Tag Archive: Avid

Avid Media Composer 8.7 Now Available

(Taken from Avidblogs.com)

Avid team has prepared a shiny new version of Media Composer. This new update (8.7) is packed with great new features that will accelerate the way you tell your stories. Here’s a detailed overview of what’s new in Media Composer 8.7 — now available!


Dupe Detection for Audio and Data Tracks

The Dupe Detection feature lets you visually track duplicate frames of audio and data tracks. Previously, Dupe Detection applied to Video tracks only. The colored bars that distinguish duplicate frames in the sequence appear automatically above the frames in the Timeline.

Match Framing to Titles and Matte Keys

With this release of the editing application, when editing a title or matte key into a sequence, the sequence will track the original clip used so that it can be match framed. This applies to newly edited Titles or Matte keys (Media Composer v8.7 or later).

New Safe Area and Safe Title Options

In the Grid Settings dialog, it is now possible to set the Safe Area/Title to RP-2046 (safe area 93%, safe title 90%) and EBU R95 (safe area 96.5%, safe title 95%) standards.

Extended Audio Punch-In

In Media Composer 8.7 you can extend Audio Punch-In beyond the end of the sequence or the Mark Out.

Controlling the Track Shown in Split View

A new setting to the Composer Settings window in the Multicam tab allows you to control which track is shown in the split view when you press Play. You can choose between V1 or the monitored track.

Audio Default Pan Update

This update provides two new menu items in the Clip mode of the Audio Mixer tool that allow you to commit and remove pan effects whose values are the same as the default for their respective tracks.

Rotation Presets in FrameFlex

The Source Settings FrameFlex tab includes rotate left and rotate right buttons to help you when adjusting the Framing parameters when you are setting new dimensions of the framing box.

Clip Info Shortcut

The Clip Info shortcut Alt+Ctrl+I has been added to the editing application. Select the clip or multiple clips and press Alt+Ctrl+I. The clip(s) information appears in the Console window. This is helpful if you want to copy a text version of the clip information.

Set Default Bin View

The new Set Default Bin View option in the Bin Settings window allows you to set a default bin view when creating a new bin.

Close All Bins But Active (Windows only)

A new option has been added to the Windows menu. When you select Close All Bins But Active, all open bins will be closed except the bin that currently has focus. (This is currently working on Windows systems only.)

Skip Prompt to Save Locked Bins on Auto-Save

The new option “Skip prompts to save locked bins on Auto-Save” in Bin Settings window allows you to disable the prompts that appear when saving locked bins during Auto-save. You will receive the following warning if you choose “Skip prompts to save locked bins on Auto-

Hybrid Log Gamma Color Space

All references to  AribB-67 have been changed to HybridLogGamma across the editing application. This change is seen in the color space selection, as well as color transformations in the Source Settings.

Timecode Burn-In Effect Local Frame Count

In a previous release, the editing application allowed you to set the starting frame count at 0 or 1. With this release, you can set the starting frame count at any value. This value will also be reflected in the Frame Count Start bin column entry.

List Tool Update

With Media Composer, you can now create a cut list or change list for multiple sequences.

Support for Sony XAVC-LongG Format

This release of the Avid editing application supports the Sony XAVC-Long GOP format. The formats listed below are available for media creation and linking. You must have the latest Sony Plugin installed to Link to XAVC-Long GOP. See http://www.avid.com/plugins/ama-plugins.

XAVC-L-HD 50 (720p/50, 720p59.94, 1080i/50, 1080i/59.94)
XAVC-L-HD 35 (1080i/50, 1080i/59.94)
XAVC-L-HD 25 (1080i/50, 1080i/59.94)

Media Composer 8.7 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.

Remember you’ll need an active Upgrade and Support plan to use the latest features in Media Composer 8.7, so be sure your Annual Upgrade Plan is current—renew your plan now in your Avid Account.

Get more details on these features, changes and improvements in the ReadMe and What’s New documents on our Media Composer Documentation page.



Marquis Announces Avid Certification for Project Parking

(Via @videomageu) Marquis Broadcast, experts in content workflows and media integration software, has announced that it has been selected as an Avid® Alliance Partner and that Marquis’ Project Parking, which is used around the world to cost effectively manage Avid storage, has been certified by Avid and will be distributed through Avid’s sales channels.

“This is a major development for Marquis,” confirms Chris Steele, Managing Director, Marquis Broadcast.

“Over the years, we have developed Project Parking to become a complete Avid storage management solution. It has been used around the world to archive, move and restore Avid projects and to analyse and manage media to optimise Avid storage utilisation. Project Parking analyses all Avid projects and media to identify which projects are using up most space and then take appropriate action to transfer, archive or delete. We are delighted now to join the Avid Alliance Partner program to help more customers manage their Avid projects and media.

“We’re committed to working with solutions partners to provide innovative technologies and outstanding interoperability for both our users and to the digital media industry”, explains Alan Hoff, vice president, Market Solutions, Avid. “We are pleased to welcome Marquis Broadcast as an Avid Alliance Partner. Our many joint customers will benefit from the certified integration of Marquis’ Project Parking to facilitate their archive and retrieval workflows.”

“Avid’s certification process lets organisations know that suppliers are working closely together,” continues Steele. “This means upgrades are smoother as major product enhancements are coordinated between manufactures to achieve tighter technical integration for the benefit of our customers.”



FilmLight and Avid launch ‘Professional Colour’ bundle for editors at NAB 2016

FilmLight today announced a new collaboration with longstanding collaborator, Avid®, which will see both companies introduce a new Professional Colour bundle for editors at NAB2016 (18–21 April, Las Vegas Convention Centre).

FilmLight first showed Baselight Editions on Avid Media Composer® at NAB2012 and since then the two companies have worked closely to improve interoperability between their products, helping editors and colourists to tell great stories through beautiful images. This new venture is yet another example of FilmLight’s commitment to providing solutions that address the growing demands for perfect colour control throughout the professional post workflow.


The Professional Colour bundle brings together Baselight for Avid – which delivers the world’s most powerful colour grading toolset – with the industry’s preeminent editing system Avid Media Composer in one single package. Immediately available on Mac or Windows for $1,799, the bundle makes it even easier for editors to increase their finishing capabilities, directly within their NLE system.

“Through Avid Everywhere and the MediaCentral Platform, Avid provides the most open, extensible and flexible media environment that integrates with technology from Avid and other providers,” said Avid vice president & chief product officer, Dana Ruzicka. “By working closely with FilmLight, we’re delivering seamless, collaborative workflows that enable creative professionals to work more efficiently and focus on telling great stories.”

Baselight for Avid is a real-time plugin, so colour corrections can be played directly on the Avid timeline. It provides unlimited primary and secondary grades in a single layer, including mattes, automatic object tracking and full keyframe animation.

As well as using modified AAF files to exchange grades, Baselight for Avid shares the same BLG colour metadata as all systems in the FilmLight range, so projects can be transferred and shared between on-set, near-set and the grading suite without rendering, and with the latest grade always available in editorial for a powerful and fast workflow. The BLG format carries sophisticated grading data including secondary colour correction, shapes and tracked objects. And, as the grade metadata is fully modifiable throughout the process, workflow efficiency is greatly improved as corrections and last minute changes can be made directly in Media Composer, with no need to return to the full Baselight suite.

Rob Anderson, finishing editor at BingoLewis in Portland, Oregon commented: “Many of our clients use Avid, and they like the fact that we don’t have to deconstruct their project in order to colour grade it. I can add a grade to any effect they have on their timeline and, using the free version of Baselight Editions, I can send the project back to them via email so they can see my grades on their timeline. It’s incredibly efficient.”

“Editors find it hugely frustrating to work with a mix of graded and raw images, and the cumbersome round-tripping involved in sharing projects between editorial and grading,” said Steve Chapman, CEO and co-founder of FilmLight. “Baselight Editions eliminates that by combining the ability to comprehend and show the latest grade in the edit suite with the optional ability of the editor to adjust that grade to quickly incorporate last-minute changes such as the late arrival of new material. The Professional Colour bundle puts two professional software products together in a single package, to make it easy and cost-effective to get started on the most productive way of collaborative working.”

FilmLight will be exhibiting Baselight for Avid at NAB2016 on stand SL3829. The plugin can also be seen on Avid’s stand (SU902), during the main presentations as well as on every single Media Composer workstation.



Growing success for Baselight Editions free-to-read and –render

FilmLight has already transformed collaborative post-production with Baselight Editions, a series of plugins which put complex, high quality grading capabilities into popular post tools. Now it has gone a step further by making it free to use Baselight Editions to read and render grades. As the grade is created in the colour suite, now it can be seen immediately in Avid editorial and NUKE VFX without needing to purchase a licence for those systems.

Baselight Editions offer two sets of functionality: the ability to take in a Baselight Linked Grade (BLG) colour file and impose it on the content in the host software, so the pictures appear with the latest grade; and to open the Baselight user interface inside the software to make adjustments to the colour space and the grade. Now, in Baselight for Avid and Baselight for NUKE, the interpretation element is free. If the user needs to access the grading tools, a simple online upgrade process is available, or the facility can hold floating licences on a central server which can be allocated to specific rooms as needed.

“Chainsaw has relied heavily on Baselight Editions and the BLG workflow for years,” said Randy Magalski, editor, Chainsaw. “Now, with the release of the free licence, this workflow is accessible in all of our Avid Media Composer bays wherever they might be — at no additional cost to us or our clients.

“Being able to leverage the work done in a relatively expensive colour bay back in Media Composer makes the Baselight for Avid BLG workflow one of the best solutions we’ve seen in our facility in years, and we applaud FilmLight for introducing this offering. We can now deliver the fastest, most flexible and most complete round-tripping solution available between online and colour.”

Andres Kirejew, VFX supervisor of Alter Ego, added: “With Baselight for NUKE free-to-read licences now installed on our farm, every compositor at Alter Ego can work with ungraded EXR linear files and finesse their work as the look of the commercial develops. We can render or just load the project without having to return to the colour suite, which is a huge plus in the fast turn-around world of advertising.”

The floating licence functionality means a facility can have unlimited seats of Baselight for Avid and Baselight for NUKE, allowing any user to apply, render and display Baselight grades, using the free licence.

“In the case of visual effects elements with a sophisticated grade, our floating Baselight for NUKE licence uniquely allows the whole grading stack, including colour space transforms, to be fully deconstructed and analysed at the compositor’s workstation,” added Kirejew. “This allows everyone the confidence to push what is creatively possible to the limit.”

The decision to offer a free read-only mode is in response to the growing interest in BLG as the colour grade metadata format. Increasingly productions are using a collaborative workflow with initial grading performed on or near set, and final grading taking place in parallel with other post processes, allowing editors and effects artists to see the latest grade and make minor adjustments where necessary.

“Our customers have asked us to solve the challenge of sending parts of a job to rooms or other facilities which do not routinely need Baselight functionality,” concludes Steve Chapman, CEO and co-founder of FilmLight. “Making the read mode available for free is our contribution to a wider collaboration throughout the post industry, and we’re delighted that our clients and their customers are adopting our BLG-driven workflow globally and so rapidly.”


via @videomageu

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