Avid Media Composer has been the industry-standard in
nonlinear editing for television and film for over a quarter-century.
With their latest version of the Media Composer family and lowered
price, Avid appeals to a broader market.
Anyone who has watched network television, or been to
a major motion picture, has seen the results of Avid Media Composer.
Whether you’re an Adobe Premiere Pro, Final Cut Pro, or even Vegas Pro
user … Avid’s top tier dominance is undeniable. As the first of the real
mainstream nonlinear editing solutions, Avid set the paradigm for all
others to follow. The latest price point ($1,000) brings Media Composer
within reach of video producers from wedding videographers to major
motion picture studios, and no subscription is required.
The theory is sound. The practice is still a bit clunky and buggy. Most
of these bugs are fixed with the latest patch. However, different
formats yield different results. We’d still say that transcoding during
ingest is more reliable (especially if you’re using a multi-editor SAN
such as Archion or the Unity family). Video producers will find that
Media Composer is definitely still wicked-fast when used in its
traditional workflow. So, that is a major pro.
Finally, the biggest criticism by Adobe Premiere Pro and Final Cut Pro users is also a plus. The standardized formats make Media Composer more stable. It’s simple really… the more variants you have in formats, the more trouble you can also have. This is probably why AMA is still rough. Media Composer and Pro Tools are both by Avid, so you can use all of Pro Tools’ RTAS plug-ins (from auto-tune to reverb).
The audio interface is much more Pro Tools-like. They’ve added a master
fader (to which you may also attach finalizing plug-ins such as iZotope
Ozone). The only things we would have really liked to see are busses,
and the ability to automate levels with the sliders (rather than the
time-consuming rubber-band method in the timeline). But overall, this is
a major step in the right direction.You’ll also find many
of the features you’ve come to love in version 6. These features include
5.1 audio mixing, a more intuitive timeline, and the ability to edit in
much lower bitrates for speed, and re-transcode for final at a higher
bitrate (offline/online, or proxy-based editing).
What is Avid Media Composer … really?
Unlike packages such as Adobe Premiere Pro and Final Cut Pro; Media Composer is meant as an editing package for standard broadcast and film formats. This means video producers cannot edit in non-broadcast resolutions. This is a major complaint among multimedia professionals (who sometimes edit in strange resolutions for things such as banner ads or cut scenes for mobile apps, matrix displays, etc.).The Pros
Media Composer 7 brings forth the next phase in the Avid Media Access (AMA) workflow. AMA is Avid’s answer to the ability of other packages to read media in their native formats. Other packages allow video producers to import the footage and read the root files while editing. Then, in order to view the video in real-time, you often need to render the clips in your timeline. Traditionally, Avid editors have assistant editors that transcode the footage upon ingest. (This can save studios considerable dollars, as AEs have a lower pay rate per hour than editors.) This generation of AMA not only allows editors to reference clips in their original format, but also transcode in the background. Avid has also introduced a memory-resident transcoder that will enable queued transcoding to happen with Media Composer closed. The theory is that this will allow one person to do everything seamlessly.
Finally, the biggest criticism by Adobe Premiere Pro and Final Cut Pro users is also a plus. The standardized formats make Media Composer more stable. It’s simple really… the more variants you have in formats, the more trouble you can also have. This is probably why AMA is still rough. Media Composer and Pro Tools are both by Avid, so you can use all of Pro Tools’ RTAS plug-ins (from auto-tune to reverb).
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