|
Key Feature |
Function |
Benefit |
|
|
|
Editorial Tools |
|
MultiClip
Copy/Paste |
Simultaneously copy/paste information
across multiple clips for all columns of editable metadata. |
Save time by entering once across all
selected clips. Eliminates errors in logging for more accurate
searched downstream.
|
|
Real-time
multi-cam at most resolutions.
|
All screens play in real time with
on-the-fly editing - up to 4 HD screens, up to 9 SD, including non
"m" resolutions |
Work faster with real time playback and
on-the-fly editing regardless of source material. |
|
Long GOP
splicing |
The ability for the NLE to work at MPEG
GOP (Group of Picture) structures smaller than the standard 15
frames |
Customers can now export HDV material
without rendering the entire sequence |
|
Add black
during trim |
Foolproof method for maintaining sync
during complex trim operations |
Create fine-point single-side trims on
one or more tracks without worrying about going out of sync |
|
Script
integration with ScriptSync |
Import script files directly into the
project and associate source media with the text using phonetic
indexing powered by Nexidia. Synchronization of text to source clips
is automated and happens ~25 faster than real time |
Creates a more cohesive line of
communication between editor and director by associating the written
words with the pictures and audio. Also allows for elaborate
searches for media throughout the script based on text searches |
|
Dual
rolling trim |
View both incoming and outgoing material
while trimming an edit point |
Trim faster with a more immediate
understanding of how the story is changing while you change it |
|
Clip
Coloring |
Assign colors to source clips in the bin
or on the timeline |
The amount of information and versioning
that need to be tracked in a project can be dizzying. Clip color
provides an intuitive visual approach that gives editors the data
they need at a glance |
|
Rename
Tracks |
Video and audio tracks can be renamed to
custom track titles. (e.g., "V2" becomes "B-Roll") |
Edit faster with the ability to quickly
discern which tracks are for titles, graphics, b-roll, music,
narration and so on |
|
Sub-framed
audio resync |
Resync audio to picture down to the
quarter-frame level |
Maintain rock-solid sync while
compensating for the discrepancies introduced by telecine and deck
delays |
|
Source-side
viewing |
Displays complete timeline information
and audio waveforms for material (clips or sequences) loaded into
the source monitor |
Editors are often looking for a quick
and easy way to edit material from existing sequences into new
ones. Source-side viewing lets them do that quickly and just as
easily as if they were cutting in a regular clip |
|
Audio Mark
in-and-out |
Separate set of in and out marks for
audio portion of a clip |
Creating split edits ("L" cuts) on the
source before it's added to the timeline gives editors greater
control over story construction |
|
Sync-point
editing |
Allows you to overwrite material onto
your sequence in such a way that a particular point in the source
material is in sync with a particular point in the sequence |
Editors creating montages or audio
driven sequences can edit much faster than with the traditional
splice/overwrite model |
 |
|
Effects |
|
Motion
Tracking and Stabilization (featuring SteadyGlide) |
Steadies footage that may have been
unusable due to shaky camera work. Aids in creating complex
composites of live and synthesized elements |
Big savings in time and money. Reshoots
and tedious compositing work are expensive. Even worse is having to
throw away valuable footage that may have helped the story |
|
AVX2
support for built in and 3rd party effects Supports 16-bit rendering |
AVX2 plug ins can be installed and
integrated |
Richer built-in effects; High quality
renders for plug-ins using Avid's advanced keyframe model (no new
learning curve). |
|
SpectraMatteT 16-bit Chroma Keyer (Now with Alpha display in the
source monitor) |
Avid's new keyer.Real time preview (for
both SD and HD) featuring patent-pending Avid SpectraGraphT for
visual display of image color map superimposed over foreground
elements being keyed out. (Render required for final output.) |
Chroma keying is a fundamental element
in compositing.everybody needs it. System comes integrated with a
16-bit chroma key toolset that not only delivers crisp keys, but
does it with an efficiency that can only be found in Avid
SpectraGraphT technology. SpectraGraph is an interactive
environment that helps users understand the changes they're making
and how those changes will help them achieve the perfect key |
|
10-bit
effects and titles (using Marquee) |
Title system for creating both static
and animated titles with textures, lighting and mappable surfaces |
Maintain high-quality 10-bit through all
editorial functions |
|
YUV-native
effects
|
All effects work in native video YUV
space. No color space conversion is done. |
High quality effects with amazing
real-time performance. |
|
10-bit
real-time Color Correction with AutoCorrect |
High-quality primary color correction
with system-assisted image correction. |
One click can automatically analyze and
color-correct an entire sequence. |
|
Scene-to-Scene NaturalMatch color correction and reference window |
3-panel display for reference matching
between shots in the timeline plus still frame for reference within
a single window. |
Color correction is all about creating
color continuity between shots that may have captured under
different lighting conditions and with different camera formats.
The 3-panel display makes it easy to eye-match between these
different shots. The reference window gives colorists the
confidence that their eyes haven't been fooled and real color
changes have been made to a shot. |
|
Customizable rampable motion effects including FluidMotionT and
FluidFilm |
Avid's patented FluidMotion technology
gives editors rampable motion effects that track every pixel in the
image to synthesize totally new frames |
Creates amazingly smooth slow-motion
effects and film look from interlaced sources |
|
Batch
Import |
Single operation for multiple file
import and replace function of material already placed in the
timeline. |
Batch Import keeps the lines of
creativity and communication between graphics artists and editors
open up until the final output. No worries about looks and logos
changing at the last minute. Point-and-click simplicity to update
graphics that have already been timed out and placed in the
sequence. |
|
Reformat
(Pan and Scan) |
Deliver both 4:3 and 16:9 formats from a
single acquisition format (16:9, 4:3) |
Content creators can protect themselves
for the "widescreen future" by acquiring at 16:9 ratios while
delivering the needed 4:3 content for broadcasters today. |
|
Pan and
Zoom |
Import graphics files that are
traditionally larger than broadcast rasters (eg. 720x486) and
maintain their high-resolution detail during scaling operations. |
Like an "animation stand in a box"
Avid's Pan and Zoom allows editors to create complex tracks and
zooms within a single hi-res image just as easy as if they were
working with normal source clips without sacrificing image quality. |
|
Real-Time
3D FX |
Apply operations such as scaling,
rotation, cropping and corner pinning to graphic and video elements
in X,Y,Z space via OpenGL hardware. |
Quick and powerful 3D operations that
are otherwise reserved for third-party applications can be built and
played back in real-time without having to leave the editor |
|
Integrated
Paint and Animatte |
Complete set of interframe drawing tools
for painting multiple layers of objects and masks and assigning them
to different color, blending and keying operations. |
Keeping complex painting and keying
operations within the edit systems speeds along the process and
ensures that there will be no metadata or image loss when
transferring with other external graphics/compositing packages. |
|
|
|
Audio |
|
24-bit
audio file compatible with Digidesign Pro Tools® |
Audio editors and video editors can
share audio files without conversion or render |
Seamless interchange for high-quality
audio post |
|
4 Channel
Audio Punch-In |
Record 4 channels of audio direct to the
timeline without having to capture and then edit the material.
Primarily used for dialogue replacement or narration. |
Multiple voices can now be recorded into
the timeline for more complex dialogue. |
|
Mix Sample
Rates in the timeline |
Freely combine audio from different
sample rates in the same timeline. |
Audio HAS to have the same sample rate
before going to output, regardless of the edit system. Just as with
video, often far more audio material is captured into a project than
is used for the final story. Avid's ability to mix differing sample
rates on the fly gives editors the freedom to audition all the audio
material they want while only having to sample rate convert material
used in the final piece |
|
Center pan
clips |
Create a standard distribution of audio
between left and right speakers with a single command. |
Editor friendly feature that smooths
playback of the edited sequence and eliminates the distraction of
having to listen to left and right speakers because of audio sources
that have audio channels panned hard left and right interchangeably |
|
Read Audio
Timecode |
Decode timecode embedded inside an audio
channel for a captured clip |
Gives content creators greater freedom
on the set by allowing them to audio sources with cameras that don't
have 'time code in' capabilities. Time code generators jam sync the
audio recorder and then are connected directly to an available audio
channel on the camera. |
|
|
|
User Interface and System Architecture |
|
Avid DNxHD
3 |
Streamllined HD and feature film
workflow using low-bandwidth high picture quality Avid DNxHD 36. |
Work natively in HD removing all
workflow limitations of SD. Perfect Total Conform of all titles and
effects. Eliminate recapture times for screenings when working on
feature films by editing at a screening quality |
|
Open
Timeline |
Codec flexibility for mixing SD and HD
material of differing codecs and compression ratios within the same
timeline in real-time. |
Editors are free to begin the creative
editorial process without having to give consideration to different
formats that might otherwise require transcoding, rendering or
dubbing down of the source tapes |
|
Playback of
Uncompressed 8 and 10-bit HD without DNA hardware |
Leverage the escalating power of modern
CPUs and OpenGL hardware to playback Uncompressed 8 and 10-bit HD
material without the aid of dedicated hardware. |
Big cost savings for workgroup
configurations where acquisition and encoding of HD material Is not
required on every system in the chain |
|
Powerful real-time editing of multiple streams and effects
(e.g. up to
11 real-time streams of uncompressed SD video)
|
Edit in the timeline and press play,
multiple layers and effects play in real time |
Full-quality real-time results when you
need them - for maximum creativity, client sessions, output to tape |
|
Integrated
'Send to DigiDelivery' functionality |
Direct export from the editor to
DigiDelivery's secure media delivery system. |
Safely and securely share your precious
media assets for collaborative workflows that extend across town,
across the country or across the globe! The email driven UI makes
it a perfect vehicle for review and approval. |
|
HD video
support -
Avid DNxHD mastering
quality HD for all popular frame rates
(optional
Avid DNxcel board required for full support) |
The Avid DNxHD codecs come in three
bandwidths and bit depths per resolution and frame rate, one
high-quality 10 bit and two 8 bit. Avid DNxHD codecs were designed
as high quality mastering formats for post production processes such
as multiple generation compositing. Avid DNxHD encoding allows for
collaborative workgroup environments on the Avid Unity media
networks. |
Maintain gorgeous delivery-quality HD
while consuming a fraction of the storage and allowing full media
compatibility with workgroups over Avid Unity MediaNetwork or Avid
Unity ISIS. |
|
MXF Support |
MXF is the foundation for Avid's DNxHD
media format and an emerging industry standard. |
Handle the new MXF format, increasingly
embraced by industry leaders. |
|
Compatible
with ABVB and Meridien projects, bins, sequences, and media |
Capture, play and render Avid Meridien
JFIF, ABVB AVR (play/render only), DV25, DV50, IMX 50/40/30
|
Takes Total Conform to the next level
even for ABVB customers. A great addition to Media Composer
facilities, even those going back many years |
|
Mouse
mapping with scroll wheel scrubbing |
Map various system functions to
associated buttons on the mouse as well as scrubbing functionality
for the scroll wheel. |
Make most commonly used controls more
immediate by literally placing them at your fingertips. |
|
Linked
Workspaces |
Create customized views of common tools
based on user defined settings. |
Work more efficiently by having the
system group commonly used tools, customized the way you like them,
into a single keystroke. For example, when working with audio tools
the system could automatically expand your audio tracks and display
waveform and level information. |
|
Script View |
Bin view that allows the editor to view
a single (playable) frame of the media as well as metadata headings
in conjunction with a notation window where text can be entered by
the user. |
Allows the editor to incorporate text,
such as notes from the lab, director or transcriptions of talking
heads, directly into the clip. The more information on hand, the
smoother the edit goes. |
|
Search
across timecode ranges |
Search and sift on a timecode (or
KeyKode) number within a specific range. |
Timecode is the common language between
production and post. Notes from the set often reference timecode,
if not time of day, information. Being able to search for shots
based on a broad range of timecode values speeds the shot selection
process |
|
Unlink,
Modify and Relink media |
Break and/or associate clip information
with the actual video and audio media in order to change clip
properties such as track, timecode format or source tape
information. |
Mistakes can happen during the capture
process. Unneeded tracks are left armed in the Capture Tool, source
tape notation is logged incorrectly and timecode formats may be
wrong. Media Composer's flexibility for unlinking, modifying and
relinking clips and their associated media means it's never too late
to correct for mistakes. |
|
Archive to
tape (SD Only) |
Consolidate project and sequence
material out to analog and digital tape formats. |
Projects are made up of multiple source
tapes. Tape formats like MiniDV are becoming cheaper and cheaper
and offer a high level of portability between systems. Repurpose
those tapes by archiving project material onto them. Material which
is often digital and won't suffer a big hit in image quality in the
process. Started with 30 MiniDV tapes? Consolidate to 3 DVCAM or
DVCPRO tapes that provide a more robust tape format less susceptible
to dropout. |
|
Autosequence |
Create master source tapes of synced
video and audio media captured separately. |
Traditional film workflows and the fast
approaching file-based formats commonly involve audio and video
being captured separately and then synced together in the NLE.
Autosequence creates a simple and singular reference format for
offline and archival. Editors don't have to track and maintain sync
for differing audio and video sources and have a quick method for
restoring both to the system once the media is deleted. |
|
VTR
Emulation (Remote play and capture) |
Slave control of Media Composer by other
devices via serial device protocol. Media Composer functions like a
source deck in this scenario. |
Traditional post facilities and
broadcast environments are made up of a wide variety of cpu-based
and black-box solutions. Many of which can't be networked over TCP
or Fibre connections. Using the broadcast standard serial control
protocol, Media Composer's VTR emulation lets it work together with
devices such as switchers and media encoders with the simplicity of
a source deck. |
|
|
|
Film and Digital Intermediate (DI) Support |
|
Standard
Pull-down support for 23.976p capture over FireWire |
Connect 24p DV devices for direct
capture of both normal and advanced pulldown in real time |
Low-cost capture on-set for offline
using HD decks such as Sony's JH-3 (with FireWire option) or cameras
using FireWire down-convert |
|
Improved file
based metadata tracking and 3-perf tracking
|
Additional data management with columns
to help track file based workflows such as DPX, VFX, and UNC paths.
Allow 3-perf film tracking in all areas of Media Composer comparable
to other supported film gauges. |
Easier to manage film projects as well
as solutions for file based workflows. Automate the tracking of
sources for a DI conform. |
|
Capture and Output |
|
Enhanced P2
and XDCAM Support Support for Mojo and Mojo-SDI |
Enhanced support for direct import of P2
files as well as XDCAM-HD proxy support. Write back to the P2 card
also available (Support for PowerPC and Windows platforms only.
Panasonic has not released drivers for MacIntel based systems)
Connect low-cost, competitive quality hardware for SD I/O and
acceleration of analog and digital sources. |
Streamline the overall file-based
workflow for HD-based projects using P2 and XDCAM HD. Enhanced Proxy
support on XDCAM HD allows for quick editing of lots of material and
a quick rebatch capture of hi-rez sources. Now available for all
frame rates. Save money while maintaining the high-quality of
digital formats. |
|
Avid DNxcel
board option (requires Adrenaline DNA) |
Adds Avid DNxHD capture and output
functionality to Avid Media Composer Adrenaline hardware. |
Capture, edit and output
mastering-quality HD from all popular sources (HDCAM, DVCPRO HD, D5,
etc.) |
|
Support for
Sony XDCAM HD Media |
Native editing of Sony's MXF file-based
HD media. |
Take advantage of a tapeless HD
workflow:
· 18, 25 and 35 Mb data rates
· 23GB storage capacity
No need to shuttle through tape looking
for a shot |
|
Panasonic
Varicam off-speed support |
Capture and playback off-speed frame
rates from tapes and files created by Panasonic Varispeed cameras. |
Panasonic Varicam cameras are an
extremely popular choice for acquiring HD content and offer the
in-camera capability of creating motion effects. Avid Media
Composer let camera operators choose those off-speed frame rates
with the comfort of knowing the will be seamlessly reproduced in the
NLE. |
|
Full screen
play over DVI output |
View sequence output over DVI cables and
monitors. |
Content creators can utilize LCD
monitors for viewing SD and HD material. LCD monitors that are
lighter, take up less desktop space and cost significantly less than
crt-based HD monitors. |
|
HD
Crossconvert |
Deliver both 720 and 1080 HD formats
from other formats with compatible frame rates. |
The words "standard" and "HD" currently
don't coexist. Broadcasters have settled on one or the other, but
you don't have to. Create once and deliver 720 and 1080 from the
same sequence. |
|
HD Embedded
Audio over SDI |
Capture HD video and audio via a single
cable. |
Engineers and post managers can use
existing facility wiring to patch digital video and audio over a
single, more manageable cable. |
|
24p support
including Panasonic 24p DV Camera (AG-DVX100). NTSC Only. SDX900
support via SDI. 25p support for PAL |
Capture directly over 1394; the Avid
system automatically manages pulldown for accurate 24p / 23.976p
editing |
The powerful Film Composer functionality
that's won Oscars and Emmys for Avid users in motion pictures and
film-based television, now expanded to include DVX-100, DVX100a,
SDX900. |
|
Native HDV
Editing |
Edit HDV natively, removing the need for
transcoding and the use of intermediate formats. Mix HDV with other
HD, SD and DV formats in the same timeline in real-time.
|
Fully realize the time-saving and
cost-saving advantages of HDV by removing the need to transcode or
convert multiple sources to a common format before editing. |
|
Sony XDCAM
Support |
Import both long-GOP proxies and
high-resolution IMX and DV media for native editing |
Take advantage of a tapeless workflow:
· Quick and efficient capture
of media into edit system
· 23GB storage capacity
· No need to shuttle through tape looking for a shot |
|
Panasonic
P2 Support |
Connect P2 card directly to systems for
immediate editing directly from P2 cards or high-speed file transfer |
Take advantage of a tapeless workflow:
· Edit directly from P2 cards
· Quick and efficient capture of media into edit system
· No need to shuttle through tape looking for a shot |
|
DVCPRO HD
(DV100) codec and ingest over separate FireWire card Includes
support for 23.976. |
Pure native digital capture |
Easy to capture directly from camera,
maintain DV100 codec for easy output back to master |
|
10-bit
video I/O Support for 10 bit source material |
Support for 10 bit source material (Digi
Beta, etc.), 10-bit or higher accuracy for effects |
Maintain highest SD and HD image quality
in Avid post solutions |
|
SD-SDI
embedded audio (8 tracks) |
Capture SD video and audio via single
cable over serial digital I/O. |
Works with existing facility wiring and
makes it easier to interconnect Media Composer Adrenaline with
facility equipment (decks, routers, switchers, etc.) |
|
Capture to
Timeline |
Capture Tool writes media directly to a
predetermined segment of the timeline |
Even up to the last minute editors often
have to change out a shot in the timeline. Rather than go through
the process of; logging, capturing, marking and editing, the editor
can replace the necessary material in the timeline with a single
keystroke. |
|
|
|
Workgroup Functionality |
|
Support for
Avid Interplay PC Only |
Direct access to a shared data and media
backbone that enhances teamwork, productivity and security. Workflow
intelligent editing upports revision control, multi-res media
relinking, asset management, powerful network services, and more. |
The most precious asset any media
creation company has is talent. The most efficient and productive
way to use that talent is in a collaborative workflow. Avid Media
Composer Adrenaline integrates effortlessly within the Avid Unity
and Avid Interplay network to create a network-aware environment of
increased productivity, superior media management and one-step
processing for media transfer and archive. |
|
Avid Unity
MediaNetwork support (v5.0 or v4.1.5/v4.2.3 required) Avid Unity
ISIS support (v.1.2, v1.3, v1.3a) |
Integrate Media Composer into a dynamic
shared storage environment capable of SD and Avid DNxHD
collaboration. |
|
Frame Chase
Editing |
Editors in workgroup environments that
incorporate Transfer Manager can begin editing material seconds
after it starts being ingested into the network. |
Reduces the overall amount of time to
complete a project by allowing creative work to begin before capture
process is completed |
|
Support for
Avid Studio Toolkit PC Only |
Install and run Avid 3D, Avid FX and
Avid DVD by Sonic on the same system as Media Composer. |
Increase capability and turnaround time
with easy-to-learn, tightly integrated applications for effects and
compositing, 3D animation and DVD authoring |
|
|
|
|
|
|
