In this video, Jon Christenson will show you how to install AMA plugins.
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_92 In this lesson, Kevin P McAuliffe takes a look at the new FrameFlex feature inside of Media Composer 7. Ideal for working with large frame sizes inside of HD and SD timelines, this new feature is almost a hidden gem, as it’s automatically added to your clips, once you drop them in the timeline.
Spend more time being creative by automating media tasks in the background. Gain more time for creativity with new features that accelerate and simplify file-based workflows. With Dynamic Media Folders, non-creative media tasks such as transcoding, copying, and consolidating can be automated in the background, without disrupting your editorial flow. Plus, you’ll get peace of
In this video, Justin Wingate will show you the basics for Sony XDCAM AMA. Survival Guide Video Series is proudly presented by Avid Support. The series covers basic troubleshooting, how-to, software activation, quick tips, and more. Subscribe to the Media Composer Survival Guide playlist for new episodes. http://www.youtube.com/playlist?list=…
In this video, Jon Christenson will show you the difference between importing and consolidation. Media Composer 7 Survival Guide Video Series is proudly presented by Avid Support. The series covers basic troubleshooting, how-to, software activation, quick tips, and more. Subscribe to the Media Composer 7 Survival Guide playlist for new episodes. http://www.youtube.com/playlist?list=…
Acquire high-resolution media and deliver in HD—with full creative control of reframing. More content today is shot with high-res cameras, but the majority of programming is still HD. With the new FrameFlex tools, you can immediately start working in HD directly from high-res sources and maintain full creative control of the image reframing and keyframing,
Screen recorded using my 2008 Macbook Pro so bare with the lags. These are the key new features I’m excited about in the latest update to Avid Media Composer and Symphony. For more info on all the new features look at the official Avid Documentation here: http://avid.force.com/pkb/articles/en…
Award-winning filmmaker, producer, editor and industry technologist, Michael Phillips shares his Media Composer workflow for 2K+ with details for preparing dailies, double system audio sync overview, steps for Pull list and re-conform to original 2K elements for Avid HD finish, prep for and completion of conform in Smoke or Resolve at native resolutions. ABOUT MICHAEL
library.creativecow.net/mcauliffe_kevin/Avid-Media-Composer_11 In this lesson, Kevin P McAuliffe shows you the last two “common” ways to bring footage into Media Composer, and that is importing and AMA linking to, and discusses why it’s important that FCP editors switching to Media Composer are going to want to pick the right one, so they are up and running
You may have heard about the ways in which Media Composer can save you copious amounts of time in the editing suite. Now we’d like to show you Media Composer/FCP double agents—and those looking to expand your workflow—how fast and easy it is to work with ProRes using the latest Media Composer family software. Whether
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