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Avid Media Composer – Subscription v2019.6

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Avid Media Composer – Subscription
  

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Proven and trusted by professional editors in every segment of film, television, and broadcast

The most popular video editing software just got even better. From first cut to final delivery, the new Media Composer is designed for makers at every skill level—with a modern and intuitive interface, task-based workspaces, built-in color finishing tools, plus packaging and codec support for OTT workflows.

All subscription licenses include:

  • Media Composer® | Software
  • Pro Sound Effects | First Library
  • Chroma Key Pro from NewBlueFX
  • ERA Voice Leveler from accusonus
  • Avid Standard Support (including all software updates)

Get the tools you need

Got a story to tell? There’s a Media Composer for everyone. Get started for free with Media Composer | First. Access the full suite of industry-standard editing tools with the new low-cost Media Composer, starting at only $19.99 USD/month. Or gain real-time collaboration, MediaCentral integration, and additional dialog search, finishing, and newsroom tools with Media Composer | Ultimate.

What’s new in Media Composer 2019

Reimagined for More

Edit

Edit at the speed of imagination. Reimagined to inspire creative video editing through a more intuitive interface and an enhanced user experience.

  • See & use only the tools you need – Reduce clutter and access the tools you need when you need them with task-oriented workspaces (editing, coloring, effects, and audio).
  • More flexibility & control – Simplify the complexity with a responsive, paneled interface, so you customize the way you want to work.
  • Edit at the speed of imagination – Tell your story quickly with fluid timeline editing and tools that support your creativity.
  • Manage massive amounts of media – New intuitive ways to organize, display, and access your content for greater control.
  • Visually navigate content – Find that perfect take or media faster than ever with new bin mapping and navigation.
  • Easily manage metadata – Create, edit, or view metadata for any clip or sequence in a bin with the new Inspector Tool.

Finish & Deliver

Finish with pristine quality with total color precision and interoperability using the new 32-bit full float color pipeline.
Deliver industry-standard IMF (Interoperable Master Format) packaging for OTT and other production companies.

  • Maximum finishing capabilities – New 32-bit full floating point pipeline ensures pristine-quality content when roundtripping any hi-res, HDR color data as well as effects processing.
  • Ahead of the curve with ACES Support – The first video editor to join the ACES (Academy Color Encoding System) Logo Program under the new Editorial Finishing product category, working towards an ACES ready workflow.
  • OpenEXR support – Compatible with OpenEXR, an industry-standard finishing format, which improves interoperability workflows and reduces complexity.
  • Work uncompressed efficiently – Avid’s 32-bit DNxUncompressed format enables you to work with camera originals and apply render color corrections and VFX while maintaining the full bit depth of the media.
  • IMF packaging support for ingest & delivery – Either ingest or deliver IMF (Interoperable Master Format) packages—a standard interchange format for OTT specifications and requirements.
  • Avid Joins Netflix’s Post Technology Alliance – Being part of the Post Technology Alliance ensures Media Composer will meet Netflix’s high-quality technical and delivery specifications.

Collaboration made simple

Collaborate

Collaboration made easy for post production teams, regardless of where they are, so content is created faster with higher quality. From craft editor, assistant, and logger to journalists, take advantage of a totally customizable toolset for any role with unparalleled security and control.

  • Role-based customization for Media Composer – Control the availability of Media Composer’s capabilities (output, formats, settings, etc.) for the different roles contributing to a production.
  • Find any footage phonetically – With Editorial Management 2019, phonetic search for dialogue across all projects and footage within the shared NEXIS storage.
  • Simple browser-based editing – With Editorial Management 2019 prepare footage faster, trim & re-order sequences, and set edit points for clips using just a web browser.
  • Browser-based multi-camera clip creation – With Editorial Management 2019, create up to 64 camera angles in a group clip via the client browser.

Edit

Edit at the speed of imagination. Reimagined to inspire creative video editing through a more intuitive interface and an enhanced user experience.

  • See & use only the tools you need – Reduce clutter and access the tools you need when you need them with task-oriented workspaces (editing, coloring, effects, and audio).
  • More flexibility & control – Simplify the complexity with a responsive, paneled interface, so you customize the way you want to work.
  • Edit at the speed of imagination – Tell your story quickly with fluid timeline editing and tools that support your creativity.
  • Manage massive amounts of media – New intuitive ways to organize, display, and access your content for greater control.
  • Visually navigate content – Find that perfect take or media faster than ever with new bin mapping and navigation.
  • Easily manage metadata – Create, edit, or view metadata for any clip or sequence in a bin with the new Inspector Tool.

Finish & Deliver

Finish with pristine quality with total color precision and interoperability using the new 32-bit full float color pipeline.
Deliver industry-standard IMF (Interoperable Master Format) packaging for OTT and other production companies.

  • Maximize finishing capabilities – New 32-bit full floating point pipeline ensures pristine-quality content when roundtripping any hi-res, HDR color data as well as effects processing.
  • Next-gen Avid Media Engine distributes processing – Keep working without distracting your creative flow and save time by distributing renders and transcodes to a farm of CPUs on a network.
  • Ahead of the curve with ACES Support – The first video editor to join the ACES (Academy Color Encoding System) Logo Program under the new Editorial Finishing product category, working towards an ACES ready workflow.
  • Work uncompressed efficiently – Avid’s 32-bit DNxUncompressed format enables you to work with camera originals and apply and render color corrections and VFX while maintaining the full bit depth of the media.
  • OpenEXR support – Compatible with OpenEXR, an industry-standard finishing format, which improves interoperability workflows and reduces complexity.
  • IMF packaging support for ingest & delivery – Either ingest or deliver IMF (Interoperable Master Format) packages—a standard interchange format for OTT specifications and requirements.
  • Avid Joins Netflix’s Post Technology Alliance – Being part of the Post Technology Alliance ensures Media Composer will meet Netflix’s high-quality technical and delivery specifications.

 

Media Composer Features

Whether you’re working independently or freelancing, Media Composer offers the vast format support and advanced video editing and finishing tools you need to take on any job with confidence. From first cut to final delivery, get the creative capabilities to tell great stories, turn around projects faster, and win the work you really want.

Create inspired stories with speed and ease

Edit with Oscar- and Emmy-winning tools
The majority of all mainstream movies and TV shows are edited on Media Composer. That’s because its coveted editing, effects, titling, color, and audio tools make the creative process fast, easy, and gratifying.

Work with any type of media
If you’ve got footage, you can edit it in Media Composer. From HD, UHD, 8K, 16K, and HDR, to stereoscopic 3D and IMAX, Media Composer eliminates the media bottlenecks, streamlining your workflow to bring your stories to life.

Gain unmatched efficiency
Media Composer eliminates media bottlenecks, so you can complete projects faster. Its DNx codecs and HDR color pipeline enable you to scale high-res media and match color spaces quickly. You can even automate time-consuming tasks in the background.

Accelerate multicam editing
Media Composer’s patented, Emmy Award-winning multicamera editing tools minimize tedious prep time and complexity, so you can dive right into the creative fun of telling all perspectives of the story.

Get the industry’s most reliable media management
With rock-solid media management keeping track of all your files, including OP1a, you can have confidence knowing that media won’t go offline. Even as projects move and evolve over many months. Or even years.

Create compelling content
Make your stories look, feel, and sound spectacular. From adding drama and mood through high-quality visual effects and color grading, to creating stirring soundtracks in 7.1 surround, you can do it in Media Composer.

Finish in the box—or out
Get consistent color accuracy whether you edit and finish content in Media Composer or roundtrip projects to another application. And deliver OTT content to the required specs right from Media Composer with new IMF packaging tools in the Symphony Option.

Connect with creators everywhere
Avid Link is now integrated directly in Media Composer, enabling you to find, connect, and collaborate with a network of video and audio creators to expand your creative possibilities and career opportunities. And shop for additional effects and color tools to further your story.

Get updates, support, and more
Whether you access Media Composer on a monthly or annual basis, your subscription gives you access to all new releases, Standard support, and some free gifts to help you get the most out of your experience.

Maximize your creative possibilities

Gain new capabilities with options
Want to find every clip that contains specific words of dialogue—in seconds? Or sync every take of a scene to the script to determine the best one? Give your Media Composer superpowers with a variety of add-on options.

Capture, monitor, and output video
Pair Media Composer with an Avid Artist I/O interface and experience the fastest way to capture, monitor, and output video. From portable 4K interfaces with onboard DNxHR encoding, to boxes that offer extensive I/O and video over IP, you get the tight integration you need to handle any production.

Team up with Media Composer | Ultimate
Need to edit in a team environment? Media Composer | Ultimate includes the same editing and finishing tools, plus extended options for Media Composer and additional features for real-time collaboration across the MediaCentral platform.

Media Composer | Ultimate Features

Accelerate team-based storytelling

Get the tool designed for creative teams
The majority of all mainstream movies and TV shows are edited on Media Composer. That’s because its coveted editing, effects, titling, color, and audio tools make the collaborative creative process fast, easy, and reliable.

Collaborate with anyone, anywhere
Share media, projects, and bins to accelerate project prep and editorial. For post, add Editorial Management and Avid NEXIS and you can collaborate locally and remotely. And news teams can integrate with MediaCentral, iNEWS, and ENPS with NewsCutter, included, for global collaboration.

Work with any type of media
If you’ve got footage, you can edit it in Media Composer. From HD, UHD, 8K, 16K, and HDR, to stereoscopic 3D and IMAX, Media Composer eliminates the media bottlenecks, streamlining your workflow to bring your stories to life.

Gain unmatched efficiency
Media Composer eliminates media bottlenecks, so you can complete projects faster. Its DNx codecs and HDR color pipeline enable you to scale high-res media and match color spaces quickly. You can even automate time-consuming tasks in the background.

Accelerate multicam editing
Media Composer’s patented, Emmy Award-winning multicamera editing tools minimize tedious prep time and complexity, so you can dive right into the creative fun of telling all perspectives of the story.

Find the best takes and clips fast
Save hours of clip search time with two dialogue search tools included in Media Composer | Ultimate. With PhraseFind, simply type keywords to locate all clips that contain the speech you seek. ScriptSync finds and syncs all takes of every dialogue line to a script, so you can find the best ones fast.

Get the industry’s most reliable media management
With rock-solid media management keeping track of all your files, including OP1a, you can have confidence knowing that media won’t go offline. Even as projects move and evolve over many months. Or even years.

Create compelling content
Make your stories look, feel, and sound spectacular. From adding drama and mood through high-quality visual effects and color grading, to creating stirring soundtracks in 7.1 surround, you can do it in Media Composer.

Finish in the box – or out
Get consistent color accuracy whether you edit and finish content in Media Composer or roundtrip projects to another application. And deliver OTT content to the required specs right from Media Composer with new IMF packaging tools in Symphony, included.

Find and connect with talent
Avid Link is now integrated directly in Media Composer to help you find the talent you need for your projects. Hire voiceover talent, sound designers, and composers for soundtrack work. Connect with other editors to fill roles. And shop for additional effects and color tools to further your story.

Run Media Composer virtually
Enable multiple editors to access Media Composer | Ultimate software and projects remotely using an Internet-connected computer or zero client. Simply add the Media Composer | Cloud VM option and you can run the software as “virtual” licenses, accessible from a single server.

Get updates, support, and more
Whether you access Media Composer | Ultimate on a monthly or annual basis, your subscription gives you access to all new releases, ExpertPlus support, and some free gifts to help you get the most out of your experience.

Expand your workflow for maximum efficiency

Simplify and manage post workflows
For post-production teams of 2–25 creatives, MediaCentral | Editorial Management adds powerful workflow and media management capabilities to accelerate production. It enables teams to search for, access, and edit media easily from anywhere. Right in Media Composer or through a web browser.

Capture, monitor, and output video
Pair Media Composer with an Avid Artist I/O interface and experience the fastest way to capture, monitor, and output video. From portable 4K interfaces with onboard DNxHR encoding, to boxes that offer extensive I/O and video over IP, you get the tight integration you need to handle any production.

Keep production moving
With the new Media Composer | Distributed Processing option, you can offload processor-intensive rendering and transcoding tasks to unused or idle networked computers, freeing up Media Composer, so you can keep working instead of waiting for jobs to complete.

Deliver the story on-air first
Need ultra-fast turnaround for breaking news and live sports coverage? Connect Media Composer | Ultimate to FastServe and you can edit footage as it’s being captured for immediate playout. Ingest media and make content instantly available while enabling workflows for journalists and craft editors.

Customize and control the experience
Get everything in Media Composer | Ultimate, plus the ability to control and secure your production. Media Composer | Enterprise is the first and only video editing and finishing solution that lets you tailor the interface for any role in your organization, minimizing mistakes, training needs, and leaks.

Media Composer Comparison Chart

Media Composer Media Composer | Ultimate
Audience and Availability
Ideal for… Professional editors and movie makers who work independently Professional editors, movie makers, and journalists who work in a collaborative environment
Availability Get a 1-year subscription and pay monthly or in full; a Media Composer perpetual license is also available for those who prefer to own the software Get a monthly, annual, 2-year, or 3-year subscription; a Media Composer perpetual license is also available for those who prefer to own the software (does not include the software options that come with Media Composer | Ultimate)
Included software options Media Composer | PhraseFind Option, ScriptSync Option, Symphony Option, and NewsCutter Option
General
Projects Unlimited, with support for Custom Projects Unlimited, with support for Custom Projects
Bins Unlimited bins, Volume bins, Favorite bins Unlimited bins, Volume bins, Favorite bins, Shared bins and projects
Video and audio plugin support All AVX and AAX plugins All AVX and AAX plugins
Transcode
Consolidate
Backward licensing compatibility Current subscribers can activate and run Media Composer 2018.4 and later* (see details for perpetual licenses here) Current subscribers can activate and run Media Composer 8.0 and later*
Native compression JFIF, DV, ProRes (encode on Mac only), XDCAM, AVC-I, IMX, DNxHD, DNxHR, XAVC-L, AVC-LongG, J2K JFIF, DV, ProRes (encode on Mac only), XDCAM, AVC-I, IMX, DNxHD, DNxHR, XAVC-L, AVC-LongG, J2K
Get details on accessing older software in your Avid Account
Software Options
Media Composer | Symphony Option
(included)
Media Composer | NewsCutter Option
(included)
Media Composer | ScriptSync Option
(included)
Media Composer | PhraseFind Option
(included)
Media Composer | Production Pack
Media Composer | Distributed Processing
Media Composer | Cloud VM
Avid Solutions Support
Interplay | Production
Interplay | MAM
MediaCentral
MediaCentral | Cloud UX
Avid NEXIS shared bins and projects
iNEWS

License Types

For the most up to date informatuon on Avid Media Composer licensing, please read the Media Composer Licensing FAQ.

Media Composer now gives you more choices in how you acquire and use the software. Edit on premises or remotely through the cloud. Work on a Mac or PC. Access the software through a monthly or annual subscription or on demand with a floating license. Or own the software outright forever with a perpetual license. In addition, you can configure it your way with the options you need to get the job done, from real-time remote collaboration through Media Composer | Cloud (formerly Interplay Sphere), to advanced color correction and mastering tools, iNEWS and ENPS integration, and software for creating effects, titles, and more. It’s the only professional editing solution that’s available everywhere you need it, the way you want it.

Media Composer | Software gives you more choices in how you acquire and use the software. There are 3 License Models for the latest Software:

Subscription License (“rent it”)

A Monthly or Annual “pay as you go” type of license.  You are always entitled to the latest version of Media Composer for the duration of your Subscription.  If your Subscription expires, you are no longer able to launch any version of Media Composer.

A standard Avid Support plan is included with all Media Composer | Software subscriptions and purchases. But if your support needs are more demanding, you can buy an upgrade to Elite support, either as a monthly or annual subscription plan.

Perpetual License (“own it”)

A Perpetual license is one that you own outright.  You are entitled to the latest version of Media Composer as long as you keep your Upgrade and Support Plan current.  If your Upgrade and Support Plan expires you may still launch Media Composer, but only the last version that was released while your Upgrade and Support Plan was active.  If you let your Upgrade and Support Plan expire for more than 30 days you must re-purchase Media Composer (Perpetual or Subscription) in order to receive the current version.

Dongles will be supported as part of Avid’s perpetual license. In this case, the only difference is that you will need to purchase a yearly Avid Support plan, which will provide new features, patches, and enhancements as well as access to standard Avid Support.

Floating License (“lease it”)

Avid offers a Floating License Server for large sites such as broadcast and educational facilities. Floating Licenses allow you to purchase a pack of licenses and ‘lease’ them out as needed. This application can be installed on any Windows server and allows customers to distribute multiple licenses (minimum of 5 as of July 8 2016) of the editing applications and software options using a single Activation ID. Licenses are checked out when a client launches Media Composer and check back in when the user closes the application. Seats can also be reserved for a specified duration allowing the user to take the client system offsite.

Retrieving your Activation ID or System ID

Avid products that utilize the Avid Unified Licensing Platform will present the user with an Activation ID and System ID (for products that utilize a System ID) in the INFO tab within the Avid License Control activation application. Note that the complete Activation ID may not be displayed as a security measure. You may also obtain your Activation ID or System ID using the following methods:

  • Avid Customer Support has access to all Activation IDs and can utilize customer information, device information, or System ID (if used) in order to look up the Activation ID for a specific product.
  • For products that utilize a System ID, the Avid software registration process requires that the customer provide their System ID in order to complete registration. If your System ID has been lost, and the product has been registered, Avid Customer support can look up your System ID (and associated Activation ID) within the registration database.
  • For products that have been associated to a customer’s Avid Web Account, the customer can log into their account and review entitlement information for all products under their account ownership (Note: Avid products that utilize the new Unified Licensing scheme and our updated registration process can also be associated to a customer’s Web Account. Information regarding previously purchased products that were obtained outside of the Avid web store may not be able to be accessed.)

How to return software

Customers may return products under the following conditions; as part of our 90-day Warranty program if they do not agree with the conditions of the Avid End User Licensing Agreement (EULA), or for a purchase refund if the product is unused (subject to the specific return policies of the point of purchase). Avid will require specific product and customer information as part of the returns process.

  • Unopened: Unopened software can be returned to the original point of purchase or the customer can contact Avid Customer Support, open the software package, provide the CS representative with the software Activation ID contained inside and then dispose of the software package.
  • Opened: (Only applies to products using the Avid Unified Licensing system.) If the software package has been opened prior to the return request, the customer must provide Avid Customer Support with the product’s Activation ID so that they can confirm that the software is not active. If the product was previously activated the customer must de-activate (see note below) any software prior to submitting a return request. Any return requests will be denied if the CS representative cannot validate that the software is inactive at the time of the request or if the return request was not submitted within a reasonable time after product activation.

Downloaded Software / Web Purchases: 

  • For products using the Avid Unified Licensing system: The customer must provide Avid Customer Support with the product’s Activation ID so that they can confirm that the software is not active. If the product was previously activated the customer must de-activate (see note below) any software prior to submitting a return request. Any return requests will be denied if the Avid Customer Support representative cannot validate that the software is inactive at the time of the request or if the return request was not submitted within a reasonable time after product activation.
  • For all other Avid products: It is only possible to return a download/digital product by sending a Letter of Destruction. You may also scan and email the document to shop.avid@arvatosystems.com. You will be refunded within 10 working days. Should you have any questions regarding the procedure, you may contact Avid Customer Support.

In-App purchases: In-App purchases are returned using the same method as downloaded software/web purchases (see above). Please note that Studio In-App purchases, such as Concert, are non-refundable. If you are having technical issues, please refer to our online forums for assistance or contact Avid Customer Support.

Rental Downloads: Please note that Activated Rental Downloads are not refundable once they have been activated. Packaged Systems (Hardware and Software): If the software portion of a packaged system has been unopened, the system can be returned to the point of sale. If the software has been opened it must first be deactivated prior to the return request (see Packaged Software > Opened above).
Note: You can deactivate your software using either the Avid License Control activation application or the help menu. Deactivation requires that the product is connected to the internet.  If no internet connection is available for your system, you will need to complete a Letter of Destruction form.

Switching from one license type to another
Certain products allow you to switch from one license type to another as part of the product upgrade process. For example, Media Composer allows users to switch from a Hardware Key licensing method to a Software node-locked license as part of the upgrade process (but not the other way around). Refer to specific upgrade information within each product web page for more details. Switching license types outside of the upgrade process for products that offer various licensing schemes may only be available on an exception basis and requires the involvement of an Avid Sales representative.

Moving a license within a legal entity
Transferring software rights within the legal entity that activated the software is authorized by the Avid EULA. If your license is limited to one hardware device, you may transfer your licensed copy of the software to a different device for your internal business use or your own personal enjoyment provided that you completely deactivate the software from the former device.

Changing ownership of an Avid software product
Avid allows for the one time permanent transfer of software licenses to another end user or legal entity. Academic and evaluation licenses are prohibited from any transfer of ownership (refer to the Avid EULA for more information).

For optimal performance and reliability, be sure that your computer or laptop meets the following minimum system requirements for the latest version of Media Composer.

Important: Avid dedicates a significant amount of engineering resources and time to test and qualify specific platform configurations. Our Customer Success and Engineering teams are equipped with these systems in our development and support labs. For an optimal experience with Media Composer, we strongly recommend choosing an Avid-qualified system. We cannot guarantee performance, compatibility, or the resolution of issues with other systems.

Windows

  • Computer: Avid-qualified Windows-based computer
  • Media Composer | Software requires a 64-bit Windows operating systems
    • Windows 10 Professional and Enterprise
    • Windows 8.1 Professional and Enterprise
    • Windows 7 Professional (Service Pack 1 only)
    • Windows OS Compatibility grid
  • Processor: Intel Quad Core i7 or Quad Core Xeon processor
  • Memory:
    • 16GB minimum
    • 32GB (or more) recommended

Mac OS X

  • Computer: Avid-qualified Mac-based computer
  • Mac OS Compatibility grid
  • Processor: Intel Quad Core i7 or Quad Core Xeon processor
  • Memory:
    • 16GB minimum
    • 32 (or more) recommended.
  • Additional Notes:
    • 12-core 2013 Mac Pro (Ivy Bridge 6,1 Cylinder) and dual 6-core Mac Pro (Westmere 5,1 tower) model CPU’s on Mac OSX 10.10.x (Yosemite) have known performance issues with playback, render, and transcode of RED material. If possible, customers with these CPUs that use RED workflows should stay on Mac OS 10.9.5 as it does not exhibit the same performance issues. (UPDATE: This is fixed with the latest RED AMA plugin v1.16.5 and later)

Additional Requirements

  • GPU Driver Support
  • Quicktime Support
    • Mac – 10.x
    • Win – 7.7.8
  • Windows Media Player Support – Windows Media Player 12 (for Windows 7)
    • Windows Media export compatibility is subject to Microsoft Windows Media updates.
  • AMA Plugin Compatibility
    • Check vendor’s website for latest 3rd party AMA plugin qualifications.
  • SSE 4.1 CPU instruction set

What’s new in Avid Media Composer 2019.6

Experience more inspired storytelling (Standard & Ultimate)

Find your creative flow with a modern new interface and task-based workspaces that make organizing media and video editing more fluid and intuitive. Media Composer’s responsive smart panel design helps boost your creative flow while clearing the clutter, so you can spend more time focusing on what matters most—your story.

Edit easily with new and improved tools (Standard & Ultimate)

From better bin handling and project access, to countless timesaving features, there’s a lot more to love about Media Composer. Plus, with input from customers and other video editors, we’ve added many of your top requests (say hello again to the weightlifter and scissors icons!).

Work faster—the way you want (Standard & Ultimate)

Freely resize and rearrange Media Composer interface panels to suit your editing preferences. Display and arrange the tools you want—hide what you don’t—enabling you to work more instinctively. Without the interface getting in the way.

Finish and deliver with total color precision (Standard & Ultimate)

Whether you do all editing, effects, and color work in Media Composer or roundtrip projects to another application, the new 32-bit floating point color pipeline and ACES color space support future-proof your content and ensure consistent color accuracy from end to end. OpenEXR decoding accelerates HDR effects work. Plus, new IMF packaging tools make OTT delivery easy.

Keep production moving (Ultimate)
With the new Media Composer | Distributed Processing option, you can offload rendering and transcoding tasks to unused or idle networked computers, freeing up Media Composer. Keep working instead of waiting for jobs to complete. Plus, its parallel processing greatly speeds up turnaround time.

 

What’s New Avid Media Composer 2018.9.5

This is a patch release and is only available through the Download Center. You will not see it in your My Avid account or on Avid Link. The Windows version of Media Composer v2018.12.5 is a patch release. You must have v2018.12.3 already installed. Then use the 2018.12.5 patch to update to this release.

Fixed in Media Composer v2018.12.5

  • Bug Number: MCCET-2999. You might have received an Exception error when deleting an asset from a bin.

Fixed in Media Composer v2018.12.4

The Windows version of Media Composer v2018.12.4 is a patch release. You must have v2018.12.3 already installed. Then use the 2018.12.4 patch to update to this release.

  • Bug Number: MCDEV-10783. You might have received errors when trying to log into the MediaCentral Cloud UX server.
  • Bug Number: MCCET-2822. In some instances, the .mxf extension was not appended using Send to Export, therefore “Auto Launch” could not open mxf files.
  • Bug Number: MCCET-2927. Intermittently, saving bins resulted in Exception errors.
  • Bug Number: MCCET-2902. In some instances, a video mixdown included the effects from an upper nested layer.
  • Bug Number: MCCET-2897. After importing, certain WAV files may have had an incorrect start time.
  • Bug Number: MCCET-2748. If a sequence with media from a P2 card was loaded into the Source or Record monitor, relinking to add an extra clip would take too long.
  • Bug Number: MCCET-2867. In some instances, rendering some effects on linked H264 media resulted in mixed up frames. Bug Number: MCCET-2862. (Windows 10) The Audio Tool was not updating when scrubbing with CAPS lock enabled.
  • Bug Number: MCCET-2937. In some instances, if you captured with a single track that was not A1, the capture would abort immediately.
  • Bug Number: MCDEV-10869. Clicking the yellow bin lock icon maximized bins that were minimized.
  • Bug Number: MCCET-2967. (Avid Artist DNxIO and DNxIQ) Audio meter levels were not displayed in the Audio tool when recording.
  • Bug Number: MCCET-2952. The Audio Punch-In Tool did not remember the last bin selected.
  • Bug Number: MCCET-2914. In some instances, when exporting JPG, if you changed the name of the export, the file may have been unusable.
  • Bug Number: MCCET-2942. You could not perform an insert edit export of DNxHR HQX media.
  • Bug Number: MCCET-2946. (Interplay) In some instances, Media Composer would crash during check-in of sequence.
  • Bug Number: MCCET-2910. Importing a non-shared user profile created a duplicate and prevented the application from closing.
  • Bug Number: MCCET-2913. The Property Merge window would inadvertently appear when checking in a clip for first time into Interplay.
  • Bug Number: MCCET-2901. Media Composer would hang when playing back an Avid Titler+ title in the effect editor.
  • Bug Number: MCCET-2729. You might not have received the correct find results when searching group clips in PhraseFind.
  • Bug Number: MCCET-2931. After upgrading from Media Composer v2018.12.1 to v2018.12.2 or v2018.12.3, batch re-import of Matte Key clips was not working.
  • Bug Number: MCCET-2878. The UHD video output is converted to HD when consolidating HD media in a UHD project.
  • Bug Number: MCCET-2859. Switching camera angles in Multicam stopped playback if the group contained mixed frame rates.
  • Bug Number: MCCET-2857. If you were working on a system using Chinese locale, you might have experienced consolidate and transcode audio issues.
  • Bug Number: MCCET-2957. Insert Edit Export failed if only video tracks were selected.
  • Bug Number: MCCET-2966. You might have been unable to import an EDL.
  • Bug Number: MCCET-2915. The metadata might have been incorrect after importing an ALE.
  • Bug Number: MCCET-2841. Saved presets did not always retain the last keyframe.
  • Bug Number: MCCET-2805. The Raster Dimension column in a bin was incorrect for thin raster media.
  • Bug Number: MCCET-2925. In some cases, after performing a render operation, the green dot remained in the Timeline on PNG clips including a Matte Key effect.
  • Bug Number: MCCET-2930. You might have seen performance issues when editing a long AVC Long GOP 25 clip.
  • Bug Number: MCCET-2973. Changes to Audio Reference Level settings changes were not properly reflected when you switched between Normal and Narrow Mixer View.
  • Bug Number: MCCET-2960. (Mac v10.14.x) When linking to media on a shared network drive, the UNC path in the Drive column might have had the network user name in the path.
  • Bug Number: MCCET-2732. When consolidating AVC Long GOP subclips created new master clips that were too long. A new check box has been added to the Consolidate/Transcode dialog boxes. Select the “Re-encode AVC Long GOP media to ensure shortest subclip durations” option when you consolidating AVC Long GOP subclips.
  • Bug Number: MCCET-2923. (Mac) You might have received “not authorized” errors when trying to use PhraseFind or ScriptSync.
  • Bug Number: MCCET-2947. You might have received errors when trying to set target the Dynamic Relink settings in an SD 25i PAL project.
  • Bug Number: MCCET-2936. If Dynamic Relink was enabled, imported DaVinci Resolve AAF media was offline.

What’s new in Avid Media Composer 2018.12

  • Mac OS Support – Mac OS v10.14.2 has been added to the Qualified Operating Systems list.
  • Avid Titler – The Avid Titler is a new Title Tool that works within the editing application that allows you toquickly create titles in all project types and rasters.  (In previous releases, if you were working with greater than HD projects, you had to use the NewBlue Titler Pro tool.) The Avid Titler creates a Title effect in your sequence. You can create titles and then easily edit them in the Effect Editor. Just like an effect, titles can be saved back to the bin and re-used.
  • Formatting Text – The Font formatting tools in the Avid Titler tool control the appearance of text. Using the Font formatting tools allow you to select the font, the font size, leading, kerning, rotation, skew, bold, or italics options.
  • Creating Graphic Objects – You use the drawing tools to create graphic objects such as squares, rectangles, circles, and ovals.  After creating graphic objects, you can modify or manipulate them in a variety of ways.
  • Moving an Object or Text Forward or Backward – Once you create text and or graphics, you might want to bring one forward or send to the background.  For example, you might create text and then create a solid circle or rectangle object for the background of the text.
  • Select Previous and Select Next Layers – Once you create multiple layers of text and shapes, you can scroll through them by selecting the Select Previous Layer or Select Next Layer buttons.
  • Choosing a Background for your Title – You can choose whether to display a color background or a frame of video from your sequence.  With a sequence in the Record monitor, the Avid Titler tool opens with a video background. The location of the position indicator in the Timeline at the time you open the Avid Titler determines the initial video frame that displays. If you want to select a solid background, simply click Background button and choose a color from the Color button.
  • Adding Shadows to Title Objects – You can add a shadow to any text or graphic object.
  • Adding Outlines to Title Objects – You can add an edge or outline to any text or graphic object.
  • Editing the Title in the Effect Editor – You can perform additional edits to your titles using the Effect Editor. Place the cursor over the Title effect in your sequence and select Tools > Effect Editor to edit your title effect.
  • Shape-Based Color Correction (Symphony Option) – The editing application includes tools that allow you to perform shape-based color correction.
  • Editing Group Clips – The editing application now supports editing group clips. If you have a MultiCam group that you want to edit or add a new shot to, you can with this release. With this release, you can also create a group clip directly from a sequence.
  • Swap Camera Bank – With this release, using the Swap Camera Bank button will cycle through all cameras. Previously, the editing application would only show a maximum of 8 cameras (for squad split) or 18 cameras (for nine split).
  • Waveform Sync – Waveform Sync allows you to sync your audio in the Timeline. Selected video must reference clips that have audio (e.g. camera sound) in order to sync your video clips. This allows you to use audio waveform rather than Timecode or an IN point to sync to the video.
  • Changing the Source Audio Track in the Timeline – The editing application allows you to change the source track in your Timeline. Simply right-click onan audio track in your Timeline, select Change Source Track and choose the desired source track.
  • Background Bin Auto-Save – With this release, the bin will be saved in the back ground according to the Auto-save interval set in the Bin Settings dialog. You will no longer be interrupted with a bin saving progress message.
  • 64 Tracks of Video – In previous releases, the editing application supported 24 tracks of video. With this release, the editing application supports 64 tracks of video.
  • DNxUncompressed Update – With the introduction of DNxUncompressed, you can import, render, transcode and mixdown at uncompressed quality. This allows you to generate media that preserves the full quality of the Timeline (currently the Timeline is 16 bits maximum). DNxUncompressed is available at any raster dimensions (HD, 2K, UHD etc.) With this release, 12 bit DNxUncompressed is supported.
  • Timeline Settings Update – An additional option has been added to the Timeline Settings: Display During Segment Drag option.  In addition to the option to show the head and tail of incoming or outgoing frames of video when you drag a segment, you can now choose to show the frame at the blue position bar when dragging a segment.
  • Media File Path Column – An additional column has been added to the Bin Column options. When you choose to display the Media File Path column, the Media Tool will display the location of the media file for precomputes and media file objects.
  • Adding Bins and Scripts to Project Folder – You can add a new bin or a new script to a folder in your project window. In the project window, select the folder, right click and select New Bin or New Script. If you select New Bin, a new bin will be added to the folder. If you select New Script, you are prompted to locate the script to be added to the folder.

What’s New Avid Media Composer 2018.9

  • Live Timeline Additions – You can solo, mute, and change audio gain during playback. You can also choose to set certain Edit Marker window behavior during playback.
  • AMA File Export Change – Export options have been updated.
  • DNxUncompressed – With the introduction of DNxUncompressed, it is now possible to import, render, transcode and mix-down at the uncompressed quality.
  • Default Stream Count Limitations in Media Composer – Real-time streams are no longer limited to 12.
  • DPX Export Improvement –  Exporting DPX files is much faster than in previous releases.
  • HLG Scope: Display 75% graticule for Graphics white – The HLG scope waveform displays an orange horizontal line to show graphics white at 75%.

What is fixed in 2018.9:  The following have been resolved in 2018.9.

Bug Number: MCCET-2465. You might have received a “CM_INVALID_SPLIT” error when trimming promoted motion clips.
Bug Number: MCCET-2466. The project name, sequence name, and date of printout was missing in the header of the marker printout.
Bug Number: MCCET-2498. In some instances, the editing application would crash if all bins were closed and the Capture Tool was open.
Bug Number: MCCET-2533. Intermittently, you might have received an “Exception Failed to find coincidence point on tape” error when trying to capture or batch capture into Media Composer.
Bug Number: MCCET-2548. Finding a frame by entering timecode value in the Source monitor did not work when searching on an audio mixdown.
Bug Number: MCCET-2580. Activating Play Standby would start playing too fast if you had played the sequence at double speed prior to pressing Play Standby.
Bug Number: MCCET-2585. After installing the editing application and creating a new project, you might have received an “assertion” error when opening the Tool Palette on the Source/Record Monitor.
Bug Number: MCCET-2589. (Windows OS) When using a Japanese locale, the source clip name did not display in the Timecode Window.
Bug Number: MCCET-2596. Match-framing a Multigroup clip with Symphony Color Correction applied, would match frame to the group clip instead of the main Multigroup clip

Limitations in 2018.9: The following are limitations with the 2018.9 application.

Bug Number: MCDEV-9781. You might see the following issues if Run Length Encoded is enabled:

  • “Core Consistency Check Failure” errors when recreating animated Marquee titles
  • Media size might not be accurate when working with interlaced projects

Workaround: Disable Run Length Encoded (RLE) in the Import Settings Image tab.

Bug Number: MCDEV-9676. Intermittently, the blue bar in the Source and Record monitors does not move. The blue bar does move in the Timeline. Workaround: Restart the editing application.
Bug Number: MCDEV-9523. When linking with the Avid Generic Plug-in, audio waveforms do not build properly in the Timeline when playing back an H.264 movie with AAC audio.
Bug Number: MCDEV-9460. Windows 7 systems with Nvidia Maxwell or Nvidia Pascal cards might experience playback issues that could result in “Play Consumer timeout” errors. Workaround: Select “Disable GPU Effects” in the Render Settings dialog box.
Bug Number: MCDEV-9142. You might experience hangs or crashes when performing a video mixdown with a 16K project on systems with less than 64GB RAM.
Bug Number: MCDEV-9329. (Avid Artist DNxIV and DNxIQ) When playing back immediately captured media, the video might freeze after approximately one second but the audio continues. You might need to restart the editing application.
Bug Number: MCDEV-9269. (Media Composer | Cloud) After performing a remote download operation on a sequence containing AVC-I 100 remote media, the downloaded media appears as XAVC-I 100. Workaround: Download the entire master clips.
Bug Number: MCDEV-9011. Intermittently, when working with the XDCAM Nablet Plug-in, you might see “Failed to get the sample position from the AMA Plug-in” errors if you have waveforms enabled in the Timeline.
Bug Number: COGS-2560. While working in the Script Window, text operations (cut/copy/paste/delete/editing) can only be done in edit mode. See “Editing a Script” in the Help.
Bug Number: MCDEV-5650. When working with Panasonic LongG media, you might receive an “SFPlayConsumer Timeout” error if audio waveforms are enabled.Workaround:Turn off audio waveforms.
Bug Number: MCDEV-5385. MultiCam editing with Panasonic LongG media is not supported with this release.
Bug Number: MCDEV-5384. Currently, when working with LongG media, you might see dropped frames when editing 4 streams. This might occur when playing from a single stream to multiple streams (and from multiple streams back to a single stream). The dropped frames usually display around the edit point (transition to a different stream).

A few important reminders:

Avid DX Driver Separate Installer:  The Avid DX Driver is not automatically installed when you install the editing application. If you need to install the Avid DX Driver to work with your Avid IO device, you can install it separately.  Note:  For Windows systems, there is a Win7 driver and a Win10 driver in the Utilities folder. The Win7 driver works for both Windows 7 and Windows 8 systems.  The installer is located:

  • (Mac) /Applications/Utilities/Avid Utilities
  • (Windows) Program FilesAvidUtilitiesDXDrivers

Application Installers:  Previously, a separate installer was required for Media Composer | First. With this release, you have a single installer for Media Composer and Media Composer | First. Note: The option to run as Media Composer | First is now included in the Avid Media Composer Activation window.

New Computers Qualified:  The following have been added to the Knowledge Base.

  • HP Zbook 15”, 17”, Studio, Studio XPS and “V” model laptops
  • Lenovo P52, P72 and P1 (thin and light) laptops
  • HP Z2 G4 tower and SFF and Z2 G4 mini
  • Dell 3430 SFF, 3630 tower and 1U rack 3930
  • Lenovo P330 Tower and SFF plus P330 Tiny

The below links are live now.

Avid Qualified Systems and IO hardware for Media Composer, Interplay Assist, and Avid Instinct 
Avid Configuration Guidelines and Slot Configurations 

ReadMe and What’s New Guide: The ReadMe and “What’s New” Guide for the September release of Media Composer have been uploaded to the knowledge Base Media Composer 2018 Documentation page.

How customers will obtain the September Media Composer 2018.9 Update:

  1. Customers who have already installed the latest version of Media Composer will be notified of the availability of the upgrade via the Application Manager. The Apps tab also provides a link to download and install the update when desired.
  2. New customers who purchase Media Composer will receive the update in their Avid Master Account.
  3. Customers on current Update plans can download the Media Composer update either from their Avid Master Account or the Avid Download Center (login and password required.)
  4. Customers NOT on a current Upgrade & Support contract must purchase either a new Media Composer Subscription or Perpetual license to receive this update.

New in Version 2018.7

Live Timeline

See the What’s New in Avid Media Composer 2018.7 PowerPoint Presentation

Other new features include:

  • 16K Project Presets
  • New High Frame Rate Projects (100, 119.88, 120)
  • Support for NewTek® NDI Video over IP
  • Resize the Composer Monitor
  • Work with BXF Files
  • Support for Full Frame Stereoscopic with Avid Artist DNxIQ
  • Performing an Insert Edit to an Exported Sequence
  • Preview Growing Sequences and Clips while Exporting to DNxHR or DNxHD
  • Allow AMA File Export with Media Offline

Avid Media Composer Subscription Avid Media Composer v2018.7

Proven and trusted by professional editors in every segment of film, television, and broadcast

The $599 subscription includes Media Composer and the Symphony option. Designed to handle high volumes of disparate file-based media, Media Composer delivers accelerated high-res-to-HD workflows, real-time collaboration, and powerful media management, eliminating time-consuming tasks so you can focus on telling a great story. And now the choice is yours—edit on premises, remotely through the cloud, on demand, through a low-cost subscription, or purchase a license outright—making Media Composer the most versatile and accessible tool for professional creative editorial.

Avid MC Subscription      Avid MC Perpetual    Support / Upgrade

New in Version 2018.4

Create compelling stories for less

Media Composer is now available for just $19.99 USD/month for independent editors and moviemakers. This new version provides the full suite of editing tools professional storytellers rely on daily. If you work as part of a team or within a MediaCentral environment, choose Media Composer | Ultimate (formerly Media Composer), which offers the real-time collaborative workflows you need.

Get better UHD performance

With support for four real-time streams of XAVC-I media, Media Composer delivers greater performance with high-res media, so you can spend less time rendering or transcoding media to lower resolutions.

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