In this episode of The Rough Cut, we meet writer/director Steven Sprung and writer/producer Michael Bershad to talk about the concept and story behind their
Create a Secondary Color Correction with a Garbage Matte in Media Composer. It plays in real-time! http://www.avidscreencast.com/asc40
Part 2 of “Premultiplication in Avid DS” teaches you the general basics of premultiplication. These skills come in handy when you need to deliver graphics
Learn how to use Avid FX (think Boris FX) with Avid Media Composer to create giant crawling text with video inside the letters. You can
The way Media Composer processes effects has some weird side-effects: Sometimes an effect applied to an upper video track also affects the video tracks below
Learn how to create an animate a light within Avid Media Composer Marquee Title tool.
Learn how to clone and remove an object using Avid Media Composer. In this example, it’s used to removed a lavaliere microphone from a guys
Demonstration of how to transfer Apple Final Cut Pro sequences to Avid DS using Boris AAF Transfer.
Here’s a very basic tutorial on how to set up a multi-camera edit using Avid Media Composer. I purposely made this tutorial very short to
Make the most of your media: http://apps.avid.com/make-most-media?cmpid=AV-SM-MTM-3 Going green in more ways than one, Discovery recently moved from tape to file-based workflows. “Everyone in the
Creating stereoscopic (S3D) titles in Avid DS is not hard. This manual takes advantage of the new stereoscopic tools in Avid DS 10.3.1. If you
Learn more: http://www.avid.com/US/products/iNEWS?cmpid=youtube This short demo video shows how broadcasters can use iNEWS to publish news and promotions quickly and easily to social media sites.
This tutorial demonstrates how to mix 16×9 and 4×3 aspect ratios within Avid Media Composer 5.0, newer versions have other features simplifying this workflow.
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
This video tutorial teaches you the general basics of premultiplication. These skills come in handy when you need to deliver graphics elements created in DS
NOTE: I had to trim this video down because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc38 After last week’s look into Avid’s
NOTE: I had to trim this video down severely because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc37 I’ve had several requests for
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.
Create a Glow-like Film Flash Effect without using Boris Continuum Complete. http://www.avidscreencast.com/asc34
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
Nothing fancy, but a solid workhorse: Want to make sure that your sequence is complying with technical broadcast standards? The Safe Color Limiter Effect is
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
NOTE: I had to trim this video down because of Youtube length limitations. See the full episode at http://avidscreencast.com/asc31 This week’s episode features a request
If you have questions about iNEWS or using iNEWS on the iPad submit your question on community.avid.com in the Broadcast Newsroom Forum: http://community.avid.com/forums/187.aspx?cmpid=youtube
Everybody knows the Timewarp only applies to video. But what if you want to change the speed of your audio as well? In this episode,
For more customer tutorials: community.avid.com/forums/tags/~Avid_DS/default.aspx?GroupID=31?cmpid=vimeo For DS Nitris and Avid DS workflow, issues and questions: community.avid.com/forums/34.aspx?cmpid=vimeo Click here for part 1 of 2
In this episode, we’ll create a nice Glow transition using a Boris Continuum Complete Effect that ships with Media Composer.
“If you’re a young editor, and you want to have an edge…you should know what’s new in Media Composer.” -Dan Lebental, editor, ‘Iron Man 2’
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,
Learn the basics of Avid DS indexing, why it is important and how to manage your media files. This is a part 1 of 2.
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
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