 Hi everyone,
Here's a technique I use to work offline and then online with my Canon H.264 files with Avid Media Composer 5.5
Starting at DNXHD36 and upconverting the sequence only to DNXHD175.
Why?
Better Mac/PC performance
Saves you space (space costs right?)
Speeds you up in the edit
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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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 MORE THAN JUST INEXPENSIVE HD MONITORING FOR AVID MEDIA COMPOSER - LIGHTNING FAST H.264 ENCODING TOO!
Avid's support of Matrox MXO2 Mini was the talk of NAB and IBC 2010, giving Media Composer users a very inexpensive HD monitoring solution. But that's not the only benefit Matrox products offer Avid users. Matrox MXO2 Mini with the built-in MAX H.264 encoding accelerator option lets you deliver H.264 files for the web, mobile devices, and Blu-ray at speeds up to five times faster than softwa
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 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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 I have been using PluralEyes for my Final Cut System ever since I purchased my Canon 7D last year. I have also had the pleasure of working with PluralEyes on my Media Composer System. In both cases, I really like the software. It helps me fix the one problem that I have with DSLR video – the need for second source audio.
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 Macintosh-based video editing tools are some of the best on the market, from Apple's Final Cut Pro to Adobe's Premiere Pro. Yet, for those whose event production workflows follow the digital cinema model of two-system productions, where the audio is captured separately from the video, there’s always been the problem of synchronization. And virtually all of us who shoot with DSLRs find ourselves in this boat.
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 Avid was first out of the gate in the run-up to NAB with its release of the Media Composer 5.5 update for this flagship NLE product line. Avid Media Composer 5.5 (and the associated Symphony and NewsCutter versions) marks a continued openness starting with the release of Media Composer 5.0 last year. That release demonstrated a major retooling, which drew mixed reviews from veteran Avid editors. The most recent version, 5.0.3.8, is very stable and has been tweaked to adjust the behavior of some
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 I landed my first job in post-production in 2003 at a small house which used Avid exclusively. It had plenty of problems; we struggled with the Dragon error for a few months, converted to Xpress Pro when it came out, and then wrestled with that. There just weren't any other options. And then Apple's Final Cut Pro was released, although it too had some problems. But when Avid stopped listening to their customers and became more and more inflexible, Final Cut Pro became an increasingly attractive
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 The March 2011 Editors’ Lounge HTTP:/?/?editorslounge.com/? was the 8th year of our annual NAB discussion panel and featured guest speakers Steve Cohen, Terence Curren, Mark Raudonis, Michael Bravin and Lucas Wilson. Debra Kaufman moderated a lively discussion on post-production trends and predictions for NAB 2011.
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 It was a few weeks ago that Avid shipped another update to Media Composer, this time moving 5.0 to 5.5. It wasn’t the huge update that we saw in 5.0 but it continues to add features and bug fixes across the application. I’m guessing that since this was a smaller release Avid chose not to use NAB as the announcement/release for the upgrade (NAB is next week!) rather they’ll be showcasing it through out their booth. I was able to preview the upgrade before the official release and it felt quite st
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 Last year Blackmagic Design brought in its showstopper: DaVinci Resolve on the Mac for $1,000. No one expects that type of repeat performance at this year's NAB Show, but as the early tips come trickling in, this year is still shaping up to be pretty awesome.
Editing and Effects Software
The big software releases of 2010 included DaVinci Resolve, Autodesk Smoke for Mac OS X, Avid Media Composer 5, Avid Pro Tools 9, Avid DS 10.5, Grass Valley EDIUS 6 and Adobe CS5. This year Avid is first
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 Maximum…Max. I’m talking the Matrox MAX system…the H.264 encoding engine in their MXO2 with MAX product line, and the CompressHD card. You might have thought that this only worked on the APPLE stuff…Compressor and FCP. But no…it works on the Avid Media Composer side too. Because the Matrox MXO2 Mini is designed to work as a monitoring option for MC5.
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 A little less than a year ago, I reviewed the new Avid Media Composer v5 software. Buried in that otherwise good review…at the bottom of the review…I mentioned that even though AMA was cool and nice, you couldn’t export an AAF or OMF from a project that contained AMA material.
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Several years ago, VideoUniversity published Doug Graham’s excellent article, What’s the Best Editing System? And while lots of technology has changed, the basic answer that Doug put forth back then still holds true today – the answer, he said, is ‘What do you want to do with it?”
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 There’s been much consternation over the past year about Apple’s commitment to Final Cut Studio – and what it means to post-production video. As someone who specializes in Final Cut Studio workflows, I’ve spent a lot of time pondering the state of Final Cut Studio and its commitment to me and my business.
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