ScriptSync® gives Media Composer® editors a greater level of efficiency and control over their media then they’ve ever had before. Editors can simply and quickly
With the new Smart Tool in Media Composer 5, you gain a faster and easier way of editing video alongside the established precision approach. Learn
Business is literally booming for Powderhouse Productions, one of the most explosive forces in today’s non-fiction TV entertainment industry. And that, according to Rob Kirwan,
NOTE: I had to trim this video down severely because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc36 With Media Composer 5, you
Indie Filmmaker Misha Tenenbaum weighs in on Media Composer 5.
Avid’s Matt Feury interviews Editor Jason Stewart (Minute to Win It, World’s Greatest Dad) about the latest Media Composer release (v5).
NOTE: I had to trim this video down severely because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc35 A short introduction to the
Subscribe to Buzz: http://www.avid.com/buzz?cmpid=AV-SM-MC5-6 Avid’s Matt Feury talks to NLE guru and seasoned pro Steve Cohen about Media Composer 5 and where Avid is today.
Hear what professional editors and beta testers have to say about working with Media Composer 5—from the new Smart Tool and direct RED and QuickTime
In this episode, we’ll transition into a title by starting with a blur and then slowly letting it focus. To do this we’ll have to
Avid Exclusive: Meagan Keane of Avid Artist Relations interviews Avatar producer Jon Landau. Landau discusses the creative process behind the highest grossing film in history
NOTE: I had to trim this video down because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc28 In the final installment of the
In this episode, we’ll continue matching one shot to another. We’ll do it manually, and we’ll use Avid’s curves. Here are direct links to the
The final installment in my three part Cheesy Transitions series. As usual, everything is done right inside Media Composer. This is one very, very powerful
Christopher Nelson, ACE Editor of LOST and Mad Men, talks with Meagan Keane about what students need to learn in school to be successful in
One of the most common tasks when doing color correction is matching two shots. So this week and next, we’ll do exactly that. As always,
In last week’s episode, we chnaged the color balance of a shot with curves. This week we’ll do the same thing with the color wheels.
At the heart of the Integrated Media Enterprise, Interplay is an Enterprise Media Asset Management solution. Providing individual contributors with the media they need, where
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
From Pro Tools® to Media Composer® we create audio and video technology that helps people make the most listened to, most watched and most loved
Around the world, in 1,000 post and broadcast facilities, journalists, systems administrators, producers, and editors, are breaking down workflow barriers and getting down to business
NOTE: I had to trim this video down because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc24 In this episode, we’ll severely change
Before we start color correcting a shot, a few words about scopes. http://avidscreencast.com/asc22 Here are direct links to the other tutorials in this series: Color
NOTE: I had to trim this video down because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc23 Manipulate the contrast of an image
Yet another transition I recently saw that is really easy to build. Once again, no third-party applications. Everything is done right inside the Avid
In this episode, we take the Animatte a couple of steps further and check out an effect used for introducing talent in a TV show