Now, you might be thinking…”Hang on…did I miss a ton of lessons?” No, you didn’t. When I teach Media Composer, I teach the importance of Project Setup, Transcoding and Consolidating and Exporting. This is where projects fall off the rails. Make one mistake in any of these three sections, and your project will be in
In this lesson, Kevin P McAuliffe talks about probably the most important Media Composer lesson you will learn, and that is about understanding Native Media Composer codecs. Understanding this concept will change the way you bring media into your projects, and have you doing it properly, and avoiding creating multiple projects to bring media into
3h 23min exceptionally well done fundamental course. Check out https://www.assistbootcamp.com/webinars to check out our on demand webinars! Introduction 09:26Overview 13:18 Image – Resolution 15:19 – Aspect Ratio 32:07 – Interlacing 47:23 – Frame Rate 58:50 – Timecode 01:21:30Compression – Codecs 01:30:22 – Bit Rate 01:59:20 Color – Color Space 02:13:11 – Color Bit Depth 02:17:45
Learn how to use subclips to optimize media for video editing in Avid Media Composer. Transcoding video to DNxHD and DNxHR requires more drive space but subclipping can save you both time and drive space. This video editing tutorial is hosted by Avid certified editor Benjamin Patch.
Avid’s Michael Krulik details updates included in the latest Media Composer 8.5, and in particular related to 4K workflows. Presented as part of the Digital Cinema Society 2015 Post event, “4 Ways to a 4K Finish.” (Note: This video was previously embargoed pending the release of Media Composer 8.5)
Media Composer: Playback Performance – What to Expect from Your Storage Solutions How will the editor behave depending of resolutions, drive or network speed, what resolutions and codecs should I work with. This Presentation really explains bandwidth/CPU/Codec limitations, how to avoid dropped frames, and what to do to have a fast editor. Gain in-depth technical
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
This is a quick look at Avid’s great new media composer software. Sorry about the audio quality. I had to get this done on limite time and resources. Lots of other work to do! • Rebuilt from the core 64 architecture • Modern sleek and efficient User Interface • Full industry-defining stereoscopic workflows • Avid