Avid Media Composer 5
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We would stand in stores back when they existed and stare at software boxes back when they existed. As professional craft editors responsible for large projects it was even more critical to understand the specs and the tech behind the whole process. Today we download and install everything we see to our phones, tablets and even desktops.
Category Archives: Avid Media Composer
Have they succeeded? Read on! Avid have been very busy, and have clearly been stepping up the pace of development. So you could effectively say we’re at v16 now!
Media Composer 5 still supports the use of the first generation DNA hardware — Mojo and Adrenaline — but Avid have announced that v5 is the last version that will do so. Many users would like to see this hardware support extended to other popular capture hardware such as AJA and Decklink products, but as yet such support does not exist. Media Composer v5 has extended the range of media formats that can be accessed via AMA, and the list includes some pleasant surprises.
The ability to edit with Red media directly will be warmly welcomed by anyone who’s had to struggle with the previous ungainly workflow of converting the R3D files into Avid DNxHD media with MetaFuze, then importing that into Media Composer. While Media Composer handles mixed formats and compressions on the Timeline with ease, many users have wanted to be able to keep everything to the same format, ideally the native format of the camera.
Aspect Ratio Control Now that the focus in the video world has switched to working with high-definition Until now, Media Composer has not differentiated between 4: Media Composer 5 deals with aspect ratios differently. Media captured or imported into the Project can also have its own Aspect Ratio and Reformat attributes set via new columns that can be displayed in the footage bin , after which it will then maintain the aspect ratio of the clip in the Sequence it’s edited into even if the Project Aspect ratio is then changed.
However, it’s important to set the clip’s aspect ratio before you edit it into the Sequence. The default treatment for new clips that don’t match the sequence is ‘Stretch’. You can change this to Pillarbox or Letterbox to allow Media Composer to display in the correct aspect ratio using black borders.
Media Composer 5’s new aspect ratio settings are useful for importing graphical elements that have square pixels into standard definition widescreen projects, which use stretched pixels. It wasn’t previously possible to imports graphics without distorting their aspect ratio.
Now in version 5, once imported, you can now fix the aspect ratio of the imported image by displaying the ‘Image Aspect Ratio’ and ‘Reformat’ columns in the bin, and setting them to 4: Timeline Editing More fundamental and radical changes have taken place in the timeline editing tools and logic.
It’s designed so that if you wish to use only some of these functions, you can turn the others off. You can, in fact, turn the Smart Tool off completely, in which case Media Composer reverts to its former self. Another welcome addition to the timeline is Clip Linking. No prizes for guessing which other NLEs have the same design. This apparently minor change to the interface is significant, because it speaks volumes about the intent of the software designers.
It also heralds another change in the timeline editing logic. Indeed, clicking the Timecode track deselected pretty well everything: Trim Mode and Effects Mode are similarly turned off. Play your timeline and you’ll find another useful little improvement: For those who’d rather the software worked as before, the function is selectable in the Timeline Settings.
This has always been Avid’s approach: Effects The changes to effects are fewer but still noteworthy. The most significant change is that almost every effect you apply now uses the Advanced Keyframe Editor by default. Avid have been steadily refining the Advanced Keyframe Editor and it now offers an excellent blend of flexibility and power while still managing to be pretty user friendly.
The only effects that still use the Standard Keyframe Editor are those that couldn’t be promoted from Standard to Advanced keyframing in the previous version: Ideal for leaving the system to get on with the job while you go out and enjoy the weather!
Audio With the introduction of stereo audio tracks, you can elect to create linked stereo audio at the capture stage. Another radical departure in v5 is the introduction of stereo audio tracks.
No stereo until now! Stereo working now threads its way through the whole editing process. Beginning with the Capture tool, tracks can be linked into stereo pairs at the point of capture by clicking the linking icons. This brings me on to another major change: AudioSuite was limited in several respects: The only issue is one of price.
Adding Pro Tools to the package would seem to make sense, but no doubt this would further increase the price. Leaving aside these wider issues, there’s no question that Media Composer itself is the most complete NLE available today. With the release of Media Composer 5, the reverse is almost the case, and Media Composer once more can stake its claim to be the NLE of choice.
Mixing of frame sizes and aspect ratios. Transcoding of mixed frame-rate material. Direct manipulation of the timeline with the Smart Tool. AVCHD import.
Stereo audio tracks. Advanced Keyframing now the standard in virtually all effects. Seeing Red It’s worth making special mention of the workflow for using Red media in Media Composer 5.
RSX metadata. In the pictured example, I’ve loaded the. RSX file and applied it. The ability to manually correct the colour balance and exposure of the clips is particularly useful if you’ve shot in ‘raw mode’, and need to apply some baseline colour correction to the clips.
As yet, Media Composer does not have Project templates for frame sizes larger than x, so when editing with, for example, 4K Red media, you will be downscaling on the timeline. Working With Mixed Frame Rates Media Composer’s ‘open timeline’ has steadily developed to allow first the intermingling of clips with different compressions in the timeline, then HD and SD clips, and now clips of different frame rates as well. In this case, the ‘car cu’ clip is Minimum System Requirements Media Composer has always been picky about both the hardware and the OS it will work with.
For Mac users, Snow Leopard Additionally, Avid ‘qualify’ specific computer models. The list is regularly updated and is available online from http: At first glance, this appears quite restrictive, but in practice most hardware will work, provided it meets the minimum requirements.
Pros AMA opens up the software to new formats. Stereo tracks in the timeline. New Smart Tool for quick editing. Mixing aspect ratios is easier. Cons Still expensive compared to major rivals. No audio editing software included. Hardware support still very restricted. Summary A truly momentous upgrade, v5 brings Media Composer right up to date. Designed to appeal to Final Cut Pro and Premiere Pro users without compromising the power and flexibility of earlier versions, this has to be the most complete video editing software available today.
Source Camera Selects the camera or camera type used to shoot your footage. This setting is required in order to apply the correct color correction. Exposure Performs an adjustment prior to the film emulation being applied. Temp Adjusts the color temperature.
VIDEO: Media Composer | First System Requirements
When running software products such as Avid Media Composer, if you . Make sure you read the list of Avid’s minimum system requirements before If you update to High Sierra, the Final Cut Pro 7 Studio Applications will no. It’s against this background that Avid have developed Media Composer 5. By comparison, FCP 7 was seen as a pretty minor update to FCP 6, and we are Until this point, hardware requirements had been a key difference between Media. Avid Media Composer Academic Edition for Students Product Highlights Overview What’s New for Version System Requirements. Native Support of SD.