility or a lower cost of entry altogether are sure to catch the eye of facilities and freelancers as the demand for faster, quicker and better gets louder every day.
Avid will be at the NAB Show this week talking about their Avid Everywhere offerings at their booth #SU902.
Avid editor and workflow consultant Scott Freeman sometimes has to conform thousands of clips in a single project. Get one of them wrong, and the whole thing falls apart. Follow along as he shows you the three metadata fields to keep an eye on for flawless Avid-Resolve roundtripping. Every file. Every time.
Avid announced updates to its line of products that focus on third party integration and collaboration, including a new Interplay MAM, ISIS 1000 shared storage and Avid Artist I/O device with third party support, and a free version of Media Composer.
Oscar-nominated film editor Dody Dorn is best known for her work on films like 'Memento' and 'End of Watch', with her latest film 'Fury' involving 16 Avids across two continents. Working her way up from switchboard operator, Dody brings decades of experience to the edit, with a personal advocacy for taking career risks and accepting any opportunity.
People have been asking advice from television online editor and frequent Creative COW contributor Scott Freeman on what to do when an Avid video mixdown is going to be used as a source for DaVinci Resolve.Here are his thoughts on how to get in on the fun of linking metadata to essence.
There's nothing easy about roundtripping MXF files between Avid Symphony and DaVinci Resolve, especially if you want to keep handles intact. Longtime online editor Scott Freeman has come up with a way to actually make it easy, while automatically taming media management beasts. Best of all, the time savings are stunning: 8 hour conforms can be done in 4, and 40-hour media management marathons can be accomplished in seconds. Here are the steps for that, and so many other things that become possible as a result.
Now Avid is dipping their toes into the subscription model and for editors everywhere, this is a GREAT development. Avid offering the subscription model plays well into the small shop / independent editor / independent post house extremely well
Learn Media Composer Lesson 93: Add Logos to Credit Crawls Play Video In this lesson, Kevin P McAuliffe shows you how to add logos to your title crawls, by introducing Photoshop to your Media Composer workflow. What might seem to be limitations inside of Media Composer can bypassed by unitizing the Marquee Title Tool! Once you see how easy this technique is, you'll be adding logos to every one of your title crawls.
Learn Media Composer: Michael Bay Film Look Part 1 Play Video In this lesson, Kevin P McAuliffe shows all the Symphony editors out there how to create a Michael Bay inspired film look right from within their Symphony timeline. Everything that is shown in this tutorial is designed to get you excited to stay in your NLE which not only saves you time, but will make you more money in the end!
Learn Media Composer Lesson 91: Transfer Modes Play Video In this lesson, Kevin P McAuliffe talks about Transfer Modes, or Blend Modes as they are more commonly referred to, and how even though most editors think that you cannot work with them inside of Media Composer, you actually have the tools right at your fingertips...you probably just don't realize it.
Learn Media Composer Lesson 92: FrameFlex Play Video In this lesson, Kevin P McAuliffe takes a look at the new FrameFlex feature inside of Media Composer 7. Ideal for working with large frame sizes inside of HD and SD timelines, this new feature is almost a hidden gem, as it's automatically added to your clips, once you drop them in the timeline. The trick for you is knowing how to harness its power.