 We’ve got the purple kool-aid, and we’ve got the firehose: New. Avid. Releases.
Now that the cat is out of the bag, I can share with you dear readers a comprehensive list of what is new and groovy inside the latest offering from Avid. Like what you see? By far, the biggest news is the open I/O architecture. From day 1, virtually every release of Media Composer has relied on Avid branded I/O. And while this closed eco-system allowed for a high level of tight interoperability and thus incr
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 Key Features Include Native RED Epic and AVCHD Support, ProRes Encode/Decode, and 4:4:4 DNxHD
Avid announced a new "Media Composer family" today, with a fresh 64-bit code base underlying Media Composer 6, Symphony 6, and NewsCutter 10. Key features in this update include an expansion of Avid's AMA, which now supports native AVCHD, native RED Epic, ProRes encode and decode, and a new DNxHD 4:4:4 codec. Support for Avid's Artist Color hardware interface has been beefed up, and Pro Tools roundt
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 Syfy, formerly known as the Sci-Fi Channel, is an American cable channel featuring science fiction, fantasy, horror, supernatural, paranormal, and reality programming. Syfy is part of NBCUniversal, a subsidiary of Comcast and General Electric.
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 Earlier this month Adobe announced the purchase of “certain assets” from a German company called IRIDAS, including their SpeedGrade software color correction system.
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 Today was the day that many of us who’ve been following the Final Cut Pro X saga have been waiting for. An update hit the Mac App Store this morning that took FCPX to version 10.0.1. That update is small in number (more on that in a bit) but rather big in features as there’s quite a lot that Apple has stuck into this first update to FCPX. Chief among those things is XML support that introduces a new FCPX specific flavor of XML. Second would be Roles, a new way to tag and label clips that looks t
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 NVIDIA introduced today NVIDIA® GPUDirect™ for Video, a technology that enables application developers to deliver higher quality, more realistic on-air graphics -- or take faster advantage of the parallel processing power of the GPU for image processing -- by permitting industry-standard video I/O devices to communicate directly with NVIDIA professional Quadro® and Tesla™ graphics processing units (GPUs) at ultra-low latency.
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 Remember all the brouhaha that erupted just a week or so before the NAB 2011 FCPUG SuperMeet when Apple took over the event to preview Final Cut Pro X, thereby kicking out all the other presenters who had planned their own demos and paid for sponsorships? Here we are six months later and it’s time for another SuperMeet, this time scheduled for September 11 at the The Grand Hotel Krasnapolsky in Amsterdam during IBC.
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 When Adobe Premiere Pro CS 5 was launched more than two years ago, the message was clear that Adobe was taking Premiere Pro into the professional market segment. This is not your father's Adobe Premiere, it is a powerful NLE designed to handle the most challenging professional projects. They were the first NLE developer to commit to an all new 64-bit architecture and native HD format support. Adobe harnessed all of the power in your computer, multiple CPU cores, huge amounts of RAM and even you
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 As a video professional you need an editing platform you can rely on to connect to anything, anywhere; work with your favorite apps; and deliver high-quality video to all the devices your viewers and clients use - the web, mobile devices, Apple TV, Blu-ray discs, even tape. The award-winning Matrox MXO2 devices have you covered. You get highly-reliable, broadcast-quality video and audio input/output and HDMI video monitoring with the unique Matrox HDMI Calibration Utility as well as 10-bit realt
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 Since the beginning of Final Cut Pro Xmageddon (or should it be FCPXpocalypse?), I’ve been looking to see how the other post production software vendors would respond. It’s not often that a large corporation such as Apple would make itself so publicly vulnerable about a popular product. I believe the opportunity is there due to Apple’s long standing “no talkie to anyone from the public or apparently anyone who is editing a current film or television show and instead talks through trainers and wr
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 Just before an Avid-hosted event last night on the Warner Bros. lot, editors who gathered there were discussing the shortfalls of FCP X as well as the direction of Adobe and Avid. The buzz was palpable.
Inside the Steven J. Ross theater, Avid brought the troops together to emphasize its commitment to the professional market, hammering home that their focus is us: the editors. It was good to hear at a time when some industry people and businesses are feeling abandoned after the release of FCP
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 MacRumors reports that Apple held a private Final Cut Pro X (FCP X) briefing for enterprise contracts in London on July 6th. One first hand report has been posted to the internet detailing what Apple discussed during the event. Alex4d summarizes tweets by @aPostEngineer which reveals the following points:
1. FCP XML in/out is coming via 3rd party soon…no FCP 6/7 support project support coming ever it seems…
2. Ability to buy FCP7 licenses for enterprise deployments coming in the next few week
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 Thanks to the Final Cut Pro X FAQs, I'm convinced we have made the correct decision for my company to move away from the Final Cut Pro platform. It's clear that Apple will stick to their path with no looking back while I just need a more efficient tool that fits into our workflow. Moving to Adobe and Avid will allow us to continue our jobs without an upheaval in the way we tell stories.
Quite honestly we're all excited about the possibilities moving forward!
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 OK, if you have been following me for a while, you know that I use both Avid Media Composer and Final Cut Pro…and I am pretty proficient with both. If you haven’t been following me for a while… I use both Avid Media Composer and Final Cut Pro, and am pretty proficient with both. I am a fan of both. I might lean more towards FCP, because it better fits the way I like to edit. But I know that Avid had strengths in many areas that far surpass what FCP is capable of. Plus I started out on Avid MC. S
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 One of the biggest topics at NAB 2011 was the arrival of Thunderbolt, a new I/O technology that offers lightning fast data transfers when working with high-resolution displays and/or data devices through a single port and cable. At the present time, Thunderbolt is only available on the latest MacBook Pro (as well as the just announced iMac), which brings dual and quad Core processors and high performance graphics. Because of the simplicity and super speed of Thunderbolt, you’ll now be able to e
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