- A Brief History of Recent Media 100 Developments
- Although stalled for awhile prior to being acquired by the Boris / Artel Software organization, once the Boris folks took over in 2005 the rate of Media 100 development has, if anything, been advancing exponentially. So if you're still living in the past, here's the milestones in Media 100 development you've missed.
- Version 10 added:
- Support for High Definition
- Up to 99 Video tracks
- Version 11 added:
- The switch to AJA cards for Input/Output
- Version 11.5 added:
- Software-only Producer version
- Support for P2 Import
- Version 11.6 added:
- Support for Intel-based Macs
- Version 11.6.3 added:
- Support for Apple ProRes 422 codec
- Version 12 added:
- Progressive Frame support
- Improved Boris FX plug-in integration
- Version 12.5 added:
- HDV support
- Multi-Channel Audio Input
- Version 12.7 added:
- XDCAM Import
- Version 13 added:
- XML Interchange with Apple Final Cut Pro and Apple Color
- The addition of Multi-channel audio including:
- Audio sub-mastering
- Audio Output in multiple mixes simultaneously
- Suite Version 1 added:
- MultiClip Editing Tool
- VoiceOver Tool
- Support for Matrox MXO2
- Integration of product lines by eliminating the need for a separate software-only version
- Suite Version 1.1 added:
- Support for the Blackmagic Design video I/O cards
- Suite Version 1.5 added:
- Export Presets
- Batch Export Queue
- Collect Files command
- Enhanced MultiClip editing
- AVCHD Import using ClipWrap
- Panasonic P2 "PN" Frame support
- Support for ProRes 4444, LT, and Proxy codecs
- Suite Version 1.5.1 added:
- "Ripple Delete" and "Ripple Delete in Track" commands
- Compatibility of WAV and BWF files with NTSC timecode has been updated
- Hard to guess what the next update will bring, but if recent history is any indication, we won't have to wait too long to find out.
As one who frequents several of the Creative Cow's forums, I'm always struck by the questions from people using fairly old and out-dated versions of popular software programs. And while it may be understandable with people who can get by without always having the latest and greatest, nowhere does this stand out for me as much as it does within the Media 100 Cow community. Perhaps you've also noticed the posts which begin with:
"I'm using Media 100 version 8 and I ran into..."
"My Media 100i system recently began to..."
Having started on the Media 100 platform in 1995, moved away in the early part of the last decade only to rapidly return after seeing the feature set in Media100 Producer, I guess I can understand how some people and some businesses might want to try another NLE or be seduced by the latest flavor of the month. But what I simply don't get is the group that stays frozen on the same version for years and, in some cases, even more than a decade. Hello? Um... WHAT are you waiting for? Or is it that you simply don't know what modern software can do and how fast it can do it?
This is where I'm going to go into a little bit of a rant for a few paragraphs, if you want to skip ahead to the part where I talk about Media 100 Suite 1.5, just skip down to "What's it do now that it didn't do before?"
Let me throw a little perspective into the subject for anyone under 35. When non linear editing systems first came on the scene in the early nineties they were replacing three conventional ways of working: on-line/ broadcast quality editing (done in rooms using hundreds of thousands of dollars of gear), off-line editing (usually done as a less expensive way to work out in advance what you would be doing in an on-line session, but many times used for a non-broadcast products like industrials), and third of course was traditional flatbed editing which involved splicing together lengths of film. All three were expensive and the latter two were, out of necessity, almost always cuts only.
Early non linear systems we're in the low to mid tens of thousands of dollars. Media 100 was one of the first capable of working at high enough quality that for most things there was no need to take an edit decision list (EDL) from it over to an on-line system for "finishing." The picture I'm painting for you is a world in which several hundreds of thousands of dollars worth of decks, controllers, switchers, audio consoles, DVE and other specialty boxes, etc. -- along with the people needed to run them -- were replaced by off the shelf computers housing a few specialized cards, some big and fast (for the time) hard drive arrays, a single record/playback deck and a monitor all brought together for as little as $20,000 or so. What a revolution! Real work for a fraction of what it used to cost.
Jump ahead to today and we've almost taken another decimal point off the cost. In fact with many flavors of DV and with file-based rather than tape-based cameras, functional NLE systems can be assembled in the low thousands of dollars. To simplify, in twenty years the cost of being in the video editing business has gone from $400,000 to $20,000 to $2,000, or one half of one percent of what it used to cost. Oh, and don't even get me started on the fact that 1990's $400,000 facility was SD and 2010's NLE, with the right storage, is likely capable of glorious high definition.
What's my point and why have I offered a three paragraph history lesson? Because it makes me nuts that some people and some businesses are frozen in time, not updating their software for years and years when it is so unbelievably inexpensive to do so. Different production facilities have different cost structures and therefore different abilities to absorb operating expenses. I get it. But at my company the cost of a version upgrade or even a one year service agreement routinely gets earned in part of an afternoon. So why would we, or anyone else for that matter NOT want the multiple advances and improvements that come with successive upgrades? Read on to learn more about what they are.
|Related Articles / Tutorials:|
VoiceOver Recording in Media 100 Suite
In this video tutorial, Floh Peters takes a look at Media 100 Suite's new VoiceOver Tool. The VoiceOver Tool allows direct-to-timeline audio recording while playing back timeline audio and video. Primarily designed for recording narration, the VoiceOver Tool leverages Media 100 Suite's new MultiClip architecture to allow for multiple takes nested inside a single audio clip in the timeline.
Tutorial, Video Tutorial
MultiClip Editing in Media 100 Suite
In this new video tutorial, Floh Peters of Magic Eye takes a look at Media 100 Suite's new MultiClip Editing feature. Ideal for music videos, studio and on-location television, concerts, and live events, MultiClip Editing facilitates real-time editing of multiple video and audio sources in a familiar, easy-to-use interface. A camera can be added to an existing MultiClip as its source media becomes available, allowing you to begin cutting a multicam shoot faster than ever before. Cameras can be synced via timecode, sync marks, or in-points. When syncing via timecode, additional footage can even be assigned to an existing camera - extremely helpful in situations where a camera has been stopped to change tapes or batteries.
Tutorial, Video Tutorial
Making the Transitions to HD with Media 100
Everyone was talking HD to Creative COW's Nick Griffin. Everyone that is except his clients... until the latter part of last year. Making the transition from a Standard to a High Definition shop was far simpler than he'd ever imagined. In this article, Nick describes the transition.
New Audio Mixing Features in Media 100 Version 13
In this Media 100 video tutorial, Floh Peters of Magic Eye (Germany) takes a look at Media 100 Version 13's new multi-channel audio output capabilities. With Version 13, you can assign multiple audio tracks to virtual buses and process each bus separately in the timeline. Each bus can separately master to one or more output hardware channels.
Tutorial, Video Tutorial
Media 100 | Media 100 HD
|Media 100 breaks out of its shell at last|
Have a bunch of Media 100 projects archived that you'd like to have access to, again? Media 100 breaks out of its shell at long last, releasing new versions of their editing system that are software-only, or that can run on cards like the AJA Kona.
|Media 100: Walking the Razor's Edge|
Reg Harris, longtime contributor and co-founder of the WWUG, explores the future of Media 100 and compares it to the stories told by other businesses -- both successes and failures. He looks at some of the principles involved in the struggle Media 100 faces and explores some of the delimmas faced by all businesses who work to redefine themselves in the face of changing markets. If you are wondering whether or not you want to but that next upgrade, he has some things for you to consider as you make your own decision...
Media 100 | Media 100 HD
Back-To-Back Graphics in Media 100
In this article, broadcast editor Dave LaRonde looks at ways to use back to back graphics in Media 100 and explores ways to save valuable project disk space while using them. He quotes the oft quoted Law of Digital Media, which says: You can never have too much storage. It should also have a corollary: If you don't have lots of storage, anything you can do to save it is a good thing.
Media 100 | Media 100 HD
Media 100's 'Lossless' Compression: What Does It Mean?
With Media 100's recent announcement and unveiling of its 'lossless' compression protocol, many users have expressed a lot of dismay and frustration at the news. Some have expressed support. What are the facts and why is this a good thing for some and a frustrating bit of news for others? Who is right and what lies at the heart of this latest bit of news from Marlboro, Massachusetts? In this article, Ron Lindeboom digs through the aftermath of the NAB news and with help from Philip Hodgetts and other noted industry leaders, gives this summery for those interested...
|Recent Articles / Tutorials:|
Art of the Edit
Living The American Dream: Editing Sharknado 5
Ana Florit is your typical Los Angeles-based film editor: among other things, she grew up in the French Alps, moved to Paris, directed a one-hour movie, moved to Hollywood, and has served as the lead editor on the 2nd, 3rd, and now, the latest in the pop-culture phenomenon Sharknado franchise, Sharknado 5: Global Swarming. You know, your usual run-the-the-mill American Dream story. In Ana’s case, the journey also includes a stint at Video Symphony, a Saturn Award nomination, and playing a major role in moving independent production powerhouse The Asylum fully from FCP7 to Premiere Pro. Here, Ana talks with Creative COW Associate Editor Kylee Peña about workflow, VFX, and some of the secrets of Sharknado's success. (Spoiler alert: they're not comedies.)
Adobe Creative Cloud
Motion Graphics Templates in Adobe Stock! Everybody Sing!
The recent addition of Motion Graphics templates to Adobe Stock in the Creative Cloud offers immediate access to over 1000 templates for title screens, lower thirds, and transitions, with more to follow, created by some of the world’s leading motion graphics artists and mograph pioneers Digital Juice. Motion Graphics templates inside Adobe Stock also offer a new avenue for Creative Cloud artists to monetize their work, by offering their own motion graphics templates for sale. This is a multi-faceted story that dives deep into multiple parts of a rapidly expanding Creative Cloud ecosystem that doesn’t handily lend itself to brief soundbites. It does, however, lend itself to song. Everybody sing along!