 Got FCP? Got Kona or Decklink or MXO2?
Crodssgrade to Media Composer 5.5 for $995 (while supplies last) and register before Nov 15th to get a FREE upgrade to MC6!!
Videoguys.com took advantage of a special purchase opportunity that allows us to offer Apple Final Cut owners the "crossgrade" to Avid Media Composer 5.5 for just $995 while supplies last and a FREE upgrade to the new Avid Media Composer 6. Here's how you can take advantage of this last chance offer:
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 Today was the day for the Avid webcast where they announced a new version of Media Composer. Version 6 will ship on November 15 and may be one of the most important releases of Media Composer since … well version 5.0. Version 5 ushered in the big change that is the Smart Tools and caused quite a ruckus amongst old timers. Version 6 will see an updated interface.
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 Today Avid Avid announced Media Composer version 6, Symphony version 6 and NewsCutter version 10 . Avid matins they acer deeply committed to professionals, and are pleased to announce that all of these new applications are 64 bit native.
Avid Media Composer 6.0 has been rebuilt from the core on an entirely new open, 64-bit architecture. Avid is also introducing a sleek, new User Interface that is designed to speed up workflows while preserving the same functionality. This means it will still
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 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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 I’m going to start out by saying that I was one of the beta testers of this version of Media Composer. One of a couple hundred actual end-users of the software. Editors from all walks of professional life who used the beta on some of our actual projects. Because it was a beta I only used it on non-time critical projects, but I did use it in real world application. Avid is showing a true commitment to professional editors by having the pros test every aspect of MC6 and provide feedback. Even on t
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 Avid’s flagship editing product, Media Composer, has been on the scene for a little over twenty years and has looked and worked roughly the same way for that whole time.
Today saw the announcement of the first major overhaul since Media Composer’s numbering was restarted with the release of Adrenaline in 2003… And it’s a big overhaul – not only has it been rewritten entirely as a 64-bit application but it also looks different with a redesigned UI.
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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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 With the release of Media Composer version 6, Avid is making good on its promise to pursue a path of openness and 64-bit performance. Available November 15, the release includes support for third-party hardware, a redesigned interface, and extensive support for stereoscopic editing.
Avid Segment Marketing
Manager Angus Mackay
With the release of Media Composer version 6, NewsCutter version 10 and Symphony version 6 - all available on November 15 - Avid is making good on its promise to
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 Since Apple introduced FCP X and followed up with 10.1, the masses who didn’t jump to Adobe’s Premiere Pro have been eagerly awaiting the next iteration of Avid Media Composer. Well wait no more. It’s here, it’s 64-bit, offers a familiar but rejuvenated UI and it will work with all the Media Composer projects you have ever created.
There are also updated stereo tools, two more formats supported by AMA, and more openness thanks to a new SDK. There is also a software version of Symphony and low
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 AJA Video Systems announced support for the latest releases of Avid(R) Media Composer(R) 6.0, NewsCutter(R) 10.0 and Symphony(R)6.0 with all of AJA’s newest desktop solutions and mobile I/O devices.
The current family of KONA cards, KONA 3G, KONA 3, KONA LHi and KONA LHe Plus, will all support Avid Media Composer 6.0
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 Matrox® Video Products Group today announced support for Avid® Media Composer® version 6 with the entire range of Matrox MXO2 I/O devices and the new Matrox Mojito™ MAX™ card. Not only do Matrox I/O products provide broadcast-quality input and output, they also lets users deliver H.264 files for the web, mobile devices, and Blu-ray up to five times faster than software alone, without sacrificing quality. Other important features include 10-bit hardware scaling, inexpensive HD monitoring with the
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 If you missed our mail last month you should check it out as it got a lot of people talking. Today we have a follow-up.
Our web site has relaunched* and while the overall look of the site is similar there is a dramatic difference in how we are distributing our plug-ins.
Starting today Pro Import AE, Pro Import FCP and Pro Export FCP (both versions, for FCP7 and FCPX) are available at no charge. You read this right. Free.
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 Dave Newman asked Shane Ramirez, our editing manager here at Media Design to relate his thoughts on the new Adobe Premiere Pro platform vs. our old version of Final Cut Pro (7). I asked him which platform he would be using for his latest project, since he was trained originally on Final Cut, and his answer was Premiere Pro CS 5.5, and with his comments, we can perhaps determine why.
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 Welcome to the first post in our series on “10 to Follow,” the most active and influential post-production and video editing related Twitter users. In this roundup, we’ve got some of the industry’s leading video editors as well as others users that are dedicated to helping you improve your technical abilities and keep you updated on the latest industry news and events. Be on the lookout for future “10 to Follow” posts! If you’d like to suggest any production and post production Twitter users t
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 In general, the settings of a sequence should match those of the primary footage type in the sequence. Though Premiere Pro can mix footage of various types in a sequence and compensate for differences in characteristics, performance and quality are maximized when such conversions are avoided.
Creating a sequence that matches the characteristics of your footage can make playback smoother and images sharper. This video shows you how to do it.
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