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Media Composer 8.6 Now Available—Accelerate File Ingest with Source Browser and Panasonic AVC LongG Support

Did you ever watch this Twitter video we posted during this year’s NAB Show? Well, today we are launching a brand new update to Media Composer with all the new features Danny announced… and much more! Here’s a complete overview of what’s new in Media Composer 8.6. Don’t forget to share your favorite features with your fellow editors on the Twitterverse!

Ingest File-Based Media through the Source Browser

The Source Browser allows you to import or link your file-based media from a single window. You can also preview your file-based media in the Source Browser window before you commit the clip(s) into a project.

Within the Source Browser window you can easily navigate to files and then choose to link or import with the appropriate settings. Get all the details on the new Source Browser in the What’s New document.

Native Support for Panasonic AVC-LongG

Media Composer 8.6 now provides native support for the Panasonic AVC-LongG format. Installing the latest Panasonic Plugin, you can now link and consolidate, as well as create native AVC-LongG media. Supported formats include Panasonic AVC Long-GOP G12, G25 and G50 for project formats 720p/50, 720p/59.94, 1080i/50 and 1080i/59.94.

Audio Ducking

Audio Ducking is a feature that allows you to quickly and easily create an audio mix. Using the Audio Ducking tool you can automatically reduce the audio level of one or more audio tracks against other audio track(s).

This is useful when you want to “duck” the volume of music or natural sound under dialog, and then ramp it back up.

New Select Menu Items Easily Select and Identify Segments

Media Composer 8.6 has now more ways to automatically make selections in the Timeline. Quickly select all segments based on clip color, or find all offline clips within Timeline. In Media Composer 8.6 you can select clips with same source color, same local color, no color, offline clips, to the left or right of the Blue Bar or reverse the selection.

Create a Sequence Based on Timeline Selection

Select this option to create a new sequence based on selections made in the current Timeline. For example, you could choose to select all the Clips with same Source Clip Color in the current sequence and then create a sequence with just those selected clips preserved in their original position.

Audio Track Names in the Audio Mixer Tool

When you rename an audio track in the Track Selector Panel, the corresponding name along with the Track ID appears in the Audio Mixer Tool.

Nested AudioSuite Effects

Now you can stack AudioSuite effects, allowing you to step in and out to manipulate each individual effect as well as render the effect stack as one segment on the track.

Default Pan

A sequence created entirely in Media Composer v8.6 or later will have pan information on every clip, so that when moving this sequence to another user’s workstation, it will play with the same pan as the originator, ignoring how the second user has configured the default pan (“Default Pan for mono tracks” remains a user setting).

SMPTE Channel Order

The order that individual channels of 5.1 and 7.1 surround audio tracks that are shown in the Audio Mixer window and in the waveform display in the Timeline, can be selected between SMPTE and Pro Tools. Prior versions were always in Pro Tools order. With this release, SMPTE order is the default, but it can be changed back to Pro Tools in a new Display Channel Order option in Audio Settings.

Audio Grouping

You can now group audio tracks. This might be useful when working with a large number of audio tracks and want to group them according to their purpose.

Simply access the Group option in the Audio Mixer tool and setup your audio groups.

Export with Mask Margins

You can export your sequence with mask margins burned in. When you choose Export to File, go to the Options dialog window and choose Enable Mask Margins. You can also choose to AMA File Export the sequence with Mask Margins enabled.

More New Features in Media Composer 8.6

Mac OS Qualification

Mac OS v10.11.5 has been qualified with this release of Media Composer.

RED Plug-In Performance Improvement

The latest RED plug-in (v1.16.5) takes full advantage of GPU acceleration. Some instances of editing with RED footage are now 4 times faster. Make sure you download the latest RED plug-in.

Timeline Clip Comments in Timecode Generator

We’ve updated the Timecode Generator to allow Clip Comments to appear on screen during playback.

Updates to Artist | DNxIO

With the release of Blackmagic Design Desktop Video 10.7, the Artist | DNxIO now supports capture of Closed Captions, capture to DNxHR HQX and 444, and Passthrough for Audio Punch-In.

Get It Now

Media Composer 8.6 is now available for all customers who have a Subscription, Floating or Perpetual License with an active Upgrade and Support plan. As soon as you connect to the internet, your Avid Application Manager will notify you about the availability of this new version. If you don’t have an internet connection on your system, just download the latest version from your Avid Account or the Video Download Center.

You are entitled to this new update if you have a Subscription, Floating or Perpetual License that is under an active Upgrade & Support plan. Get more details on these features, changes and improvements in the ReadMe and What’s New documents on our Media Composer Documentation page.

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Media Composer 8.5 Now Available—Expand Your Workflow with New Features and Enhancements

Today we are launching a brand new update to Media Composer (version 8.5), packed with great new features that will expand your editing workflow even more.

Media Composer 8.5 is now available for all customers who have a Subscription, Floating or Perpetual License with an active Upgrade and Support plan.

Here’s an overview of what’s new in Media Composer 8.5. We also encourage you to ‘like’ and ‘retweet’ your favorite ones on Twitter!

High Dynamic Range (HDR) Support

Media Composer now includes color spaces for High Dynamic Range (HDR). Enhance color and contrast to achieve more realistic, dramatic imagery, with exceptional detail in the shadows and highlights, and get support for Dolby Vision, Sony S-Log3, BBC/NHK, and ACES profiles. If you are working in an HD project, Avid recommends using DNxHD444 and HQX because of their 10 bit resolution. For higher than HD, use DNxHR444 and DNxHQX which are 12 bit resolutions.

Menu Simplification

A lot of the menu items in Media Composer have been reorganized. They now are grouped in a more logical location. Note that the Bin, Timeline and Composer context and Fast menus have also been reorganized.

A handy table in the What’s New Guide lists the main menu items that have moved, where they appeared in previous releases, and where you can find them now.

High-Visibility Timeline Editing

With this release, you can clearly see the segments as you drag them in either trim or segment mode. As you drag a clip, the movement is transparent allowing you to see other elements in the Timeline. If waveforms are turned on, the waveform stays visible as you drag, making it a lot easier to line up clips as you are editing.

Adding Tracks in the Timeline

Now you can add a track by simply dragging a clip in your timeline. As you drag the clip vertically up or down the timeline, and let go of the clip, a new track is added. Note that you can only create as many tracks at the same time as you are dragging.

Trimming with Sync Locks On

A new feature allows you to enable Sync Rollers for Sync Locked Tracks. In previous releases, you had to wait for the trim to end to see how sync was maintained. With this release, when you enter single roller trim, each track gets either a gray roller or a dimmer yellow roller. The gray roller appears when there is a segment directly under the selected roller. The dimmer yellow one will appear on the left side of the next segment when there is filler underneath the selected roller.

Changes in Trimming Clips

Media Composer now has new ‘end of trim’ indicators that show you whether the trim ends because there’s no more media or whether you’re running into the next cut. These new indicators instantly show you what track or cut point will be your stopping point if you were to continue trimming.

It also shows tick marks when trimming.  This is useful when slipping clips, to show the movement of the actual trimmed segment.

Adding Custom Columns and Multiple Columns to a Bin

In addition to the standard column headings, you can now add your own column headings to describe information about clips and sequences.

Also, if you select multiple columns to add to the bin, they will appear directly to the right of the selected column. If you do not select a column, the new columns will be placed at the far right of the bin.

Effect Palette Update

Effect Palette has been improved to allow you to find and filter effects quickly and easily. Effects are now divided into two categories for video (Filters and Transitions) and two categories for audio (Clip Effects and Track Effects). A Quick Find field has been added, allowing you to search for a specific effect.

Identifying Rendered Effects

Now you can easily identify rendered effects media. The Media Tool includes the option to see rendered effect precompute clips separately from Titles and Matte Key precompute clips. This will make it easier to delete the rendered effects media. You can also choose to display the rendered effect precompute clips separately in the bin by choosing that option in the Set Bin Display.

FrameFlex Rotation

If you need to straighten or rotate your source image, you can now rotate the framing box in the FrameFlex source settings using the Z Rotation slider. Once on the Timeline, these adjustments can also be animated with the Effect Editor. All settings are saved with the clip metadata which can be exported to other applications.

Video Memory and Video Frame Cache

All played frames—and all effects applied to those clips—are now cached in RAM. A new Video Memory tab has been added to the Media Cache Settings. Here you can allocate video memory for the editing application. You can also turn on interactive video frame cache. This saves the need to regenerate each frame every time it is needed during subsequent playback of the sequence. Enabling this cache will result in faster response times while editing.

Audio Mixer Tool Changes

The Audio Mixer now includes triangular openers that allow you to control what parameters are displayed in the Audio Mixer Tool. Clicking the top expand/collapse triangle opens the track selector sidebar where you can select the tracks you want to display in the Audio Mixer tool.

Click the first column heading to sort the tracks according to which are enabled. Click the # column to sort by track numbers. Click the Track column to sort by track label (if applicable).

More New Features in Media Composer

Support for Windows 10 and OS X El Capitan

Now you can use Media Composer on OS X 10.11 (El Capitan) and Windows 10 operating systems.

64 Tracks of Audio

With this release, you can have 64 tracks of audio in a single sequence, meaning 250% more audio tracks than previously available! Bear in mind that you are limited to 64 voices. So some of the possible combinations are:

  • 64x mono tracks = 64 voices
  • 10x 5.1 tracks + 4x mono tracks = 64 voices
  • 8x 7.1 tracks = 64 voices.

Opening a Settings Dialog in the Project Window

You no longer have to use the mouse in the Settings tab to open a setting’s dialog box. Type the first letter of the setting you want to open, scroll to the setting and press Enter to open the applicable Settings dialog.

Manage Preset Project Formats

Custom raster dimensions that you have added to your project formats can now be modified or deleted. To modify your presets, click the Manage Presets button in the Project dialog box. In the preset manager, select a preset and overwrite any of the existing values. You can also add or delete presets from this dialog.

Changing the Background Color of the Project Window or Timeline

In the Settings tab of the Project Window, open the Interface Settings. If you want to change the background of the Timeline, select Use custom Timeline background and choose a new color. If you want to change the background of the Project window, select Use custom Project background and choose a color.

Overriding Bin and Project Font and Font Size

Now you can easily override the bin, project font and font sizes fonts for all bins and/or projects through the Interface Setting. This is useful if you share projects and bins with other users or if you are switching between systems. The font and font size you want to see on a desktop might be different than the one you want to see on a laptop.

Grouping Clips by Audio Waveform Analysis

Apart from grouping clips by IN points, OUT points, or timecode, with this release, you can also group clips by audio waveform analysis. Media Composer performs an analysis of the waveforms of the selected clips and creates a group clip for you.

Timecode Burn-In Effect Update

In previous releases, the Timecode Burn-In effect would always count from frame 0. Now, the Burn-In effect provides the option to set the starting frame count at 1. You can also display a frame count for the effect in feet and frames (35mm 4perf).

Applying the Same Text to a Column for Multiple Items

You can now apply the same text in a Frame Count Start, DPX, and Ink Number column to multiple items in the bin. This is useful for example if you wanted to apply the same frame count start to multiple items in the bin. Select the items in the bin to which you want to apply the same text. Right+click the column and select Set <column name> column for selected clips. Enter the text you want to appear in the column for the selected items in the bin.

Linking and Importing Broadcast Wave Files

Importing and linking Broadcast Wave files has changed with this release. The change ensures the beginning of an imported or linked audio clip is not cut off at the beginning of the clip.

Audio Track Ordering Layout Name Change

A new 7.1 track ordering layout is included with this release. This change supports interoperability with Pro Tools. For 7.1 EXT the order is: Left, Right, Center, Low Frequency Enhancement, Left Rear, Right Rear, Left Side Center, Right Side Center. For SMPTE-DS (per the SMPTE Standard 428), the order is: Left, Right, Center, Low Frequency Enhancement, Left Side Center, Right Side Center, Left Rear, Right Rear.

Get It Now

If you don’t have Media Composer, you can get it now from the Web Store or you can Find a Reseller.

If you already have Media Composer, the new 8.5 release is now available for all customers who have a Subscription, Floating or Perpetual License with an active Upgrade and Support plan. As soon as you connect to the internet, your Avid Application Manager will notify you about the availability of this new version.

If you don’t have an internet connection on your system, just download the latest version from a separate computer by accessing your Avid Account or the Video Download Center. Get more details on these features, changes and improvements in the ReadMe and What’s New Guide on our Media Composer Documentation page.

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New Media Composer 8.4.5 Update Adds Extra Features to Artist | DNxIO Video I/O Interface

We’re thrilled to launch a brand new update to Media Composer with additional enhancements for use with Artist | DNxIO hardware. The open and flexible DNxIO interface can be used together with Media Composer and many other creative tools such as Final Cut Pro, Premiere Pro, and DaVinci Resolve.

Avid Artist | DNxIO is designed to simplify and accelerate your high resolution workflows, enabling you to capture, monitor, and output media in the highest quality possible. With the release of Media Composer 8.4.5, you can now enhance capture from and output to devices connected to Artist | DNxIO hardware, adding the capacity to capture DNxHR-encoded media, capture and output with closed captioning and other ancillary data, and sync via LTC (linear time code).

Hardware Encoding of High-Resolution DNxHR Media for Capture Workflows

Now you can capture DNxHR-encoded 4K and UHD media into Media Composer directly from devices connected to the Artist | DNxIO hardware. This release supports DNxHR LB (Low-Bandwidth) hardware encoding.

LTC Timecode Support

Sync with LTC timecode through the DNxIO hardware timecode ports  (XLR timecode inputs / output).

Ancillary Data Support Including Closed Captioning

Output and capture closed captioning and other ancillary data via devices connected to the Artist | DNxIO video interface. The ancillary data support includes closed captioning for NTSC and HD, SDI VITC reader, RP188, and pass-through all (HD, 4K).

Media Composer 8.4.5 is now available for all customers who have a Subscription, Floating or Perpetual License with an active Upgrade and Support plan.  Your Avid Application Manager will notify you about the download availability of this new version. You can also download version 8.4.5 from your Master Avid Account or the Video Download Center.

Remember that if you have a Subscription, Floating or Perpetual License that is under an active Upgrade & Support plan, you are entitled to this new update. Get more details on these features in the ‘ReadMe’ and ‘What’s New Guide’ on the Media Composer Documentation page.

If you have any questions about Media Composer or Artist | DNxIO, don’t hesitate to post your query on the Avid Video Forums or visit the dedicated Artist | DNxIO FAQ article on the Avid Knowledge Base.

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Renew your Media Composer Upgrade & Support Plan

If you have a perpetual license with an annual upgrade & support plan that is about to expire, just renew your plan today for $299 and stay current with the latest support and upgrades—including significant features coming soon. To renew, contact your reseller or renew your plan now.

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Today’s Media Composer 8.4.1 Release Adds Support for the Powerful New Video I/O Interface—Artist | DNxIO

Avid’s new professional video I/O interface, Artist | DNxIO, is now shipping worldwide, and today’s released Media Composer 8.4.1 update makes sure you can seamlessly connect this powerful hardware solution with your favorite editing application.

The Artist | DNxIO is designed to simplify and accelerate your High-Resolution workflows, enabling you to capture, monitor, and output media in the highest quality possible. The open and flexible interface includes hardware by Blackmagic Design, and can be used together with Avid and many other creative tools. For a full list of DNxIO specifications and software compatibility, visit the DNxIO product tech specs page.

Media Composer 8.4.1 is now available for all customers who have a Subscription, Floating or Perpetual License with an active Upgrade and Support plan.  As soon as you connect to the internet, your Avid Application Manager will notify you about the availability of this new version. If you don’t have an internet connection on your system, just download the latest version from your Master Avid Account or the Video  Download Center.

Here’s a short overview of what’s new in Media Composer 8.4.1.

Support for Artist | DNxIO

Install the latest Media Composer update (8.4.1) to ensure compatibility with the Artist | DNxIO. For more information about setting up the interface, read the Artist | DNxIO Setup Guide. Avid recommends that you read all the information in this document before connecting or using your new hardware and software. Don’t forget to also download the latest video desktop driver from MyAvid Account.

MAC OSX 10.10.5 Qualified

Media Composer v8.4.1 includes support for Mac OSX version 10.10.5 (and 10.10.4). Windows 10 is not yet supported, but you can subscribe to this Knowledge Base article to get notified as soon as Avid qualifies this operating system with Media Composer.

Fixes and Improvements

If you’re on Media Composer 8.4 and don’t have the Artist | DNxIO hardware, we still recommend you to download and install this editor patch version 8.4.1. This release includes bug fixes to enhance performance and address customer issues. Full details can be found in the ReadMe documentation.

If you have any questions about Media Composer or the Artist | DNxIO, don’t hesitate to post your query on this forum of the Avid Video Community and visit the dedicated Artist | DNxIO FAQ article or Artist | DNxIO Support Page on the Avid Knowledge Base . Enjoy your edits!

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Media Composer 8.4 Introduces Projects with Custom Frame Sizes

The Avid Pro Video team is proud to launch a new update of Media Composer (8.4) with tons of exciting new features, making it the most versatile and accessible tool for professional creative editorial. You will see this update as an Editor Patch or Full Installer in your Application Manager when connected to the Internet. If you don’t have an internet connection on your system, just go to your Master Avid Account or the Video Download Center to download the latest version.

You are entitled to this new update if you have a Subscription, Floating or Perpetual License that is under an active Upgrade & Support plan. Get more details on these features, changes and bug fixes in the “ReadMe” and “What’s New Guide” on our Media Composer Documentation page.

In this article we offer a comprehensive overview of the new features that come with this update. We are excited to share them, and we encourage you to ‘like’ your favorite ones on the Twitter videos.

Projects with Custom Frame Size

In this version of Media Composer you can set custom frame sizes for your projects. You can choose from all the current supported frame rates for these custom projects (from 23.98fps to 60fps). Enter even values in the Raster Dimension boxes (height x width) with a minimum size of 256×128, and a maximum size of 8192×8192. For stereoscopic projects, the height must be divisible by 4 and the width divisible by 8.

Save custom raster dimensions by clicking the Save Preset button. The next time you open a new project this preset will be available under the Format drop-down menu as My Presets.

XAVC-I and ProRes Native Support

Media Composer now includes native support for the Sony XAVC-I format (using the latest Sony AMA plug-in), and ProRes 2K/4K/UHD media. Link to XAVC-I UHD/4K or ProRes 2K/4K/UHD media and playback the clips in realtime.

Previewing Closed Captions

With this release, displaying of EIA-608 Closed Caption data from the 436M ANC stream of the D-Track is supported. Preview Closed Captions in the Record monitor, Source monitor, pop-up monitors, and in the Timeline D-Track. Pop-on, Roll-up and Paint-on captions are supported.

Timeline Quick Find

The new Timeline Quick Find field allows you to enter text that you can search for in the Timeline. To customize the search, use the text field drop down menu and select which text options you want to search:  Visible Timeline Text, Resolution, Clip Name, Comments, Markers, All, or a combination.

Click the Find left or right buttons to continue searching for the text in your sequence. Three menu picks have been added to the Edit menu to map these commands to your keyboard: Timeline Quick Find, Timeline Quick Find Next, Timeline Quick Find Previous.

Resizing Monitors

It’s now possible to resize the monitors in Media Composer to a much larger size than before. This is especially useful when working in Effects Mode.

Also, a menu option has been added to the Special menu to map the Show Single/Dual Monitor menu command to your keyboard for easy switching between dual and single monitors.

Adapter Display in Timeline

Clips that have source-side color, spatial and motion adapters now have these effects indicated by different icons. Temporal (motion) adapters appear with a T, spatial (FrameFlex) adapters appear with an S, and Color adapters appear with a C. Go to the Timeline fast menu (hamburger menu) to choose which adapters you want to appear in the Timeline.

AAX Factory Presets

The AAX factory-provided presets used in Pro Tools are now available in Media Composer. By accessing an Audio Suite or Audio Track Effect, you can choose the factory default Plug-in settings or a preset setting, make adjustments and select ‘Save Setting As’ to save the adjusted setting. The saved setting appears as a selectable preset when you choose that plug-in.

Alpha Support for Quicktime DNxHR

Timelines that contain alpha channels can now be exported as Quicktime DNxHR files. Using a third-party application, you can create QuickTime wrapped DNxHR movies that contain an alpha channel and Fast Import or link these files into Media Composer.

Include Inactive Audio Tracks in Export

Through the Export Settings dialog you can now choose to include inactive audio tracks. When this option is selected, inactive audio tracks will be included with the exported sequence. The option is on by default. Also note that the terminology for Use Enabled Tracks has been changed to Use Selected Tracks.

Reformatting Linked Media

Manage your default setting for linked media by choosing Letterbox/Pillarbox, Center Crop, Center Keep Size or Stretch. This setting is available in the Settings > Link > Link Options. There is also an option to set SD clips as 16:9 by default. This setting forces all SD media to be tagged as 16:9.

All references of ‘AMA’ are now referred to as ‘Link’. This will be most notable for AMA settings that now appear in the Link settings option.

Viewer Mask Options

The Gray Target Mask option has been replaced by Mix to White and Mix to Black Masks. You can change these mask colors in the Target Mask submenu of the Source and Record viewers.

Transcoding media original FPS for HD projects

In previous releases of Media Composer, you could only transcode to the media’s original frame rate when working with greater than HD projects. With this release, this also applies to SD and HD projects. When ‘Keep Source’s Frame Rate’ is selected, you will see a list of available DNxHR codecs. If you need to use the older codecs in HD/SD, you will have to select ‘Convert to project frame rate’.

More New Features in Media Composer

Link (former AMA) Improvements

There will no longer be any Scanning or Indexing dialogs occurring during the linking process. The user can continue to work within the application while the link occurs in the background without being interrupted by pop-up dialogs.

You also have the option to delete the metadata files associated with linked (former AMA) media. When deleting clips in the Media Tool, at the bottom of the dialog there is a new checkbox labeled “Linked metadata file(s)”. It does NOT delete or touch the Linked source files themselves.

Supported formats for Capture

With this release, the following formats are supported for capture: 1080p (50p, 59.94p, 60p), 2K (23.976p, 24p, 25p), 2K Full Aperture (23.976p, 24p, 25p), UHD (23.976p, 24p, 25p, 29.97p, 30p, 50p, 59.94p, 60p), and 4K DCI Full (23.976p, 24p, 25p, 29.97p, 30p, 50p, 59.94p, 60p).

Change Terminology of Color Levels

All import and export settings for scaling color levels from full range (RGB) to legal range (video) have been updated with more intuitive and consistent terminology. In the Import and Export Settings, the sections are titled Color Levels. The reference to RGB and 601/709, has been refreshed with more task-directed options for scaling of full range and legal range.

List Tool Improvements

This Media Composer update brings the following improvements to the Lists Tool: added handles to EDL events, easy access to the Preview Pane tools, Timeline blue bar interaction with EDL events, background color to the Preview Pane when in Edit Mode, Print List and Clear List.

Remove Color Adapters from Sequence

You can remove color adapters from a sequence before you sending it for color correction. Select Refresh Sequence > Remove Color Adapters to remove Color adapters at the sequence level so that you can export the sequence as an AAF. This function does not affect adapters on the master clips (as source settings).

Refresh Sequence All

The More tab of the Command Palette now has a ‘Refresh Sequence ALL’ button that can be added to your Timeline toolbar and mapped to your keyboard.

Background Support in Media Composer | Cloud

In previous releases you could not use Dynamic Media Folders, Background Render and Transcode with Media Composer | Cloud. Now the Background Render and Background Transcode work with Media Composer |Cloud.

Four Channel Audio Monitoring

The monitoring options in the Audio Mixer Tool and the Output tab of the Audio Project Settings have been updated to provide new Four Channel Audio monitoring options: 4-channel LRCLfe (Left, Right, Center, Low Frequency Effects), 4-channel LRCS (Left, Right, Center, and Surround) and 4-channel Quadraphonic (Left, Right, Left Rear, and Right Rear).

Additional GPU Support

This release of Media Composer supports the FirePro w7100 and w8100 AMD graphics cards. Also, NVIDIA Driver 347.52 is qualified for the newer Graphics cards from the Quadro FX series.

New Features in Application Manager 2.4

In this release, by logging in to Application Manager 2.4, your non-activated Media Composer license will be auto-activated. That license will be tied to the system where Application Manager ran from, but you are given the option to change that by visiting My Avid Account. There you can set the name of the computer you want that license to default to. If you have multiple licenses in your account, it will automatically pick the right one, depending on what computer name you assign to each license.

Also, Application Manager now supports Administrator versus Standard User privileges, based on the OS user. When the Application Manager administrator turns on the restriction mode, other standard users will not be able to download, install, or see updates and license info. They can only see what’s installed and the system ID.

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Media Composer 8.3.1 Adds Extra Features for High Resolution Workflows

In today’s update of Media Composer | Software (8.3.1), editors receive lots of new features to improve their high-res (UHD, 2K, 4K) workflows within the most proven video editing software in the industry. This update will show up as an Editor Patch or Full Installer in your Application Manager when connected to the Internet. If you don’t have an internet connection on your edit system, just download the latest version from your Master Avid Account or the Video Download Center.

If you have a Subscription, Floating or Perpetual License that is under an active Upgrade & Support plan you are entitled to this new update. Find more details on these features, changes and bug fixes in the “ReadMe” and “What’s New Guide” on the Media Composer | Software Documentation page from the Avid Knowledge Base.

QuickTime Export for DNxHR

Media Composer now includes QuickTime codecs for DNxHR media. This allows you to perform a QuickTime Movie export or QuickTime Reference export of higher than HD resolution media. Both “Same as Source” and Custom exports are supported.

The DNxHR codec is available in the Standard Video Compression Settings in the QuickTime movie Export Settings dialog.

 

http://instagram.com/p/0S9uZ0Rihy/

 

Support for XAVC-I UHD/4K

With this new release you can AMA link, consolidate, and export greater than HD XAVC-I media. You’ll also see better performance when doing decode or playback functions. You can AMA link through the following XAVC-I plug-ins:

  • XAVC-I (Sony XDCAM AMA plug-in v3.40)
  • XAVC-I MXF (Avid MXF OP1a AMA plug-ins)

 

http://instagram.com/p/0S-Rk2xiix/

 

Export DNxHR as MXF OP1a

The Avid editing application now supports exporting DNxHR as MXF OP1a wrapped media. You can output up to 16 channels of audio and ancillary data. Go to AMA File Export, or right-click the sequence and select AMA File Export to access the AMA File Export Dialog.

 

http://instagram.com/p/0S_23ixiky/

 

Media Creation Default Change

The AMA Source/Scaling Quality option in the Media Creation Mixdown & Transcode Setting now defaults to Full Quality instead of Half Quality (Good).

 

http://instagram.com/p/0TAOApRilQ/

 

Mac GPU Support

Certain Effects can now be accelerated using GPU hardware on Mac systems. You can find a new text file called “QualifiedGpuBoards.txt” in HD/Applications / Avid Media Composer / SupportingFiles / Config, which opens up support for the listed boards, handing off some of the processing to the GPU.

The supported GPU effects are the same on the Mac side as on the PC side and will result in an improvement of playback performance (with effects) and rendering.

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Upgrades Extended

The Media Composer upgrade offer has been extended. Get a $499 upgrade before March 31st or $699 before May 15th.

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Media Composer 8.3 Now Available with Avid Resolution Independence

Editing 4K and Beyond in Media Composer Now Available with Avid Resolution Independence Update

The following is a guest contribution from editor, Wim Van den Broeck. With more than a decade of Media Composer editing experience, he has a huge passion for Avid video editing, his main tool to achieve the best possible results for his clients. You can follow him as @editorbelga on Twitter.

 

As of today, Media Composer | Software allows for native 2K, 4K and UHD editing and DNxHR, all part of Avid Resolution Independence. This latest update was announced at Avid Connect Europe 2014 and is all about High-Resolution edit, output, export, and the new DNxHR codec.

If you have a Subscription, Floating License or Perpetual license with an Upgrade & Support plan, you get this new version included!  Customers connected to the internet will see notifications of an update in their Application Manager. Just click “Update” in the Application Manager to start downloading this latest version. If you don’t have an internet connection on your edit system or if you wish to manually install the software, go to your Master Avid account or the Video Download Center to obtain the Installer files.

You can find more details about these new features and other changes in the Media Composer | Software Documentation. Also, check out the new High-Res Workflow Guide to get familiar with these new, “under the hood” changes and updated High Resolution workflows.

Get ready to start editing 2K/4K/UHD media natively, reduce transcoding tasks, spend more time on creative storytelling, and deliver your projects from start to finish in High-Resolution. Check out these powerful new features and more in this update of Media Composer | Software.

High-Res Project, Formats and Output Support

Avid Media Composer | Software now supports higher than HD resolutions. Edit and playback UHD, 2K, and 4K sequences on your timeline, as well as transcode, render and output high-resolution formats. That means you can export high-res masters directly from Media Composer. Link via AMA to DPX, XAVC-1, RED or QT ProRes files and transcode to the new Avid codec, DNxHR. This new codec family includes the following flavors, giving you the flexibility to meet your workflow, storage, quality and bandwidth needs:

  • DNxHR LB (low bandwidth)
  • DNxHR SQ (standard quality)
  • DNxHR HQ (high quality)
  • DNxHR HQX (high quality 10-bit)
  • DNxHR 444 (cinema quality)

Color Management

Besides the existing Rec. 709, Media Composer now supports BT/Rec. 2020 and DCI-P3 color spaces. The source and record viewers also support these color spaces if your monitor has been calibrated for them. Additionally, you can expand the color levels to show full scale video levels (0-255) by right-clicking and selecting the Display Color Space > … [full range] option in the list.

New Frame Rates

The following high frame rates for progressive media are now supported: 47.952, 48, 50, 59.94, 60 fps. When editing with these high frame rates, you will have the choice of editing within standard editing rate boundaries. Media Composer will accommodate frame rates that are divisible by 2 in order to avoid artifacts when moving high frame rate projects to lower standard rates. For example, when editing with 50p and 60p frame rates, the editing timebase is set to 25p and 30p, respectively.

The new Two-Frame Safety is especially useful for projects that will be downconverted to interlaced media for broadcast, such as 29.97i from a 59.95p project, to ensure that you maintain your cuts on the right field.

Change Playback Rate in Source Settings

Choose whether you want a master clip to play at the original frame rate or at the project frame rate. Project rate playback provides frame-for-frame playback, effectively achieving a perfect slo-mo without any frame interpolation depending on source material. Achieved by selecting Playback Frame Rate from the clip’s source settings.

Transcode to original Frame Size and Frame Rate

You are now able to transcode to the Frame Size of your original high-res media, regardless of the project you are working in. You can transcode to the original1/4 or 1/16 of the Frame Size. (Transcoding to 1/16th will result in even lower than HD resolutions)

Also, when transcoding, you can choose to keep the media at its original Frame Rate. This will allow you to relink back to the AMA source material after editing with the transcoded media.

LUT Workflow Enhancements

In the Color Management settings, it is now possible to install LUTs that will either be available across projectsor private to the current project. Additionally, a new effect allows you to apply a Look-up table (LUT) to clips on the timeline. There are also LUT’s for viewers and external monitors.

Play and Render Sequences in Proxy

Working with the new “Proxy Mode” will improve your editing and playback experience significantly when working with native high-res media. Use the Proxy setting in the Project Format dialog to play your sequence at 1/4 or 1/16 of the current project resolution. This will allow smoother playback and more fluid editing from your original media. In proxy mode, effects render to the selected proxy resolution. Switch proxy mode off, and you just need to re-render the effects to high-resolution.

For best performance with high-res media, you can first transcode your media to 1/4 res (or 1/16) and set your proxy mode to playback at 1/4 (or the corresponding 1/16). By matching the proxy modes of the transcoded media and the timeline, there is no on-the-fly processing required when these clips are played.

DPX Export

Media Composer will initially provide the following file-based output types that support greater than HD resolutions: DPX export through the Avid File Sequencer and QuickTime ProRes (ProRes 444 is supported on the Mac only). To export as DPX just select the clip or sequence you want to export. Right-click and select AMA File Export and select DPX as File Type from the drop-down menu. Set location and file name and fill out the profile options. Find more in-depth details of DPX export settings in the Media Composer Documentation. Additional export formats and options will be added in the new year.

Quick Filter in Bin

All bins inside Media Composer now include a quick filter text box that allows you to quickly filter out items that match your filter criteria. This is helpful when you have a large number of items in one bin and want to quickly filter for specific items.

If individual columns are selected, the search is performed on the information/metadata in the selected columns. If no columns are selected, the search is performed on all displayed columns.

List Tool

You can now generate EDLs, Cut Lists, and Change Lists inside Media Composer. The new List Tool provides one tool to create these lists. The options within the tool change depending on the output format you select:

        • An EDL is used for exchanging information between editing systems. This list can include cuts, wipes, dissolves, fades, and black edits. It lets you take a project from Avid Media Composer to other online editing systems.

 

 

      • Cut List is generated to conform a work print, negative, sound track, or optical effect to match the sequence.

 

 

      • Change List is generated to simplify the process of updating conformed cuts to match and compare changes in versions of the sequence or sequences.

 

Color Info Tool

The Color Info Tool allows you to see the RGB values for the pixels located under the pointer on the screen. This is helpful if you want to see a color value without having to go to Color Correction Mode. You can choose to see the color values before and after applying a Display Color Space option (LUT). The Color Info Tool can display the values in RGB 8 bit, RGB 10 bit, RGB Percent, IRE or mVolts.

You can access the Color Info tool by clicking the Color Info button in the Color Correction Tool.

More New Features in Media Composer | Software

High-Res 4K Monitor Support

If you work with a 4K computer monitor, you can preview your media at Full Size through the “Full Screen Playback” option. Adjust your desired Reformat and Display Color Space options through the Full Screen Playback settings.

High-Res Output to Client Monitor

Avid is currently qualifying the following 4K I/O hardware from third-party partners:

  • AJA Kona 4
  • AJA IO 4k Thunderbolt 2
  • Blackmagic Design BMD Decklink 4K Extreme
  • Blackmagic Design UltraStudio 4K Thunderbolt 2

NewBlue® Titler Pro for High-Res projects

Media Composer includes NewBlue Titler Pro. You can use the NewBlue Titler to create titles for high-res projects directly within Media Composer. NewBlue Titler is replacing the legacy Title Tool for larger than HD projects or with HD projects with the new frame rates (30, 50, 59.94, 60).

Additional Column Headings

The following column headings are now included with the editing application: Frame Count Start, Frame Count End, Frame Count Duration, and Reel. The information in these columns applies to clips and subclips. The information does not apply to sequences or group clips.

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Media Composer 8.2 Keeps You Focused on Creative Editorial with Background Rendering

The following is a guest contribution from editor, Wim Van den Broeck. With more than a decade of Media Composer editing experience, he has a huge passion for Avid video editing, his main tool to achieve the best possible results for his clients. You can follow him as @editorbelga on Twitter.

 

It’s here! The latest version of Avid Media Composer | Software introduces Background Rendering. This new feature will increase your productivity, let you spend more time on creative storytelling, and deliver your projects on time, beating the deadlines.

But there’s much more. In this blog post, I will sum up all the new features that come with this second update of Media Composer | Software. You can find more details on these features and bug fixes in the Media Composer | Software Documentation. Notice that this version of Media Composer is supported on Mac OS 10.9.5 and 10.8.5, and on Windows 7 and 8.1.

If you have a Subscription, Perpetual or Floating License plan, you are entitled to this new version. Look for the update in your Avid Application Manager. Customers with internet connections will see notifications of an update in their Application Manager. Click “Update” in Application Manager to start the download and installation process without having to go to the Avid web site. Those without internet connections on their systems or those who wish to manually install the software can obtain the new version from their MyAvid account or the Video Download Center.

So here’s how the latest version of Media Composer | Software will speed up your editorial workflow.

Background Rendering

The most exciting new feature in this update is the ability to Render your effects in the Background. Media Composer supports rendering in the background while continuing to work inside the editing application. The procedure is very similar to Background Consolidate and Transcode. By marking the “Run in Background”, you submit a render job into the background. At any time, you can check the render progress in the Background Queue Window or through the Progress Monitor in your internet browser. Once the job is completed, the sequence will link to the new pre-computes and the effect icons will reflect the rendered state. All background renders appear in the Background Queue as a single job.

Read the complete What’s New Guide v8.2 to get more in-depth information on Background Render, including details on new directories for Background processed media and a notification on some effects that are known to not render in the background.

Favorite Bins

Favorite Bins are bins that you can easily access regardless of the project you are working in. A Favorite Bin can contain the same items that a regular bin can hold: clips, sequences, effects templates, matte keys, and titles. Create one or multiple Favorite Bins to easily access often used music, transitions and effects. A Favorite Bin can reside on local or shared storage. From the Bin Settings, you can choose to have the Favorite Bins folder appear at the top or at the bottom of the Project Window. The list of Favorite Bins is stored in the Bin User settings. To let multiple users see the same list of Favorite Bins, just drag the Bin Setting to the Site Settings dialog. Any newly created User setting would then automatically see the Favorite Bins. You can delete a bin from the Favorite Bin Folder by opening the Favorite Bin Folder in the Project window, and deleting the bin you want to remove from the Favorite Bin folder.

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Select Project Window Improvements

The Select Project Window (where you switch between projects) has been made bigger to allow for longer project names. Also, when clicking to select a project, a detailed project summary for that project will appear in the right-hand pane. That way, you can easily spot the Project Type, Color Space, Raster Dimension and Stereoscopic info for a each project.

Searching for Marker Comment Text

Now you can search for text in the Marker Comment field across all sequences and master clips within the project, including opened or closed bins. Just press Ctrl+F (Win) or Cmd+F (Mac), or go to Edit > Find. In the Find Window, click the Markers tab and type a word or phrase as your search criteria in the Find text box. You can refine the number of results, by entering additional criteria in the filters. Once you have found the Marker Comment you were looking for, just double-click the Marker in the results window to automatically open the bin, load the respective master clip or sequence into the source monitor and position the blue timeline bar at the selected Marker.

Image Cache Setting

Users working with large quantities of thumbnail images in bins with frame or script view enabled, or scrolling through the timeline with the filmstrip view enabled, will experience a big performance improvement, thanks to the new Image Cache Settings. Caching images in memory allows thumbnails to quickly be recalled as you load or scroll in bins or in the timeline. Furthermore, saving them to the disk cache allows them to be recalled after relaunching the application and eliminates the need for the application to have to create them all over again.

To change the Media Cache go to the Settings list in the Project window, and select Media Cache. Enter a value for the Disk Cache Size and Memory Cache Size. If you want to change the default location of the Cache folder, click the Set button and choose the location for the Cache folder. You can clear the cache from the cache folder by clicking the Flush button in the Media Cache dialog.

Quick Filter in the Project Window

In this new update of Media Composer, you can easily search for specific bins inside a project. A quick filter text box has been added to the Project window to quickly filter out bins in the Project window, leaving only those bins in a flattened view that match your filter criteria. This is really helpful when you have a large number of bins in a project and want to quickly filter for specific bins by their name. The filter results will show up in real time while you are typing, so there is no need to type the complete name of the desired bins.

More New Features in Media Composer | Software

Improvements in Application Manager

Improvements have been made to the Application Manager (2.1.1). View Feeds in chronological order and choose which feeds and notifications you’d like to receive (for Apps and/or Feeds). There’s also an option, allowing Avid to Collect Data to improve the Application Manager.

Redundant Floating License Server Support

Now you can configure an additional Floating License Server as a backup server in case of emergency. When the primary server goes down, the editor seamlessly uses a license from the backup server and will continue to work, without the risk of losing access to your licenses.

DMF Support for DPX Files

The Avid Image Sequencer plugin now supports DMF workflows. Use Dynamic Media Folders and profiles to automate consolidation, transcoding and copying of DPX files in the background. Avid Image Sequencer settings have been added to the DMF Profile editor and allow users to specify Reel and Timecode extraction as well as establish starting frame count and FPS.

Warning When Changing the Project Rate

With this release of the editing application, if you change the project rate you will receive a warning message. For example if you change a project from 50i to 25p, you will receive the following message: WARNING: Effective image update rate changing from 50 fps to 25 fps. This message is informational. Click OK to continue.

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Media Composer has long been the most trusted tool of professional editors worldwide. See why for yourself by signing up to try the software free for 30 days.

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