But overall, this is a major step in the right direction. The only things we would have really liked to see are busses, and the ability to automate levels with the sliders (rather than the time-consuming rubber-band method in the timeline). They’ve added a master fader (to which you may also attach finalizing plug-ins such as iZotope Ozone).
WHAT IS AVID MEDIA COMPOSER PRO
Audio MixerThe audio interface is much more Pro Tools-like. Media Composer and Pro Tools are both by Avid, so you can use all of Pro Tools’ RTAS plug-ins (from auto-tune to reverb). It’s simple really… the more variants you have in formats, the more trouble you can also have. The standardized formats make Media Composer more stable. So, that is a major pro.įinally, the biggest criticism by Adobe Premiere Pro and Final Cut Pro users is also a plus. Video producers will find that Media Composer is definitely still wicked-fast when used in its traditional workflow.
We’d still say that transcoding during ingest is more reliable (especially if you’re using a multi-editor SAN such as Archion or the Unity family). However, different formats yield different results. Most of these bugs are fixed with the latest patch. The practice is still a bit clunky and buggy. The theory is that this will allow one person to do everything seamlessly.Īvid Media Access Link DialogueThe theory is sound. Avid has also introduced a memory-resident transcoder that will enable queued transcoding to happen with Media Composer closed. (This can save studios considerable dollars, as AEs have a lower pay rate per hour than editors.) This generation of AMA not only allows editors to reference clips in their original format, but also transcode in the background. Traditionally, Avid editors have assistant editors that transcode the footage upon ingest. Then, in order to view the video in real-time, you often need to render the clips in your timeline. Other packages allow video producers to import the footage and read the root files while editing. AMA is Avid’s answer to the ability of other packages to read media in their native formats. Media Composer 7 brings forth the next phase in the Avid Media Access (AMA) workflow. This is a major complaint among multimedia professionals (who sometimes edit in strange resolutions for things such as banner ads or cut scenes for mobile apps, matrix displays, etc.). This means video producers cannot edit in non-broadcast resolutions. Unlike packages such as Adobe Premiere Pro and Final Cut Pro Media Composer is meant as an editing package for standard broadcast and film formats. The latest price point ($1,000) brings Media Composer within reach of video producers from wedding videographers to major motion picture studios, and no subscription is required. As the first of the real mainstream nonlinear editing solutions, Avid set the paradigm for all others to follow. Whether you’re an Adobe Premiere Pro, Final Cut Pro, or even Vegas Pro user … Avid’s top tier dominance is undeniable.
Anyone who has watched network television, or been to a major motion picture, has seen the results of Avid Media Composer.
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