 Got Final Cut? Get Media Composer for Just $995
If you’re not getting what you need to succeed—or you’re a former Avid user who switched (we’d love to have you back)—we want to help make your choice easier. That’s why we’re offering Final Cut Pro (excluding FCP X) users another opportunity to purchase Media Composer 5.5 (with the Production Suite) for just $995 USD—that’s over 60% off the regular price! What’s more, you’ll get free Avid Media Composer for Final Cut Pro Users online training
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 Years ago I bought a Macintosh. It was blue, white, and had this new thing called a firewire port. And the software I bought to edit with? Adobe Premiere.
But fortunes change. Adobe had to abandon Premiere for Mac, so I switched to Final Cut Express nearly a decade ago. Then I upgraded to Final Cut Pro. Then the aging G3 turned into a G4. Then finally a G5. And Final Cut Pro. . . er, Final Cut Studio, followed me wherever I cut.
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 Choosing a Platform - Mac or PC: The first question a user is faced with is what platform to run Media Composer on. It is possible that your current computer system will meet the requirements for Media Composer but it is also possible upgrades or additional hardware may be required. Avid has tested and qualified specific system requirements on both Macintosh and PC platforms and recommends that you use configurations that meet these Avid-tested specifications for CPU, graphics cards, Firewire
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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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 EventDV and Adobe Systems present the definitive guide to Adobe CS5.5 Production Premium! Your one-stop source for discovering the industry's most complete postproduction suite!
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 If you're an event videographer who uses Final Cut Pro 7, you've probably been pretty comfortable that you chose the right tool for the job. Final Cut Pro 7 is highly functional, flexible, and it has great third-party hardware and software support. Beyond notable feature gaps such as full-featured Blu-ray authoring, it pretty much does what that you need it to do.
That said, it's been four years since the last significant upgrade, and Final Cut Pro 7 is a 32-bit tool in a 64-bit world. Log and
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 Last night I was invited to be part of a panel discussion held by WIFV at the Discovery Networks HQ in Silver Spring, and for me it really underscored just how badly Apple has dropped the ball in regards to the launch of FCP X in the eyes of the pro community. The discussion was two hours long and quite heated at times, but the bottom line was clear: Apple burned bridges with people from all walks of professional production life.
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 Both Eugene and Paul have quite an intimate knowledge of Final Cut, so we thought it would be interesting to hear there thoughts on the new video editing offering, in parallel.
Here’s two articles, wrapped into one. First you’ll hear from Eugene, followed by Paul. It’s pretty interesting to see that they both have very similar concerns and thoughts, but that they both decided to deal with it in very different ways.
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 Whether you're making the switch or just adding Adobe CS5.5 or Avid Media Composer 5.5 to your editing system you'll be happy to know that the Matrox MXO2 Hardware is "Triple-A rated" and Now Supports Apple, Adobe & Avid!
The Matrox MXO2 Mini with MAX was the FIRST I/O device recommended by the big 3 NLE vendors Apple, Avid and Adobe and the only one that gives you faster then real-time H.264 encoding! That is why we say Matrox MXO2 family of products are AAA rated. No other hardware compa
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 Apple has kicked up what may be a game-changing firestorm with the release of the long-awaited next incarnation of its editing software called Final Cut Pro X. At the NAB Show—even though they were not an official exhibitor—Apple managed to steal headlines by announcing Final Cut Pro X (properly pronounced "10" rather than "ecks") during the Las Vegas user group's 10th annual SuperMeet gathering.
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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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 In the first release of Final Cut Pro X, the interaction with I/O devices such as the Matrox MXO2 products is different than with previous versions of Final Cut Pro when it comes to capturing, monitoring, and outputting video. Exporting to H.264 files from the new Compressor 4 using Matrox MAX-enabled MXO2 devices remains up to 5 times faster than software alone.
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 Final Cut Pro X is truly a dramatic rewrite of Apple's mature and well-developed video-editing software. It borrows some interface elements from iMovie that may disappoint seasoned professionals, and it also loses many key features that are simply an absolute necessity in the professional world, like XML export. On the other hand, those looking to upgrade from iMovie will find a lot more features in Final Cut Pro X, but there are some caveats.
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 Even as I write, this unprecedented (in our industry) drama is still unfolding. Not since the "New Coke" debacle of 1985 has one company raised so much furor and alienated so many with a product change. But the situation with Final Cut Pro X is not a simple case of a flavor gone wrong...as one blogger pointed out, these are people's livelihoods one company has decided to play with.
By this point it doesn't matter whether FCP X is "awesome" as Mr. Jobs said in an email in April of 2010, what
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 When Allan Tepper began publishing his FCP-exodus articles last year, even some other ProVideo Coalition magazine writers thought and commented that his words were an exaggeration. However, now some of them are defecting from Final Cut Pro, and several other award-winning editors are doing the same. Part of the enticement to jump ship are the special crossgrade pricing being offered by Adobe and Avid, and part is the fact that they need either features which are currently missing in FCP X and/or
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