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.
In this lesson, Kevin P McAuliffe talks about Source Settings. Understanding them is an exceptionally important step between linking to your footage, and transcoding it, which we’ll talk about in our next lesson. We’ll look at Color processing and Frameflex, as well as the ability to adjust RAW native parameters in the Source Settings window,
Watch as Mike takes you through the steps to Applying LUTs to your Media Composer project. Mike is one of our Post Production Training Professionals with over 20 years experience in working in the Post Production industry, from the BBC through to a freelancer career editing in numerous Soho Post houses. Get more indepth training
n this lesson, designed to compliment an article written over at ProVideo Coalition, Kevin P McAuliffe talks about how to set up your timeline for exporting for DCP creation. We cover how to convert your timelime from HD to DCP Flat (1.85:1) aspect, how to apply the XYZ LUT, and where to find it, and
In this lesson, Kevin P McAuliffe talks about working with Look Up Tables (LUT’s) inside of Media Composer. They’re not as simple to get installed in Media Composer as they are in other applications, as they are treated more like AMA Linked to parameters, as opposed to effects, but once installed, they can be worked
Designed especially for Avid Media Composer, this LUT legalises video levels to be broadcast safe. RGB and Luma are corrected to be within EBU-R103 gamut requirements. A great purchasable alternative to hardware legalisers and perfect for file-based mastering
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)
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
Presented by: Daniel Huber For all Media Composer users, learn how to overcome common color space challenges by examining RGB and 601/709 color mapping. Learn how to properly represent and maintain color values when importing, exporting, or linking to sources. And recognize the differences when media is displayed on source, record, and client monitors.
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,
Media Composer has long been the most trusted tool of professional editors. Media Composer 7 opens your possibilities even further, simplifying and accelerating file-based workflows and extending real-time production everywhere so you can focus on telling the best story possible. From new high-res workflows and AMA media management, to automated media operations and global collaboration,