Tag: formats

Media Composer

Let’s Edit with Media Composer – Lesson 9 – Exporting

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

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Media Composer

Let’s Edit with Media Composer – Lesson 7 – Transcoding

In this lesson, Kevin P McAuliffe talks about Transcoding. We’ve talked in Lesson 5 about working with Avid “friendly” media. Now we need to talk about footage that requires a recompression to Avid Media, for you to work with in your Media Composer timelines. Whether it’s in an offline or online scenario, there is some

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Media Composer

Let’s Edit with Media Composer – Start right, Finish right!

In this lesson, Kevin P McAuliffe talks about Projects, and the most important thing to keep in mind when creating them. Whether it’s your first, or five hundredth, many people don’t think things through properly when setting up their projects, and they think “Well, we’ll deal with that later! Big mistake! You can run into

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Media Composer

Avid Media Composer 8.5 Update by Michael Krulik

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)

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Media Composer

Avid Media Composer / Symphony 6 R3D Complete Workflow Guide

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

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Media Composer

ARRI ALEXA: DNxHD File Support for Media Composer®

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

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