We are taking another look at managing color! Marianne explains how to leverage Media Composer’s attributes to create and use that perfect color again and again.
Welcome to the third episode of our 5-part tutorial series ‘Get Started Fast with Media Composer for High-Res Workflows’ on Avid Blogs. In this video, I will focus on editing in High Res projects specifically; starting with the concept of Color Encoding and FrameFlex adjustments, explaining how to use the Proxy Timeline, as well as
Welcome to the second episode of our 5-part tutorial series ‘Get Started Fast with Media Composer for High-Res Workflows’ on Avid Blogs. This lesson focuses on the core concept of linking and transcoding, and everything an editor or assistant editor needs to know to make sure their media appears properly, and in the right codec
Working with ALEXA Log C ProRes and DNxHD material in AVID Media Composer 8.1. How to AMA link and transcode clips and apply external 3D LUT’s combined with CDL grading.
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,
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