 If Adobe Premiere, Avid Pinnacle Studio, MAGIX Movie Edit Pro, Sony Vegas and similar fare define the entry-level sector of the market, then the high end is probably dominated—with apologies to Apple's Final Cut Studio—by Avid Media Composer, which is the NLE of choice for a large number of film and video projects. And with the recent introduction of Media Composer 5.5, Avid has wrapped into the product a number of new features and functions of direct relevance to the HDVP community.
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 Last week Avid announced that they would be releasing and shipping the newest version of Media Composer on March 8th - a full month before NAB! This is very exciting news and it created a flury of tweets, blog posts and discussions in user groups and forums. At last years NAB, Avid announced Media Composer 5, and it was he hit of the show. It won numerous honors throughout the industry at NAB and throughout the year and was even named the Videoguys Top Product of 2010. It looks like the new vers
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 Media Composer 5 owners can purchase the boxed upgrade for $395, those with MC4 or older, Avid Xpress Pro or DV can upgrade to the new MC5.5 for $895. We are taking pre-orders now and we have re-configured all our Avid bundles to include the new MC5.5 software, including bundles witht he Artist Series control surfaces.
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 Media Composer, Symphony and NewsCutter Now Support AJA Io Express Hardware and External Control Surfaces, Expand Avid Media Access and Avid Nitris® DX Capabilities, and Offer New "In-App" Phonetic Searching for Increased Editorial Collaboration
Avid® (NASDAQ: AVID) today underscored its leadership position in open media production solutions with the introduction of new versions of its flagship editing systems—Media Composer® version 5.5, NewsCutter® version 9.5 and Symphony® version 5.5—i
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 And now, version 5.5 is being announced. It’s another major release and another key moment in the history of Media Composer. Capture and output with AJA Io Express, a popular, cost-effective third-party card—one that works with other NLEs. Use Media Composer with Pro Tools hardware. Use the Avid Artist series (formerly Euphonix) controllers (these same controllers can be used with Final Cut and Smoke too, by the way). And on the innovation front—wait ’til you try PhraseFind. You’ll never edit th
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 AVID may be known for its editing and finishing systems, however the company is across many areas of entertainment including: audio post production, digital audio consoles, home music creation, live sound production, home video editing and full broadcast news systems. In this interview Chairman and CEO of AVID, Gary Greenfield, explains the AVID philosophy and what AVID means to those involved in the entertainment industry today.
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 As an editor, I’ve probably used a dozen different editing systems for billable gigs. If you add the other systems I’ve reviewed, but didn’t use on client projects, coupled with those I’ve had working exposure to, that’s easily twice as many. This experience gives one a keen awareness of the pros and cons of different product designs. When you spend eight, ten, twelve hours or more staring at a screen, the user interface becomes a key factor in whether the system helps or hinders your work.
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 Media Composer 5 has been out for a while now… And since my initial impressions of it I’ve been thinking more about what it signals for the future of Avid in general and Media Composer specifically – about what I expect to see in the coming versions.
What follows is nothing more than my guesses and hopes – a wish-list of sorts… These are feature and changes I expect to see in Media Composer (and Symphony) 5.5 or 6.0 based on what I’ve observed over the last few years, and especially with t
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 If you're a post-production professional editing with Apple Final Cut Studio FCS3/FCP, Avid Media Composer MC4/MC5 or Adobe CS4/CS5 Production Premium, Videoguys.com is your source for the professional tools you need to make the most of your production environment. At Videoguys.com, we understand that professional video editors have different needs than the average consumer. Not only do you need the best tools available in the industry, you also need the fastest and most reliable solutions becau
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 An issue with DSLR cameras that you must consider while setting up your rig is audio quality. DSLR cameras are equipped with just the most basic microphone and the sound is just okay, at best. If your talent is more than 6 feet away from the camera your audio quality will diminish quickly. Fortunately, the Canon DSLR cameras are all equipped with a mini-jack microphone input and we recommend adding a stereo microphone like the Azden SMX-10.
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 As a video editor who started in the days of linear suites, tactile control surfaces are near and dear to my heart. It’s one of the things I miss in the modern nonlinear edit suite. Control devices, such as transport controls and mixing panels make you more efficient and elevate the performance capabilities of the room, not to mention, lessen operator fatigue. Euphonix entered the market years ago as a manufacturer of large, digitally-controlled, analog mixing consoles. They are a leader today i
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 A bit earlier this year Euphonix began shipping its highly anticipated MC Color control surface. This unit was designed for use with Apple Color and has been welcomed by Color users to add another option to their hardware based control surface choices. Until the MC Color came along your choices were either one of the JL Cooper units or the more affordable Tangent Wave. At $1,499 the MC Color doesn’t break what I think is the magic $999 mark (magic in the sense that it will put a control surface
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 In this article Walter Biscardi, Jr. tries out the new MC Color controller from Euphonix.
Apple Color has brought a powerful color enhancement tool to the masses much like Final Cut Pro did for editing when it was released. What was once possible with only a high end hardware based system, like daVinci, was now in the hands of anyone with $999 who purchases Final Cut Studio. What has finally started to appear on the landscape are reasonably priced hardware controllers that emulates the same
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 The delivery guy walked in the door just over a week ago with a box containing a sparking, new, fresh off the assembly line MC Color control surface from Euphonix. For those who aren’t familiar with this unit, it’s a brand new entry into the affordable (relatively speaking at $1,499) trackball based hardware support for Apple Color. The Euphonix unit has the Tangent Wave square in its sights with a similar price point and similar functionality. In fact it’s hard to talk about one without compari
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 Euphonix, a world leader in large-format digital audio consoles, media controllers, and peripherals for over twenty years, has started shipping MC Color, a color grading surface that offers unmatched control and integration with Apple’s Color 1.5.
The slim-line MC Color attaches to the Mac via Ethernet, and features high-resolution optical trackballs, trackwheels, displays, encoders and a host of programmable keys to speed up and enhance the Apple Color workflow.
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