I’m using Symphony 6 here but the workflow is identical in Media Composer. Start in Redcinex pro for a one light of the R3ds. Then we go to Avid for AMA native R3D playback, then cut offline DNxHD36 files and relink to the originals, and then wrap up with mastering at 1080 and grading DNxHD444
Works for all AVCHD cameras Make sure to download the AVCHD plugin from Avid’s website. It’s required for this workflow: avid.com/ama I’m using Symphony 6 here but the workflow is identical in Media Composer. We start with AMA native AVCHD playback, then cut offline DNxHD36 files and relink to the originals, and then wrap up
Works for all Canon DSLRs. I’m using Symphony 6 here but the workflow is identical in Media Composer. We start with AMA native H.264 playback, then cut offline DNxHD36 files and relink to the originals, and then wrap up with encoding for the web using Sorenson Squeeze 8.5 and x264. Follow me on twitter for
ARRI’s line of ALEXA cameras has become popular among filmmakers, as the cameras can digitally capture the cinematic look of film. And now these cameras are able to record to high-quality, SMPTE-standard Avid DNxHD format, so you can edit the footage natively in Media Composer and Symphony—without transcoding or importing. In this video, ARRI’s JD
A very basic run through of Canon 5D Mk3 AMA linking into Avid Media Composer 6.0.1
Welcome to Getting Started with Media Composer 6 and Avid Symphony 6 for Final Cut Pro users. In a few short videos you’ll have everything you need to get up and editing with Media Composer or Symphony. We’ll explore topics like basic editing, trimming, using the Smart Tool, adding and customizing effects, performing basic color
Browse for footage, plug-ins, and other necessities right from within your Media Composer window—no shoes, shirt, or pants required. See how fast and convenient it is to browse stock footage, download comps, make purchases, and relink footage from Thought Equity Motion—in context with your project—in this walkthrough video of the Avid Marketplace.
Corey Tedrow, Product Specialist at Avid, reviews what’s new with Media Composer 6, a fast and versatile solution for professional video editing with a 64-bit app for better performance and speed, Open I/O to facilitate 3rd party hardware, easy integration into any ProRes workflow, the ability to instantly access, screen and edit AVCHD clips and
Create 5.1 and 7.1 surround mixes directly within Media Composer 6, or import from Avid Pro Tools.
Professional editors and producers like you around the world have told us what you need to succeed. More efficient and easy-to-use video editing tools. An open platform that enables you to work with everything you want and integrate into any workflow. More power to eliminate bottlenecks, so you can work faster than ever. We listened.
This is a quick look at Avid’s great new media composer software. Sorry about the audio quality. I had to get this done on limite time and resources. Lots of other work to do! • Rebuilt from the core 64 architecture • Modern sleek and efficient User Interface • Full industry-defining stereoscopic workflows • Avid
When Media Composer® 5.0 was first introduced in 2010, one of the biggest changes to the application was the introduction of the SmartTool. The SmartTool is a palette or a collection of five different modes that are very common to working in the timeline. In Media Composer 5.5, the Keyframe button has been moved out
If you dont have a Nitris DX- or Mojo DX-based system, Media Composer 5 opens the door to third-party workflows, enabling you to monitor video externally using the Matrox MXO2 Mini interface, which is available for Mac and Windows systems. When paired with Media Composer software, MXO2 Mini becomes a dedicated, high-quality monitor-only solution for
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