Posts Tagged ‘avid’

Delighted to have achieved the Avid Media Composer Instructor Certification for 2021 last week.
As part of the Creative Technologies programmes at Limerick School of Art & Design, LIT, we hope to be offering students the opportunity to take the Avid User Certification 101 course in the coming 2021/2022 academic year.

Avid Media Composer is a film and video editing software application or non-linear editing system (NLE) developed by Avid Technology. Initially released in 1989 on Macintosh II as an offline editing system, the application has since evolved to allow for both offline and online editing, including uncompressed standard definition (SD), high definition (HD), 2K and 4K editing and finishing. Since the 1990s, Media Composer has been the dominant non-linear editing system in the film and television industry, first on Macintosh and later on Windows.

Avid Certified Instructor


Interesting article on the editing software choices made by the five nominated editors for best editing at the recent oscars.

See the link HERE or click the image above.

So am taking the plunge and using Avid MC 2019 for the edit of the short film, Blood Brothers, I shot last week.

So far I’m not disappointed. The ingest, sync and binning went off without any problems. Content was all linked without codec issues and there were also no problems when it came to using the Autosync option for the sound.

Yes a few things are gone like the edit selection and trim tools from the Timeline window as well as the option for using the Caps Lock for scrubbing, however all of these are available in the command pallet and are an option for a button on the keyboard as well as the tool menus.

All the fast “burger” menus are gone but again those options are there if you right click the mouse in the bins, timeline or monitor windows.

As I progress through this short film I’ll post more on my experience of using the new Avid 2019 but in the mean time I’m happy with the interface changes.

More soon.

Before downloading the new Avid MC check out what’s new first. There are a lot of users online complaining of install issues. Make sure your kit is setup right first.

Avid Assistant

Things to know about the new Avid Media Composer licenses…

Posted: 10 Jun 2018 03:21 PM PDT

NAB 2018 saw Avid release a new licensing scheme. There’s a new license in town and the good news is, it’s cheaper! But what’s the catch? Here’s a quick guide…

Image from Avid Technology site.

Well, actually there’s not really too much of a catch unless you intend to use shared storage… let me tell you more.


Licensing edit suites should be easy, but it’s usually not. While it might not be your responsibility, it’s a good idea as an Avid Assistant, to be aware of what license type you have on your workstation. Make sure it won’t run out mid-project or, if it is a monthly subscription license, does your workstation have Internet access to reactive a monthly subscription? Let’s get a better idea of how Avid licensing works.

Electronic licensing for Media Composer is done through the Application Manager. You purchase your license through the Avid website as either a perpetual or subscription license. Once finalised, your licencing information is placed into your Avid Account and from this information, your workstations can be activated. But what is the difference between these two license types?

Perpetual Licenses

This is simply a software activated license that is purchased for a single price and last for 12 months. The big advantage of this license is that it NEVER expires.  If you do not renew your license at the end of the 12 months then your Media Composer is limited to the last release closest to your licences end date. If you renew your licence you will be able to access upgrade for the next 12 months and so on.

Optional extras with Media Composer are

• Media Composer | Symphony Option which can include includes Boris Continuum Complete Lite

• Media Composer | NewsCutter Option

• Media Composer | Production Pack – includes

• NewBlue Titler Pro 2

• Sorenson Squeeze

• iZotope Insight

Subscription License

This allows you to rent Media Composer on a month to month basis. Rather than stumping up for 12 months up front, this means you can reduce your costs by paying month by month. It also has the added benefit of giving you access to options you would have to purchase if you have a perpetual license. So that’s:

• Media Composer® | Software

• Media Composer | Symphony® Option

• NewBlue Titler Pro 2.5

• Sorenson Squeeze Lite

• Boris Continuum Complete Lite

• iZotope Insight (30-day trial)

• Avid Support (including all software updates/upgrades)

The monthly subscription also means that when you don’t need Media Composer you don’t pay for it.

Media Composer Types

Media Composer | First

For people just starting out in editing, Media Composer | First delivers a complete, yet streamlined creative toolset built on Avid’s renowned editing model – for free – with all the features and functionality that can be published to popular social media channels.

NAB 2018 saw the release of Media Composer 2018.4 and while the license types remain the same this version brought with it 2 separate ‘models’ of Media Composer.

Media Composer – Sort of new…

For a lot of people working on Media Composer, they require the editing package to function on a single machine in a ‘non-collaborative’ manner. By this Avid means, we are not using it on their shared storage systems, Avid ISIS or Avid NEXIS. Users can still share content via pocket drives and move bins around freely but with this restriction comes the added benefit of a 50% reduction in price. A license can be had for as little as US$19.99 per month.

Media Composer Ultimate – NEW

This new term is, in effect, the old Media Composer license price point, with added software options bundled in. Support for Shared Projects on Avid ISIS and NEXIS is added but we now also receive  ScriptSync, PhraseFind and Symphony option in the same bundle. This is the option that most Post Houses will go for. Compare the models and their functions here

Extra Notes

Here are a few other items you should be aware of…

30 Day Trails

Avid has long allowed you to download Media Composer and run it on a 30-day trial. It’s worthwhile noting that when running in trial mode all the options are enabled, to give you an Ultimate License.

Existing Customers

If you already had a subscription in place before the new license release you will receive an Ultimate License. If you want to reduce your monthly cost, then you will need to end your old license and start a new one at the reduced cost.

Avid Support

When you purchase your Media Composer license you will have the ability to raise support cases should you experience issues with your system. If you require extended support, this can also be purchased and added to your account/license. For more information see the links below.

Here’s Avid view on the new family of licenses. and some useful links for help with Avid licensing.

Media Composer Licenses FAQ

Media Composer software support contract license update



Following their recent successful broadcast screenings, two of the three short films of the Film Limerick Trilogy, Day Off and The Apparel have followed in the footsteps of their trilogy brother DATE:TIME and are now currently screening on Aer Lingus flights to and from the USA.


As featured in the current edition of CARA magazine (with Limerick’s Ruth Negga on the cover), the shorts are taking pride and place alongside other carefully selected Irish Short Films. Congratulations to all cast and crew on the success of this and the Film Limerick Project as a whole.


If you are travelling to or from the USA in the next four weeks make sure you check it out and let us know what you think.

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Avid recently launched the latest concept for their flagship NLE software; Avid Everywhere.

According to their website:

Avid Everywhere is our strategic vision for helping content creators and media organizations connect with consumers more powerfully, efficiently, collaboratively, and profitably.

The Avid Everywhere vision is guiding our development of the most fluid end-to-end, distributed media production environment in the industry. The Avid MediaCentral Platform, in conjunction with the corresponding Artist SuiteMedia SuiteStorage Suite, and upcoming private and public marketplaces, will together form a comprehensive ecosystem that encompasses everything from media creation to distribution and monetization, addressing every aspect of the new digital media value chain.

There was a webinar streamed with this announcement along with information on the requirements for those who wish to acquire accreditation or upgrade their existing accreditation as a certified User or Instructor.

A full white paper on Avid Everywhere is available HERE.

More soon.



By Simon McGuire

The rainy weather today didn’t deter the strong turnout for the first Broadcast Video Production Show at the Stillorgan Park Hotel in Dublin.

Its not often that a show of this type comes to Ireland (not including BVE North) and with a line up including Canon, Sony, Tiffen (Steadicam), Lacie, G-Technology, GoPro and many others this was an event not to be missed.


I decided to attend the Tuesday (as shooting and editing schedules allowed it) and was very impressed with the range of vendors and equipment on display. There is something important about a touch and try venue… it allows you to formulate more questions for the vendors that might not normally come to mind in a phone conversation or email.

The show was organised by product resellers D&P Products or as most people in Ireland and the UK will recognise. Colm Egan and the team were on hand all day to point out stands of interest for their customers which gave an almost bespoke feel to the experience.

What was interesting was the presentations by a number of the big companies in attendance.

Below is a brief run through on some of the main ones that I attended:

JVC with Kris Hill

A very enthusiastic Kris introduced the new camera to the JVC range, the GY-HM650. Now this has been in the mix for a number of months and back in October 2012 when it was announced I was very interested in what this camera had to offer for the ENG shooter.


The first feature Kris gave us was the x23 Optical Zoom Lens on this 3x CMOS sensor device; a nice touch considering the other cameras in this range. (Sony PMW 200)

The camera hosts a number of other features including the option for WIFI streaming which sets this camera apart from the competition. I could see a lot of workflow applications for the ENG shooter with this option. The only draw back to this is that the wireless broadband in this country will have to improve in order to get the full benefit of this feature. However the idea of sending a copy of low end content to be cut back a base and then upon returning you can then do a Autoconform of the full res footage on the offline cut does have a speed advantage. Using this to full effect with say Avid Interplay Share or Interplay Central and Media Composer 7 would make a very effective workflow for any ENG environment.

Including VAT the 650 was retailing on the day at €4790.85 (Special Show Price, contact D&P for latest Prices) which is not a bad ticket for a camera aimed at the broadcast market. The BBC seem to think so as they have invested in multiple units quite recently.

LACIE with Michael Eyraud

Storage is something close to my heart as an editor and you can never have too much of it. The main issue I have with external hard drives is the worry about reliability. Not with a Lacie though. Over the past 20 years editing I have gone through all the brands of storage external devices but it is always Lacie, I go back to for that very reason… reliability.

Michael demoed the latest from Lacie in their Thunderbolt connection range… Yes thunderbolt seems to be definitely the new Firewire.

photo 2

The impressive Lacie Rugged drive allows for quick transfer in the field with USB 2 and 3 connections available but for the desktop uses amoung us it was the 2 Big and 5 Big Thunderbolt drives that were impressive with the likes of James Horner (Spiderman) promoting them on the powerpoint slides for Film Music Production.

Canon EOS Cinema with Andrew Cummins, Lighting Camera Man.

Canon always go one extra and today was no exception. The cool and collected Andrew introduced us to the C300 and C500 cameras available from the EOS Cinema Range from Canon. With a PowerPoint presentation and multiple examples of work he has shot recently (see below) Andrew talked about the benefits of shooting with this type of system. These included; size, flexibility, lens range etc.

With 4K recording on dual CF Card slots the option for dual recording is a real seller giving the shooter the option of an extra backup of content, valuable in todays fast paced environment. On a Sandisk Extreme Card you can get up to 84mins of 4:2:2,  50mbs/s


But the camera is more than shallow Depth of Field. The size allows for easy rig and de-rig from tripods and other stabilizers and it is not bad with handheld too. Andrew demo’d this and also showed how easy it was to adapt the camera to different shooting situations by changing prime lenses in a matter of seconds.

Also the camera is very good on battery power and weight.

Andrews final advise on using the Canon EOS C300 was: “The Camera tests the way you shoot… it echo’s back to the traditional procedures in filming and removed the auto functions a lot of camera operators are use to. You WILL have to change the way you shoot… but its so worth it

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Avid Media Composer with Ben Davison, Solutions Specialist


The final presentation I attended was one that’s close to my heart. Avid Media Composer. I’ve been using Avid since 1998 so I am a little bias in this but the software has come on leaps and bounds in this latest edition.

Released on 27th June 2013, Avid have gone and made a number of changes to their flag ship software, and for the better too!

Firstly the new low price. Now available for around the 1K mark (depending on vendor) It now makes professional NLE editing more affordable for the freelance editor as well as the high end post production house. The Academic price of around €299 is going to remain the same but hey you get 4 years support from Avid as well as 4 years of upgrades free. That’s not to be sniffed at if you are a student editor and serious about your career in the industry.

A new feature that caught my eye was Frame Flex. This allows 4k and even 8K res content to be scaled for editing to 1080p. Nice if you want to relieve the processor of the workload in the offline. You can then upscale to the 4k res later for grading and online.


Colour Space Conversion is now real-time. Look up tables and colour decision lists too.

They have completely rewritten AMA (calling it AMA2). Now the content transcodes in the background while you work on your offline cut with the AMA content. A “Powerful Workflow” as Ben put it.

Background processing is also possible without Avid Media Composer even running with the ability to manage jobs in a list too.

Audio enhancements are the big one though. There is a New Waveform, Clip Gain Timeline adjustment, New Master Fader Support and a configurable audio mixer too. This coupled with the interoperability of Pro Tools too makes Avid Media Composer a very attractive piece of kit for the edit suite.


Well that’s it. I didn’t get time to attend all the presentations but it was well worth the trip to Dublin to get to talk with the vendors and listen to the presentations as well my favourite part in getting my hands on the equipment.

The show is running again tomorrow, Wednesday 3rd July in the same venue, Stillorgan Park Hotel, so if you are around make sure you get in there and catch the presentations.


Media Composer 6

Posted: November 22, 2011 in Editing
Tags: ,

Faster and better than ever

“Professional editors and producers like you around the world have told us what you need to succeed. More efficient and easy-to-use video editing tools. An open platform that enables you to work with everything you want and integrate into any workflow. More power to eliminate bottlenecks, so you can work faster than ever.”

 It seems like it was only a few months since the last update… and in theory it has been for some. We barly get the cash together to get the 5.5 upgrade and Avid lands another on your purse strings. This time around the focus is on the 64bit operating systems. This is a huge welcome (dispite my earlier money worries). It was the natural progression Avid Technologies had to take. It remains to be seen if the upgrade is worth it and according to the website (see link below) the 5.5 version will have to be used by cutters who remain on a 32 bit OS.
As soon as I get my hands on the upgrade I’ll post a full review, ‘warts and all’.


Another great Professional workshop took place on Monday night last at the Behind the Scenes forum at the Absolute hotel. Avid Specialist speaker, Tom Crocker, spoke about the latest features of Avid’s Media Composer 5.5 which was released only a couple of weeks ago.

Behind the Scenes would like to thank Tom for his time and knowledge and also thank David O’Byrne of Tyrell for also bringing down fact sheets and other knowledge material.

We hope that the future meetings of Behind the Scenes lives up to this one.


More soon.