Now more than ever, you need to quickly and continuously deliver compelling content to keep audiences engaged. Attract and retain more viewers with high-quality, relevant content they can access fast, anywhere they roam. But if you have gaps in your processes that throttle workflow efficiency, lagging behind the competition will mean missed chances for audience loyalty and growth.
Before we get started, let’s all agree on some things. First, editing tools do not cut great stories all by themselves—editors do. Second, great editors can be found in a lot of places outside of Hollywood. Third, editors should never think they will only need to learn one tool to build a long, successful career.
Industrial Media and its Emmy®-winning television production company, The Intellectual Property Corporation (IPC), are adding a new production hub in New York City. It is the first step in the company’s goal of collaborating remotely with directors, producers, and editors throughout the country.
Let’s face it we are obsessed with UI. User interfaces are our way of controlling everything, and I’m not just talking about Avid Media Composer. From the dashboard in your car, the panel on your stove, the buttons in the elevator, the remote in your hand and the apps on your phone, to Google and Facebook, none of us can navigate through five minutes of living our lives without dealing with some sort of an interface.
Avid has forged the path toward implementation of Artificial Intelligence in post-production, and their use of AI is just beginning.
At Avid Connect Live Nashville at Summer NAMM 2019, Avid® (Nasdaq: AVID) unveiled two new audio control surfaces—the Avid S4 and Avid S1— for professionals at smaller facilities and project studios. These products provide the industry’s most integrated, powerful yet affordable solutions and will be available in late 2019.
Once upon a time, choosing the right Avid licence was easy. There was one version of Media Composer. You ran it on the most powerful workstation you had, and worked wherever that workstation was. Now, things are slightly more complicated. Remote, virtualised and cloud options have brought fantastic functionality to Avid workflows, but left swathes of users unsure as to whether they’re using the right licence, and even if they have access to the full version of Media Composer. So we asked our experts: what’s the difference between the different Media Composer models?
In this tutorial, we will be upgrading our system to Avid Media Composer 2019. Then we will see how a project created in the previous version migrates into the new […]
Avid Media Composer 2019 will be the most comprehensive redesign for the video editing software in 15 years. Avid certified editor Benjamin Patch discusses the new features of Avid Media Composer 2019 and provides context for the update in relation to Adobe Premiere Pro, Final Cut Pro X, and DaVinci Resolve.
The day has come for Media Composer editors. As the line went in Star Wars …”It will be a day long remembered”. The release of Media Composer 2019(.6) (MC2019), is one that Avid has been pushing for a while now. We’ve seen the NAB demos, and the live user group feeds showing it off, but the question still remains….Is it a step in the right direction? Well, this “review” is more going to look at answering that question as opposed to getting in and talking about new features. Don’t get me wrong, we’ll discuss (and show you via tutorials), some of the new features in MC2019, but more look at if this is something that will get editors to switch to, or switch back to, with their upcoming projects.