 With its top-of-the-line media management tools, generous suite of high-end software, and impeccable history, the Avid Media Composer 5.5 suite is perfect for any editor who is looking to take their editing to the next level.
Ever since introducing Media Composer back in 1989, Avid has claimed a large section of the video editing market by making its editing software a standard for others to live up to. This was due not only to Avid's early foray into the world of nonlinear editing, but as a
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 2011 has been quite a year for Videoguys and our industry. Things changed dramatically back in April when Apple gave a first look of their new FCPX editing software during the NAB show in Vegas. I was at the event, and the room was filled with excitement, energy and anticipation. That is until after the Apple presentation. For the professional editors and broadcasters in the room, it left them feeling nervous and uneasy about Apple's commitment to them, their workflows and professional editin
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 Flooding in Thailand Creates Hard Drive Shortages - Videoguys has stock!
Flooding in Thailand created massive disruptions in hard drive production. As soon as we heard the news we put in a very large order with G-Tech for GRAID4- 4TBs. The G-Tech G-RAIDs have been our go to external drive solution for years. With the move to 64-bit computing, everyone you can now take full advantage of the 4TB model.
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 Let’s start this review off by dispelling a long-held rumor. I’m a PC guy, just always have been, and after reviewing just about every PC NLE at least once, I have settled on Adobe Premiere Pro (and the CS 5.5 suite) as my editor of choice. Not too long ago, I had a freelance client that absolutely insisted on Apple ProRes files for the output of a project. Unfortunately, Apple does not allow PCs to write ProRes files, and at the time PC’s couldn’t read them either.
Fast-forward a few mon
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 This past summer Adobe was running a Promotion to get both Mac and PC users to Make the Switch from Apple Final Cut Pro or Avid Media Composer to Adobe CS5.5 Production Premium. The promotion was a tremendous success and it was our most successful Adobe sale in years. However, like all good things, the Switcher promotion came to an end in October.
While doing our year-end inventory in the warehouse we discovered that we had some of the promotional inventory left over. We cost-averaged it wit
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 According to Videomaker, film and video editors of all types will be kicking off the New Year right with Avid. We’re pleased to share that the January 2012 issue features Avid Studio as one of the best home video products of 2011 and also includes an in-depth review of professional editing software, Avid Media Composer 5.5, calling it out as “a force to contend with in the editing world.” [Editor’s Note: Media Composer 6 now shipping]
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 I was watching the highly recommended Editor’s Lounge series of videos from the Why we make the Edit night and naturally the discussion turned to the increasing pressure to get work done faster. Derek McCants noted that where once he would have three weeks to cut an allocated segment, the expectation was it would now be done in one week.
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 With the advent of version 5.52 of Premiere Pro, Adobe offered support for what NVIDIA calls Maximus on the PC platform. Maximus in essence is a Quadro card combined with a Tesla card. Okay, what’s a Tesla card? Basically, it’s a Quadro card without the display outputs – essentially, a headless GPU processing powerhouse.
I wanted to take what I had done with the NVIDIA Quadro card comparison and apply the same tests to the Maximus card set I have. Read on, to learn the results.
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 Special Holiday Bundles Including Editing Software
& Your Choice of Storage at Our Lowest Prices Ever!
Choose your NLE: Avid Media Composer 6, Adobe Production Premium CS5.5, Sony Vegas Pro 11 or Grass Valley Edius 6.
Then Choose your Storage: G-Tech G-RAID 4-TB, Stardom SOHORAID SR4, Pioneer BDR-206 Mega External Kit
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 So, if you follow my friends like @JokeandBiagio on Twitter, you’ve figured out that we started out in Hollywood making docs and television shows - basically (and literally) in our apartments.
We used Final Cut Pro and we used it like crazy. Had Final Cut Pro not existed I wouldn’t have been able to do so many things that I’ve gotten to do. I am grateful.
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 You already own an amazing tool to optimize all kinds of video output and streamline your workflow.
Suppose you wanted a perfectly useful workhorse of a video application to slip in completely under the radar and be as underutilized as possible. What would you do to kill its chances of being discovered?
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 2011 was a great year for video products. The increasing convergence of traditional camcorders with DSLRs, the emergence of consumer 3D, the widening availability of cameras with interchangeable lenses and other innovations have made this an exciting time to be passionate about video. After duking it out once again, defending our favorites, we're ready to reveal our picks for the best of the best from 2011. And the winners are...
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 The launch of Apple Final Cut Pro X stood the editing industry on its collective ear. It also sparked some very interesting – and occasionally heated – discussions about what the design of a modern, nonlinear editing application really should be. NLEs that we all use today are a collection of terminology, tools, designs and workflows borrowed from different technologies.
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 Scott has always been amazed at just how fast the hands of time move when we are sitting at our edit suites. It seems like yesterday that Apple stock was $17 and Michael Dell was speculating on what he would do if he were in charge of Apple: “I’d shut it down and give the money back to the shareholders.” It was Oct. 6, 1997, and Apple had recently purchased a pro video editing software package called KeyGrip from Macromedia. In 1998, Apple changed that name to Final Cut Pro and a revolution bega
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 To bring Brian Selznick’s unique illustrated novel “The Invention of Hugo Cabret” to the screen, director Martin Scorsese teamed with top names in VFX to ensure that stereo 3D was used to maximum effect to create the world of Hugo, an orphan who lives behind the walls of a Paris train station in the 1930s.
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