Avid Media Composer Software - Perpetual License v8.9.3

(2) Review:



Download demos and trial versions, product documentation, free presets and more.

You May Download a Free Demo After Logging In!

Avid Media Composer Software - Perpetual License - featured

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

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 media composer

The Perpetual License includes:

  • Media Composer | Software perpetual license (never expires)
  • NewBlue Titler Pro v1
  • Sorenson Squeeze Lite (30-day trial)
  • iZotope Insight (30-day trial)
  • One year of Avid Support (including software updates)
  • Available for purchase with a hardware dongle at $1,799 MSRP

The choice is yours

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.

Get easy access to the industry’s most trusted tools

Significantly lower your cost of entry and get support every step of the way by accessing the latest Media Composer | Software and Media Composer | Symphony Option on a recurring monthly or annual (most cost-effective) basis. Or buy and own Media Composer outright (perpetual license) and get one year of standard Avid Support and software upgrades, with additional upgrades available thereafter by renewing your support plan anually.

Deploy licenses on demand

For large-scale media enterprise, post-production houses, and educational institutions, Media Composer now offers floating licensing, enabling you to purchase a “pack” of shared licenses to deploy across your entire facility using a single system ID. This enables multiple editors to use Media Composer on any number of workstations when licenses are available (not actively in use).

Stay up to date with the new application manager

Media Composer comes with a new application manager that keeps you up to date with your software. See what Avid software, AMA plug-ins, and related third-party applications you have installed on your system. Get notified when new updates, upgrades, and renewals are available. Activate and download new software, updates, and upgrades from the interface. And if you’re interested in a new product or upgrade, you can even see if a software trial is available to try it out first. It will even alert you about special offers, upcoming webinars, and events.

Accelerate your high-res workflow

More content today is shot with high-res cameras, but the majority of programming is still HD. With the new FrameFlex tools, you can immediately start working in HD directly from high-res sources and maintain full creative control of the image reframing and keyframing, from beginning to end. In addition, 1D/3D Look Up Tables (LUTs) and Color Decision Lists (CDLs) make it easy to perform real-time RAW and LogC to Rec. 709 color space conversions.

Automate your media management

Gain more time for creativity with new features that accelerate and simplify file-based workflows. With Dynamic Media Folders, noncreative media tasks such as transcoding, copying, and consolidating can be automated in the background, without disrupting your editorial flow. Plus, you’ll get peace of mind as Media Composer now fully manages AMA-linked media as reliably as it does with native Avid media.

Edit and collaborate remotely in real time

Edit, share, tag, track, and sync media and projects with everyone on your editing team—no matter where you are in the world. Media Composer enables you to connect to Interplay | Production systems through Media Composer | Cloud (formerly Interplay Sphere), making remote cloud-based collaboration easy and cost-effective. What’s more, you can edit just as efficiently as you would if you were all at the home facility, using the same tools and workflows you know and trust.

Gain total audio control

Forget wasting time mixing down audio levels by trial and error. With the new Master Audio Fader, you can insert RTAS plug-ins to tweak tones and optimize the overall program loudness, making broadcast regulation adherence quick and easy. You can also now make audio adjustments to any clip directly in the timeline—independently of any track-based automation—with the Clip Gain control.

Streamline the video workflow with Pro Tools users

Video Satellite is now included with Media Composer, enabling audio editors and mixers to play Avid HD and SD video sequences directly in sync with their Pro Tools session, while maintaining full system power. In addition, Pro Tools | Software now includes the Avid Video Engine, enabling Pro Tools sound editors and mixers to play HD video of the latest Media Composer cuts directly in the Pro Tools timeline.

Expand your creativity with options

Edit with the exact tools you need by simply adding options for the workflows you want. Add advanced and secondary color correction tools, mastering tools, and the Boris Continuum Complete Lite effects pack with the Media Composer | Symphony Option for online editing. Integrate Media Composer into iNEWS and ENPS workflows with the Media Composer | NewsCutter Option for news editing. And capture, monitor, and output video with a hardware-accelerated Media Composer | Nitris DX or Media Composer | Mojo DX video I/O interface. View these and more on the Options page.

And More...

  • Create cut lists and EDLs from within Media Composer
  • Do multicam editing in stereoscopic 3D
  • Get 9-way real-time multicam support for Long GOP (XDCAM) media
  • Select multiple clips in the timeline without the filler
  • Edit without interruption with new audio waveform caching
  • View location sound metadata from Broadcast Wave files with support for iXML
  • Deliver finished sequences to a standardized AS-11 (AMWA) MXF OP1a file
  • Work with Alpha channel media using the new AMA QuickTime with Alpha plug-in
  • Edit easier with new AMA enhancements:
  • Find what you need faster with the new AMA navigation window
  • Consolidate or transcode only AMA clips in your sequence
  • Relink to specified video and audio tracks in your timeline
  • Speed through tasks with drag-and-drop support


Full 64-bit power

Fast gets even faster with native 64-bit operation, so even when you layer together the most complex effects, things will still feel snappy. Experience smoother playback, faster rendering performance, and better handling with large bins—and say goodbye to the old memory limitations of 32-bit operating systems.

Open to anything

You never know what kinds of media, projects, and people will arrive at your desk or doorstep. That’s why Media Composer offers open workflows, so you can take on whatever challenge awaits. Work with high-res sources, file-based media, tape, and film. Capture and monitor with your choice of powerful and reliable Avid or third-party interfaces. Accelerate editing with Artist Series control surfaces. Integrate into any professional production pipeline. And collaborate seamlessly with Pro Tools editors.

Experience the “waitless” workflow

With AMA (Avid Media Access), you can instantly access and edit file-based media—including ARRI ALEXA MXF, RED (EPIC, SCARLET-X, and ONE), AVCHD, ProRes, QuickTime (including footage from HDSLR cameras), XDCAM, P2, Canon XF, and other formats—without transcoding or copying files (watch the video ). Preview footage without the wait. And as new cameras and formats emerge, manufacturers can create and release their own AMA plug-ins independently from a software release.

Work with any media

File-based media, 2K/4K/5K footage, analog and digital tape, stereoscopic 3D material, film—bring it on. Media Composer offers ACE-certified editing tools and a wide range of features, workflows, and options that enable you to work with everything, from old-school media to the latest camera technologies. Plus, you can work in HD from a high-res source without having to transcode or resize files.

Experience cutting-edge storytelling

It doesn’t matter how you learned to edit—Media Composer goes where others leave off, enabling you to work the way you want. Trim and manipulate on the fly using the Smart Tool (see the Smart Tool in action), or perform ultra-precise edits using traditional tools. Mix and match media formats, frame rates, resolutions, and more in the same timeline without rendering (see Mix and Match in action). And edit HD material in real time—in mastering picture quality—using Avid DNxHD or DNxHD 444.

Edit 3D

Edit stereoscopic 3D material as quickly and easily as you do with standard 2D footage, with a full set of features and workflows. Capture, edit, and manage the complete 3D end-to-end workflow. Mix and match 2D and stereoscopic 3D clips on the same track. Plus, work with full frame and frame-compatible sources, dedicated 3D editing tools, video effects, and more.

Software Options:

Media Composer | Symphony Option

Correct color and master faster by adding advanced and secondary color correction tools, plus mastering tools, to your editing workflow with this option for Media Composer | Software. What's more, it comes with Boris Continuum Complete Lite, enabling you to create stunning 2D and 3D graphics and effects to get the look you want.

Media Composer | NewsCutter Option

Integrate Media Composer directly with iNEWS and/or ENPS systems to streamline your news editing to on-air workflow with this option for Media Composer | Software. This option adds the functionality of the NRCS Tool found in NewsCutter, which is now discontinued, though many of its features and settings are now a part of Media Composer.

What's Included:

Media Composer (monthly/annual subscription)

  • Media Composer—Edit SD, HD, and stereoscopic 3D material
  • Media Composer | Symphony Option—Add advanced color, effects, and mastering tools
  • Boris Continuum Complete Lite—Create 2D and 3D graphics, effects, and more
  • NewBlue Titler Pro v2—Create 2D and 3D video titles
  • Sorenson Squeeze Lite—Optimize and deliver content
  • EDL Manager—Export timecode metadata
  • FilmScribe—Export film metadata
  • iZotope Insight 30-day trial—View and troubleshoot audio mixes
  • Standard Avid Support (includes software updates/upgrades)

Media Composer (perpetual license)

  • Media Composer—Edit SD, HD, and stereoscopic 3D material
  • NewBlue Titler Pro v1—Create 2D and 3D video titles
  • EDL Manager—Export timecode metadata
  • FilmScribe—Export film metadata
  • iZotope Insight 30-day trial—View and troubleshoot audio mixes
  • One year of standard Avid Support (includes complimentary software updates/upgrades; renewable annually)

Production Pack

  •   iZotope Insight—View and troubleshoot audio mixes
  •   NewBlue Titler Pro v2—Create 2D and 3D titles
  •   Sorenson Squeeze—Optimize and deliver content

License Types

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”)

Monthly and yearly subscriptions are one of the new licensing choices for those who want to add Media Composer | Software seats instantly, and at a very low cost. This enables you to add editing systems, based on your individual or business needs. With the annual subscriptions, you can save even more on your monthly costs. Find more details on pricing and subscription plans in this document: Media Composer | Software Licensing Options (PDF).

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”)

With the Perpetual License, you can purchase and own the Software. These perpetual licenses will function forever.  Keep in mind that, with a perpetual license, you will need to renew your annual support plan each year to ensure that you continue to receive the latest updates and get access to world-class customer support if you need help.  If you cancel your auto-renewing annual Avid Support plan, you will have to purchase a full new license if you wish to continue receiving software updates and support. To take advantage of the $299 price for the Avid Support plan, you MUST renew in 2014 or renew when your existing support contract expires.

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. Find more info on Perpetual Licenses in this document: Media Composer | Software Licensing Options (PDF).

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. It’s a cost effective solution to those sites that previously might have purchased 100 Media Composer applications but only had 50 users at one time: once a user closes the editing application, that license is available for another user. For information on setting up a Floating License Server, see the FlexNet Device Manager for Avid Administration Guide.

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 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 connect 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).


New in 8.9.3

Location at Launch:  Media Composer v8.9.3 will be available from My Avid account, Application Manager, and the Avid Download Center (login and password required), Monday, October 30th, 2017 @12:00 PM EDT. 

Installer:  There is a Media Composer v8.9.3 Mac and v8.9.3 Win Installer.

What’s New in v8.9.3: The following has been changed in this release.

Effects Parameters Update - With this release, the following effect parameters have been updated to include a decimal for better precision.
Move Clips Up and Down in the Timeline - Two new commands allow you to easily move clips up and down the Timeline.
Color Info Tool Setting - A new setting has been added to the Effect Editor that allows you to disable the Color Info Tool from automatically launching when you access a color picker.
Dynamic Shuttle - With this release, you can use the Dynamic Play Forward and Dynamic Play Reverse buttons to adjust play speeds at smaller increments than with the usual J and L keys.
Audio Pitch Correction - This release includes an Audio Pitch Correction option. Go to the Audio Settings in the Project window.
Color Correction Presets - A number of color correction presets have been added to the effects library.
Adjusting FrameFlex Parameters - With this release, using the Shift key while adjusting the X, Y, Size, and Z Rotation framing parameters, allows for a more controlled adjustment.
Tool Palette Update - This release includes changes to accessing the Tool Palette.
Motion Adapters and Source Settings Support for Matte Key Effects - In previous releases, Motion Adapter effects were not applied to clips with Matte Key effects. With
this release, Matte Key’s support Motion Adapters. Adapters are applied to both the graphic fill and alpha sub tracks.
Relinking Across Frame Rates - With this release, you can relink across different frame rates. A new option has been added to the Relink dialog box that allows you to relink to clips across different frame rates
What’s Fixed in v8.9.3:

Bug Number: MCCET-2091. You might have received an “EXCEPTION: CM_NO_SOURCE” error when adding filler to the start of an audio track containing an Audio
Track Effect.
Bug Number: MCCET-2093. (Mac) You could not open a bin by accessing the Finder and double clicking a bin from the Avid Projects folder.
Bug Number: IPI-1784. The length of spanned P2 clips were different when you checked the clips into Avid Interplay.
Bug Number: MCCET-1953. You could not always smoothly drag The Tool Palette Fast Menu to open the Tool Palette. There is a new Tool Palette button that properly opens the Tool Palette. See “Tool Palette Update” in the Media Composer v8.9.3 “What’s New”.
Bug Number: MCCET-1912. You might have experienced a delay when opening the project window if an Avid Nitris DX was connected.
Bug Number: MCCET-1869. In some instances, while in Script View or Frame View, the thumbnails might not display clearly. This is because the application prioritizes displaying the thumbnails faster rather than having the best resolution for the thumbnails. A new option, “Faster thumbnails” has been added to the Bin menu. For bins with a lot of thumbnails, it is best to leave this option enabled. If you prefer better resolution for the thumbnails displayed in a bin, deselect Faster thumbnails from the Bin menu. This option only applies to the currently selected Bin.
Bug Number: MCCET-1966. (Avid DNxIO) If the Source/Record monitor was minimized, the client monitor might not have updated properly.
Bug Number: MCCET-2070. In some instances Media Composer would hang when applying a Timewarp effect.
Bug Number: MCCET-1735. (Avid Nitris DX) If you had a master clip with a D-track loaded in the Source monitor, and you had a sequence without a D-track, the client monitor would flash black if you switched from the Source monitor to the Record monitor.
Bug Number: MCCET-2004. The “Allow 16 channel output” setting in the Audio Project Settings was not sticking.
Bug Number: MCCET-2047. If you copied a 3D Matte key from one clip and applied it to another, the 3D Matte key did not apply properly.
Bug Number: MCCET-2020. You could not successfully import XDCAM media if “Enable legacy XDCAM import” and “Enable legacy P2 import” were selected in the Link Settings menu.
Bug Number: EPIC-1856. When your locale was set to German, Spanish, or Italian, a number of Media Composer dialog boxes displayed cut off text. Avid has made improvements when displaying these languages so the text is displayed properly. Also, a number of dialogs now include tool tips in the appropriate language. Avid will continue to make improvements with subsequent releases.
Known Limitations:

Bug Number: MCDEV-8421. It is not recommended to use Avid Media Composer v8.9.3 with Media Indexer v3.8.1.
Bug Number: DAMAN-1927. (Mac) In some instances, the Canon AMA plug-in causes the editing application to crash. Remove the plug-in if the system continues to crash.
Bug Number: MCDEV-8397. In some instances, when loading media into the Source or Record monitors, you might have received an “STD Exception” error.   Workaround: The current workaround for this issue is to disabled the Dual Copy Engine option in the Video Display Settings
Documentation:  The What’s New Guide and ReadMe for Media Composer v8.9.3 will be posted to the Media Composer 8.x Documentation page on the Knowledge Base at launch.

New in Version 8.9

Support for HiRes Monitors

This release provides support for HiRes or HiDPI monitors. We currently support setting your monitor scaling to 200%. Download the Media Composer 8.9 ReadMe document to learn more about scaling on Windows 7, 8, 10 and Mac OS systems.

Performing Audio Slip

New audio Source Settings allow you to perform sub-frame slip on audio sources. This allows you to perform a more precise audio sync. Audio Slip can be applied to a master clip or to linked clips and adjustments are made down to the Audio sample level.

Audio Mixer Redesign

The option to set the Audio Mixer tool to a narrow display has been included with this release of the editing application. When in Narrow Mixer mode, button size has been reduced, stereo surround panners have been combined, stereo link and mirror buttons have been combined, and you can choose to display fader, meter or dynamic legend volume sliders.

Automatically Open Effect Editor

A new Timeline setting allows you to set the Effect Editor to automatically open when you apply Video, Audio Suite, or Audio EQ effect.

Pre-clip and post-clip playback

When you are in Color Correction mode, you can use the Segment Preview button to play a number of seconds of the previous clip and a number of seconds of the next clip. This allows you to see the colors in context of the scene. The default for the Pre-roll and Post-roll is 3 seconds.

Source Browser Collapse and Expand

An expand and collapse button has been added to the media display area of the Source Browser. If you have a large number of clips to display in the Source Browser, you can click the Collapse and Expand button to view more clips.

Larger Thumbnails in the Source Browser

With this new release, you can now view larger thumbnails in the Source Browser in Frame View. In the Source Browser, click the frame view button, and Press Ctrl + L (Windows) or Command + L (Mac) to enlarge the thumbnails or slide the Thumbnail slider all the way to the right to enlarge the thumbnail.

Position Bar Snap

An additional option has been added to the Timeline Settings. When the Position Bar Snap option is selected in the Edit tab of the Timeline Settings, clicking in the Timeline snaps the position bar to the nearest transition.

Source/Record Colors

Two new options have been added to the Interface Settings. You can choose to turn on colors for the Source and Record monitor timelines and for the track enable buttons in the Timeline. Displaying the colors (green/blue) for the Source and Record monitors is very useful if you are using a single monitor Composer Window.

Real-time Scope and Dual-Split Updates

In Color Correction mode, Dual-Split now remains active during playback. Also, the Scopes now update as you change the Color Correction parameters when grading your clips.

Custom Grid Settings

Now you can set a custom width and height for safe action and safe title. Access these settings under the Safe Action/Title tab in the Grid settings.

Create a Custom QuickTime Export with Multiple Discrete Audio Tracks

With this release, you can create a Custom QuickTime Export by enabling Direct Out under the Audio Format tab. The exported .mov file will include discrete audio tracks.

Other new features in this version are:

  • Support for Nvidia Driver v377.11
  • Avid Generic Plug-in support for AAC format files
  • Support for Sony XAVC-L 1080p format
  • Generating LTC on Playback
  • Remote Client Sync Offset (in miliseconds)
  • Color Adapter and FrameFlex icon update

New in version 8.8.2

Update to QuickTime Live Link Procedure

You use the QuickTime Live Link option if you update your QuickTime file in a 3rd party application such as After Effects or Final Cut Pro. The procedure for using the QuickTime Live
link option has been updated to include steps on selecting the appropriate Link Settings and clearing the monitor before saving the up dated file in the 3rd party application.

Bug fixes - see full documentation for details (pops)

New in version 8.8

Timeline Clip Notes
You can add notes to clips in the Timeline and view all the notes in the Timeline Clip Notes Window. (Used to be Adding Comments.)  When you add clip notes to sequence
clips, they appear in the Timeline or in lists that you create, such as an EDL or a cut list. Notes can include any information you want to note about specific clips, such as instructions for color correction or for adjusting an effect.  You can also open the Timeline Clip Notes window to see all the clip notes that have been added to the sequence.

Frame Cache for Effects Editing
Enabling Frame Cache when performing Color Correction.

PhraseFind (phonetic find) searches and finds audio dialogue throughout bins in a single project.  PhraseFind is a Media Composer optional feature. You can purchase the feature and then activate the feature in Avid Application Manager.

ScriptSync uses phonetic-indexing technology to analyze the audio portion of a clip and match it to lines of the script text.

Bin Sharing on Non Avid Storage
The editing application will notify you if your third party storage is emulating Avid NEXIS or Avid ISIS storage.

Change to Find Window
A few changes have been made to the Find Window.  The Settings tab was removed from the top of the window and a Settings button was added

Change to the Script Window.
A few changes have been made to the Script Window.  These changes include adding a row number for each line of text in the script. A new edit mode allows you to easily edit script text. A find button has been added to allow you to quickly find and replace text in the script. Scene and page pulldown menus were added to allow for quick access to added scenes and pages.

New Nvidia Driver
Nvidia Driver v375.86 is supported with this release.

See What's new for details on the new features (pops)

See Read Me for v8.8 bug fixes (pops)

New in Version 8.7

Dupe Detection for Audio and Data Tracks

The Dupe Detection feature lets you visually track duplicate frames of audio and data tracks. Previously, Dupe Detection applied to Video tracks only. The colored bars that distinguish duplicate frames in the sequence appear automatically above the frames in the Timeline.

Match Framing to Titles and Matte Keys

With this release of the editing application, when editing a title or matte key into a sequence, the sequence will track the original clip used so that it can be match framed. This applies to newly edited Titles or Matte keys (Media Composer v8.7 or later).

New Safe Area and Safe Title Options

In the Grid Settings dialog, it is now possible to set the Safe Area/Title to RP-2046 (safe area 93%, safe title 90%) and EBU R95 (safe area 96.5%, safe title 95%) standards.

Extended Audio Punch-In

In Media Composer 8.7 you can extend Audio Punch-In beyond the end of the sequence or the Mark Out.

Controlling the Track Shown in Split View

A new setting to the Composer Settings window in the Multicam tab allows you to control which track is shown in the split view when you press Play. You can choose between V1 or the monitored track.

Audio Default Pan Update

This update provides two new menu items in the Clip mode of the Audio Mixer tool that allow you to commit and remove pan effects whose values are the same as the default for their respective tracks.

Rotation Presets in FrameFlex

The Source Settings FrameFlex tab includes rotate left and rotate right buttons to help you when adjusting the Framing parameters when you are setting new dimensions of the framing box.

Clip Info Shortcut

The Clip Info shortcut Alt+Ctrl+I has been added to the editing application. Select the clip or multiple clips and press Alt+Ctrl+I. The clip(s) information appears in the Console window. This is helpful if you want to copy a text version of the clip information.

Set Default Bin View

The new Set Default Bin View option in the Bin Settings window allows you to set a default bin view when creating a new bin.

Close All Bins But Active (Windows only)

A new option has been added to the Windows menu. When you select Close All Bins But Active, all open bins will be closed except the bin that currently has focus. (This is currently working on Windows systems only.)

Skip Prompt to Save Locked Bins on Auto-Save

The new option “Skip prompts to save locked bins on Auto-Save” in Bin Settings window allows you to disable the prompts that appear when saving locked bins during Auto-save. You will receive the following warning if you choose “Skip prompts to save locked bins on Auto-

Hybrid Log Gamma Color Space

All references to  AribB-67 have been changed to HybridLogGamma across the editing application. This change is seen in the color space selection, as well as color transformations in the Source Settings.

Timecode Burn-In Effect Local Frame Count

In a previous release, the editing application allowed you to set the starting frame count at 0 or 1. With this release, you can set the starting frame count at any value. This value will also be reflected in the Frame Count Start bin column entry.

List Tool Update

With Media Composer, you can now create a cut list or change list for multiple sequences.

Support for Sony XAVC-LongG Format

This release of the Avid editing application supports the Sony XAVC-Long GOP format. The formats listed below are available for media creation and linking. You must have the latest Sony Plugin installed to Link to XAVC-Long GOP.

XAVC-L-HD 50 (720p/50, 720p59.94, 1080i/50, 1080i/59.94)
XAVC-L-HD 35 (1080i/50, 1080i/59.94)
XAVC-L-HD 25 (1080i/50, 1080i/59.94)

New in Version 8.5

  • Support for Windows 10 and OS X El Capitan
  • High Dynamic Range (HDR) Support - now includes color spaces for HDR.
  • Menu Simplification
  • High-Visibility Timeline Editing - clearly see the segments as you drag them in either trim or segment mode
  • Adding Tracks in the Timeline - Now you can add a track by simply dragging a clip in your timeline.
  • Trimming with Sync Locks On - enable Sync Rollers for Sync Locked Tracks.
  • Changes in Trimming Clips - new ‘end of trim’ indicators that show you whether the trim ends because there’s no more media or whether you’re running into the next cut.
  • Adding Custom Columns and Multiple Columns to a Bin
  • Effect Palette Update - improved to allow you to find and filter effects quickly and easily.
  • Identifying Rendered Effects - The Media Tool includes the option to see rendered effect precompute clips separately from Titles and Matte Key precompute clips.
  • FrameFlex Rotation
  • Video Memory and Video Frame Cache - Allocate video memory for the editing application. You can also turn on interactive video frame cache.
  • Audio Mixer Tool Changes - now includes triangular openers that allow you to control what parameters are displayed in the Audio Mixer Tool.
  • 64 Tracks of Audio
  • Opening a Settings Dialog in the Project Window
  • Manage Preset Project Formats
  • Changing the Background Color of the Project Window or Timeline
  • Overriding Bin and Project Font and Font Size
  • Grouping Clips by Audio Waveform Analysis
  • Timecode Burn-In Effect Update
  • Applying the Same Text to Multiple Column Items
  • Linking and Importing Broadcast Wave Files
  • Audio Track Ordering Layout Name Change

Fixed in v8.4.2

The following have been fixed in Media Composer v8.4.2:

➤ Bug Number: MCCET-832. The aspect ratio did not appear correctly for edit while capture clips. In some instances a 16:9 clip would appear as 4:3 in Media Composer.
➤ Bug Number: MCCET-744. In some instances, Media Composer would freeze when exporting XDCAM 50 media to ISIS storage.
➤ Bug Number: MCDEV-3944. If you were in RGB 709 color space with bit depth set to 12 bit and video quality menu set to 12 bit, and you performed a playback from Frame View, made an edit in Trim mode and exit, or selected Source Settings and then exited, you received a “Two Exception:Tee build” error.
➤ Bug Number: MCDEV-3971. The resulting image was distorted when you used the Spot Color Correction effect with a shape tool.
➤ Bug Number: MCDEV-3885. (Artist DNxIO).You might have experienced dropped frame when playing back 1 Stream of 4K 59.94P AMA XAVC-I in full resolution 8-bit.

New in Media Composer v8.4.1

  • Media Composer v8.4.1 includes support for Mac OS X v10.10.4 and v10.10.5
  • Media Composer v8.4.1 includes support for Avid Artist DNxIO hardware. For information on setting up the Avid Artist DNxIO hardware.

Fixed in v8.4.1

The following have been fixed in Media Composer v8.4.1:

➤ Bug Number: MCCET-771. In some instances, importing XDCAM media from an earlier version of the editing application, did not playback in the editing application.
➤ Bug Number: MCCET-769. When working with Media Composer | Cloud, using the J key to play footage resulted in an “APanVolConsumer::GetAutoGain” error.
➤ Bug Number: MCCET-734. Pressing the Num Lock key multiple times might have resulted in crashing the editing application.
➤ Bug Number: MCCET-717. Text appeared corrupted after rendering a rolling title.
➤ Bug Number: MCCET-710. In some instances, descending letters such as g, p, y in Subcap titles are cut off.
➤ Bug Number: MCCET-707. “Add item” in the Send To > Make New > Auto Launch did not work in Simplified Chinese.
➤ Bug Number: MCCET-702. Performing an audio punch in with “remove extra filler after punch-in” enabled and pre/post handles enabled resulted in a lost dissolve or crash.
➤ Bug Number: MCCET-619. Playing back MPEG4 QuickTime resulted in the first frame displaying as the last frame.
➤ Bug Number: MCCET-649. RAM would fill and the system would slow down when linking to AVCHD files.
➤ Bug Number: MCCET-489. Adding a Marquee Script to a title crashed the Marquee title tool.
➤ Bug Number: MCCET-428. Performing a Recreate Title Media did not always recreate all the titles.
➤ Bug Number: MCCET-406. If you transcode a sequence or a subclip, it ignores the parameters and transcodes the entire master clip. You will now receive a warning message to either transcode the full clip, or create a new clip with the assigned parameters.
➤ Bug Number: MCCET-314. In some instances, the Avid Artist Control surface jog wheel did respond when turning it slowly.

Fixed in v8.4.1

➤ Bug Number: MCCET-294. You could not AMA link to Air Speed 5000 MXF files.
➤ Bug Number: MCDEV-3647. In some instances, trim changes did not apply if you performed a trim quickly.
➤ Bug Number: MCCET-134. You might have received an ilok licensing error when launching the editing application.
➤ Bug Number: MCCET-666. Performing audio scrub with XDCAM media was slow to respond.
➤ Bug Number: MCCET-548. After consolidating an exported AAF sequence, renders were lost.
➤ Bug Number: MCCET-671. Accessing an AMA media folder from the AMA link dialog box and then moving back out of a folder took a long time if there were many subfolders on the shared directory.
➤ Bug Number: MCCET-430. With the Get Info window open, performing some operations would crash the editing application.
➤ Bug Number: MCCET-681. In some instances, the Send To Playback Temp folder on a workspace was filling up over time.
➤ Bug Number: MCCET-725. Audio effects saved to a bin did not apply after quitting out of the editing application.
➤ Bug Number: MCCET-118. AAFs created from the Sony PDZ Content Browser software would not relink properly.
➤ Bug Number: MCCET-642. If Clip frames were enabled in the Timeline, the editing application was slow to respond.
➤ Bug Number: MCCET-688. In some instances, consolidating a sequence consolidated an entire source clip’s duration rather than just the amount used in the sequence. This added size to the consolidated media folder.

Version 8.3.1

  • QuickTime® Movie export for greater than HD Material - The editing application allows you to export as DNxHR QuickTime.
  • Support for XAVC-I UHD/4K export. - With this release, the editing application allows you to export XAVC-I for greater than HD media.
  • DNxHR MXF OP1a export  - The editing application allows you to export DNxHR media as MXF OP1a wrapped media.
  • Pro Tools® | Duet and Pro Tools | Quartet Support - The editing application has been qualified with the Pro Tool | Duet and Pro Tools | Quartet audio I/O hardware.
  • GPU Acceleration Support - The editing application includes GPU acceleration support for the Mac platform.
  • Media Creation Setting Default Change - The default for a Media Creation quality setting has changed.

What's new guide for v8.3.1

Version 8.3

Edit 4K and other high-res media natively

Satisfy your audience’s insatiable appetite for higher quality, more inspiring content—delivered when they want, where they want, and on any device they want. With native support for 2K, 4K, Ultra HD, and higher resolution media, you can acquire, manage, edit, and deliver content with speed and ease. Plus, you can view 2K/4K media in its native resolution on a client monitor—in real time—using your choice of third-party Open I/O-compatible hardware.

Work with Avid Resolution Independence

Take on any job—in any media resolution—without limits. With Avid Resolution Independence, you can work with practically any media in every resolution—SD, HD, 4K, and beyond—using your existing infrastructure. Media Composer is the first to support this platform-centric technology, with support for more products and solutions across the Avid MediaCentral Platform coming soon.

Get greater beauty without the bandwidth

When we introduced Avid DNxHD, we gave you “beauty without the bandwidth,” enabling you to work with and master HD media easily, without blowing your storage budget. And now we’re expanding these same benefits to high-res. With Avid DNxHR, you can work with a wider range of resolutions to fit your task at hand—from lightweight proxies that are a fraction of the raw file sizes for high-performance editorial (making remote collaboration easier), to even more mastering resolutions, including 2K and 4K for delivery. Plus, it’s completely backwards compatible with DNxHD, as it’s built on the same extensible, standards-based media codec.

Deliver more detailed action

Media Composer now supports higher frame rates, including 48p and 60p with HD, 2K, 4K, and Ultra HD media, enabling you to preserve more image information and natural motion with stunning clarity—even in the most chaotic action scenes. Plus, you’ll enjoy more flexibility when creating motion effects.

Produce more vivid, truer imagery

Get access to the full range of new color standards that high-res projects demand, enabling you to deliver content with the richest, most realistic color detail for the medium at hand. With Media Composer, you can now work in BT.2020 (for Ultra HD broadcast) and DCI-P3 (for 2K and 4K Digital Cinema projectors), in addition to Rec. 709 (for HDTV broadcast). Once installed, LUTs (Look Up Tables) can be made universally available across all projects, or privately available to a current project, and can then be applied as clip- and track-based effects.

Eliminate the wait with background rendering and transcoding

Gain more time to focus on your story instead of waiting for effects to render and transcodes to complete. With these tasks handled completely in the background, you can greatly speed up the editorial process—especially when working with 4K media, which can take around 4x longer to render than 1080p HD media.

Overcome today’s (and tomorrow’s) technology challenges

Gain the commanding edge and stay at the forefront of the media industry with a steady stream of new updates and features that enable you to work with the latest media formats and technologies. Media Composer already supports the industry’s most extensive range of file-based media, codecs, and third-party products, plus real-time remote collaboration. And with new Avid Resolution Independence and accelerated high-res and HD workflows, it's the only tool that advances your editorial integrity and versatility—now and in the future.

And more…

  • Export high-res files in DPX format
  • Easily switch project resolutions and have all precompute clips (renders) automatically relink
  • Search for bins within the Project window using the Quick Filter tool
  • Toggle clips and tracks on and off in the timeline to explore and compare sequence variations
  • Speed up editing with new timeline enhancements
  • Read DPX files without transcoding using the Avid Image Sequencer plug-in
  • Create groups from stereoscopic clips for easy multicam editing
  • Automate non-creative tasks such as transcoding, copying, and consolidating in the background with Dynamic Media Folders
  • Keep your Avid software, plug-ins, and related third-party software up to date with the application manager
  • Gain total control over your soundtrack with support for 64-bit AAX audio plug-ins, Clip Gain control, and new Master Audio Fader
  • Expand your editorial abilities with options, including advanced and secondary color tools, iNEWS/ENPS integration, and hardware acceleration
  • Assign bins as "favorites" so you always have access to frequently used material in any project
  • Locate files faster with new search capabilities that quickly filter results as you type and extend coverage to comments and markers
  • Experience better performance with image thumbnail caching, GPU processing support for AVX2 plug-ins, and more
  • Create comprehensive reference files easily with the new Simplified AAF format

Version 8.1

AAX Plug-in Support

  • The editing application now supports 64 bit AAX (Avid Audio eXtension) plug-ins. AAX plug-ins are audio effects that you apply to tracks within your sequence. These plug-ins let you process audio effects on a track in real time so that you can play them back or output them without rendering them. These are the very same AAX audio effects that Avid Pro Tools supports.
  • AAX plug-ins replace the RTAS plug-ins. Most of the RTAS plug-in parameters are available as AAX parameters. Therefore you can use older sequences with RTAS effects without re-tweaking the new AAX parameters. Please read the What’s New Guide to make sure which of your old RTAS plug-ins get automatically updated to AAX plug-ins.
  • It’s worth mentioning that Media Composer now has delay compensation, so that plug-in processing delays won’t introduce A/V sync slip.

Muting Individual Clips

  • You can now mute individual video and audio clips in the Timeline. Mute an audio or video clip in the Timeline by either selecting and right clicking the clip and choosing Mute clips or selecting Mute clips from the Clip menu.
  • Muted clips play back as filler. They can be edited like non muted clips. You can select, move and trim them. The clip keeps its timing and position in the sequence. A muted clip is grayed out and the clip text appears in italics.

Disabling Video Tracks

  • It is now possible to disable a video track in the Timeline (just like an Audio Track before). When a video track is disabled, the entire input for that track is disabled and it appears grayed out (or a slightly darker highlight if the track has a highlight color) in the Timeline.
  • When a track is disabled, you cannot render any effects on that track. For example, if you disable a track and then try to render an effect on the disabled track, you will receive a “No effects to render” message.

Copying & Dragging Segments

  • Copying and dragging segments has been changed in this release of Media Composer | Software. Using a segment tool, click and hold the segment you want to copy and drag. Press Option (Mac) or Alt (Windows) and drag the segment. A plus sign (+) appears in the segment if you have selected it properly for a copy drag. Now just drop the copied segment in the new position in the Timeline. You can also select multiple clips and copy them all at once in the Timeline. 

Fine-Tune Dragging
The following changes have been made when dragging in the User Interface:

  • Pressing Shift while dragging the Trim Roller, fine-tunes the movement
  • Pressing Shift while dragging a Segment, fine-tunes the movement.
  • (This functionality used to be on the Alt (Windows) Option (Mac) modifiers when dragging a segment. Now, Alt (Windows) Option (Mac) is used for copy drag)

Deselecting Filler Options

  • A new Timeline Settings option allows you to choose whether or not you want filler to be selected when using the Segment Tools. The Select Filler with Segment Tools option appears in the Timeline Settings Edit tab. If you do not want filler selected when using the Segment Tools, make sure the Select Filler with Segment Tools option is deselected.
  • Using the Alt key (Windows) or Option key (Macintosh) while selecting the Select Left, Select Right, or Select In/Out button will exclude filler from the selection if the Select Filler with Segment Tools option is selected and will include filler from the selection if the Select Filler with Segments Tools is deselected.

End Of Trim Indicators

  • With this release, on tracks that run out of room to trim, the editing application adds white brackets to the trim indicators so you can clearly identify the track or tracks that run out of “material” to trim any further. All tracks that cause the trim to stop will display these indicators. 

Extend <Shift> Trim Click

  • Adding and removing trim rollers in “Trim Mode” is made a lot easier by NOT requiring users to click near a transition when the <shift> key is down in Trim Mode. In previous versions you had to click near a cut to add rollers. Now, you can click anywhere in an adjoining segment when the <shift> key is down.
  • The transition affected by clicking will be the one closest to the cursor, in other words, it will change in the middle of the segment. This feature does not affect trim click behavior when close to a transition; that behavior remains the same.

Avid Image Sequencer

  • The Avid Image Sequencer Plug-in allows you to AMA Link to DPX files. The DPX format is an ANSI and SMPTE standard based on the Kodak Cineon file format, and is used to store a single frame of a motion picture or video data stream. The Avid Image Sequencer AMA Plug-in is automatically installed when you install the Avid editing application, so there’s no need to go and download a separate AMA DPX Plug-in.

Mixdown Multiple Audio Tracks

  • Media Composer | Software now allows you to generate multiple audio mixes. You can map multiple inputs into multiple output channels and create up to 24 output channels for the mix. Easily map the inputs for each output channel by clicking to enable the input buttons for each channel.
  • Holding Shift + hovering over the inputs toggles them on and off. Alt + clicking on a column, toggles all inputs in that column. You can click the button above the Output channel to apply the Master Fader effects and gain value to this output mix. Select the type of output for each output channel by right-clicking the channel and selecting either Mono, Stereo, Dual Mono, Surround 5.1, or Surround 7.1. For more info and options about this new feature, please read the What’s New Guide.

Frame View Border Colors & Icons

  • You can now let the application show border colors in Frame View based on either the object type or a customized clip color. Icons can also be shown in Frame View.

Export AMA MXF OP1a

  • Media Composer | Software now supports AMA exporting of MXF OP1a media, with up to 16 channels of output and ancillary data. Just navigate to File > AMA File Export, or right click the Sequence in the bin and select AMA File Export. From the drop-down menu choose MXF OP 1a Export.
  • For the moment, DNxHD (with data rate numbers according to Project Settings) and J2K Video Compressions are supported.

Place Saved Title In Timeline

  • While saving a title, you can now automatically place it between an In and/or Out mark in the Timeline. Make sure you have an In and/or Out mark selected in your Timeline. The tracks listed are based on the tracks available for the current sequence or choose the “topmost track”.

AMA Media Associated With Projects

  • AMA Clips are now associated with projects, therefore, it is now possible to filter out AMA media in the Media Tool. If you want AMA Master clips to appear in the Media Tool, make sure the AMA Master Clips option is selected. If you do not want AMA media from appearing in the Media Tool, deselect AMA Master clips.
  • You can also choose to filter out AMA media from the Bin. Select Set Bin Display from the Bin Menu and deselect AMA Media.

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.


  • Computer: Avid-qualified Windows-based computer
  • OS:Windows 7 Professional SP1 (64-bit), Windows 8 Professional, Enterprise (64-bit), or Windows 10
  • Processor: Intel Quad Core i7 or Quad Core Xeon processor
  • Memory: 4 GB RAM minimum (6+ GB recommended) 8 GB RAM minimum required to support Media Composer | Cloud (formerly Interplay Sphere)1, background transcoding, and Dynamic Media Folders
  • 16+ GB RAM recommended to support full-frame stereoscopic 3D, simultaneous background transcoding, Dynamic Media Folders, FrameFlex 4K workflows, Raw format AMA plug-ins, Long GOP media editing, and other high-performance workflows
  • Graphics card: NVIDIA Quadro family2 (Q600 or higher recommended), Intel HD4000
  • Internal hard drive: Minimum 250 GB 7200 rpm SATA drive, 128 GB SSD

Mac OS X

  • Computer: Avid-qualified Mac-based computer
  • OS: Mac OS X v10.8.5, v10.9.5, v10.10.2, OS X 10.11 (El Capitan)
  • Processor: Intel Quad Core i7 or Quad Core Xeon processor
  • Memory: 4 GB RAM minimum (6+ GB recommended); 8 GB RAM minimum required to support Media Composer | Cloud (formerly Interplay Sphere)1, background transcoding, and Dynamic Media Folders
  • 16+ GB RAM recommended to support full-frame stereoscopic 3D, simultaneous background transcoding, Dynamic Media Folders, FrameFlex 4K workflows, Raw format AMA plug-ins, Long GOP media editing, and other high-performance workflows
  • Graphics card:NVIDIA GeForce family2 (recommended), Intel HD4000 or ATI Radeon family (as supported by Apple) )
  • Internal hard drive: Minimum 250 GB 7200 rpm SATA drive, 128 GB SSD

Additional compatibility information

QuickTime: Avid has tested and qualified Apple QuickTime X for Mac users and QuickTime 7.6.9 for Windows users
Windows Media Player: Microsoft Windows Media Player 11 is required to export certain formats and to work with VC-1 material

Media Composer | Cloud is not supported on systems using background transcode or Dynamic Media Folders. Avid recommends 12+ Gb of RAM for Media Composer | Cloud workflows involving HD long GOP media, such as AVCHD, MPEG-2, and XDCAM. For more information, please consult the Media Composer | Cloud product page

NVIDIA cards are recommended; full-screen playback requires a minimum of 128 MB of graphics memory. For information regarding the graphics card supported with your specific configuration, please refer to the Avid-qualified Windows-based computer list or Avid-qualified Mac-based computer list.

2 reviews
50% of reviewers recommend this product
Log in to leave your own rating.
Please Note: This page is intended for product reviews. If you are having trouble with a product and require customer support, please Contact Us

Customer Reviews

Industry standard, but ornery.

I work in broadcast documentary, running Post Production on films that screen on the History Channel, National Geographic, Discovery, NOVA, and more. All of these folks depend on their commissioned productions using an Avid workflow. Media Composer 6 is powerful and at times intimidating-- folks transitioning from the likes of Premiere or Final Cut Pro are in for a long education. From media management to hardware support, MC is simply bristling with options, tricks and capabilities. With all that breadth, however, comes a never-ending host of bugs and limitations. Be sure to save your work often and always keep backups of bins and media. Get active on user forums and be prepared to spend the occasional half-day on Google diagnosing bus errors, segmentation faults, and the ever-helpful error "invalid file name" (protip: if you're seeing that error, chances are your file name is too long, that's all). In the days of yore it looked like Final Cut would unseat Avid as the de facto standard for nonlinear editing systems, but with the unimpressive reception of FCPX (including multiple press releases from content broadcasters like Nat Geo and History declaring they would never accept projects produced in FCPX) it looks like Avid will maintain its position as the definitive professional's choice NLE for some time. On the bright side, that means we Avid users are a comparatively large and knowledgeable community. So if you have misgivings about making the jump to Avid, post questions and add to discussions with current users online before making your decision. Chances are if you're a freelancer or a post house of any size, one way or another you'll end up wanting to invest in at least one seat of Media Composer. And I'd be a straight-up liar if I said that MC6 didn't make HUGE leaps toward the editing nirvana we're all wishing for. Aside from my above diatribe, I would point out the immensely improved codec support as MC6's crowning feature. They've also opened up their doors to the hardware market, allowing you to choose a Matrox or BlackMagic hardware solution over Avid's own Nitris or Mojo, if you so choose. That latitude is completely new in the Avid world, and it's greatly appreciated by we users who can't live without Media Composer!

Would you recommend this product to a colleague? Maybe

By: Jared Flynn
Date: April 30, 2012

Log in to reply.

The natural choice for editors!

Ever since Apple stopped discontinued FCP 7, many editors had to make a choice between Avid and Premiere Pro. I tested both and found that Media Composer provided a more robust and stable architectural. The trim tools are excellent and they are just so many ways to edit, that makes it so intuitive. An excellent storytelling tool!

Would you recommend this product to a colleague? Yes

By: Eric Lau
Date: April 19, 2012

Log in to reply.

Page 1 of 1

Avid/Squeeze: Media Composer - Sorenson Squeeze Integration by Kevin P. McAuliffe

Kevin shows you how Sorenson Squeeze can interact directly with Media Composer to allow you to compress exports right from...


5 Ways to Edit Faster

Whether you’ve been editing for years or you’re new to the process, there are always a few things you can learn. Although...


5 Ways to Edit Faster

Whether you’ve been editing for years or you’re new to the process, there are always a few things you can learn. Although...


Boris FX | Let’s Edit with Media Composer: Day for Night with Continuum & Sapphire

Editor Kevin P. McAuliffe shows Media Composer editors how to take day time footage and transform it into night using...


Easy 3D Title Animations with Title Studio

Kevin P. McAuliffe uses Boris Continuum’s Title Studio to quickly create a 3D animated title in this edition of Let’s Edit...


Advanced Lens Flare 3D Tracking with Mocha in Avid Media Composer

Avid editor/trainer Kevin P. McAuliffe gives out several great tips to about tracking, exporting, and importing Mocha’s...


Advanced Lens Flare 3D Tracking with Mocha in Avid Media Composer

Avid editor/trainer Kevin P. McAuliffe gives out several great tips to about tracking, exporting, and importing Mocha’s...


Audio Restoration for Video Editors

They talk about Avid and Final Cut Pro with the topics of

  • Dialog clarity
  • Noise reduction
  • Reducing Reverb
  • ...

Boris FX | Let’s Edit with Media Composer: BCC Film Looks

In this tutorial Kevin P. McAuliffe shows you how to transform your crisp HD footage to a more gritty organic film look by...


BCC and Avid: Remove Objects with BCC Remover

Avid editor, Kevin P. McAuliffe shows Media Composer editors how to realistically remove unwanted objects with BCC Remover...


BCC & Avid: Advanced Credit Rolls and Crawls

Learn how the new BCC Title Studio easily delivers multi-page credit rolls in a minutes. Plus, working in any resolution...


Get Started Fast with NewBlue Titler Pro for Media Composer

In this tutorial you’ll learn the fundamentals of using NewBlue Titler Pro within Avid Media Composer.


Avid MC & GoPro Workflow and Fisheye Removal

Kevin P McAuliffe explains the workflow for using GoPro footage within Avid Media Composer.  Topics include how to bring...


Avid Media Composer Bin Layouts and Displays

Check out this great Avid Media Composer tutorial that might help speed up your current workflow!


The Video Editors Guide to Color Grading

ncreasingly, color grading is being handled by video editors working on laptops and desktops instead of calibrated...


10 Useful Avid Console Commands

Less of a tutorial and more tips and tricks, this blog post from Digital Rebellion tells you how to utilize the little...


Media Composer 101 - Advanced - Roundtripping to After Effects

In the next lesson of Kevin P McAuliffe's "Media Composer 101" tutorial series, he sidesteps from the basic training to...


The Art Of Predicting The Metadata Match of Three

One piece of the metadata puzzle for both external and internal relinking with Resolve & Avid!


Dialogue Clean-Up with AAX Effects in Avid

Evan Schiff shows you a technique he learned while working on ‘Star Trek Into Darkness’, from Will Files of Skywalker...


Avid MC/Resolve Round-Trip Workflow

Scott Freeman has a tutorial up at Creative Cow named “3 Fields for Flawless Conform. Every File. Every Time.” Scott...


Avid Safe Color Limiter

Tutorial on applying the Safe Color Limiter effect using Avid Media Composer


4K Workflow with Avid Media Composer

New to the 4K workflow?  This tutorial from Genius DV will help you understand the basics of editing with 4K in Avid Media...


SCRATCH: Avid roundtrip

This tutorial shows the workflow between Assimilate Scratch and Avid, how to export an AAF, Conform it on Scratch and...


BCC + RED + Media Composer “Favorites” Bin

Learn how to incorporate the Media Composer “Favorites” bin into your BCC and RED workflows.


Avid Media Composer 7

Get assistance, answers, and insights and start editing now—watch Avid’s 5-part tutorial series dedicated to the success...


Avid Media Composer Script Interpolation

With the release of version 8 of Media Composer, the option for ScriptSync is no longer there. Steve Audette explains a...


Avid Media Composer and Davinci Resolve Roundtripping

Here are multiple videos about the round-trip workflow with Avid and Blackmagic Design’s Davinci Resolve. 

  • Managing...

3 NewBlueFX Titler Pro Basics for Media Composer

NewBlueFX Titler Pro is available for a multitude of host applications, but this post focuses on Avid Media Composer.


Avid Media Composer Interface Windows

Thinking of switching to Avid? New to Avid? Just want to check it out? John Lynn gives a basic and clear introduction to...


In Depth: Video Software and Mac OS X 10.9 Mavericks

This article is for motion graphics, vfx, and 3D artists and also video editors. We’re keeping track of issues you might...


Using Sapphire v6 StrechFrameEdges

Learn how to incorporate 4x3 SD content into 16x9 aspect ratio HD projects without having to distort or soften the image...


Using Sapphire v6 Preset Browser with Transitions

Learn how to create and save your own transition presets using the Sapphire version 6 preset browser. Or choose from over...


Sapphire v6 LensFlare Occlusion Tutorial

Learn how the Sapphire version 6 redesigned LensFlare effect allows you control and enhance occlusion parameters.


Sapphire v6 LensFlare and Flare Designer

Sapphire has several great lens flare presets, but sometimes you just need to create your own. This tutorial will show you...


GenArts Sapphire Zap Tutorial for Avid products

Sapphire Zap creates lightning effects (think Mickey Rourke's whips in Iron Man 2!). Here's a brief tour of the settings...


GenArts Sapphire TextureFlux Tutorial for Avid

Video Tutorial of the Sapphire TextureFlux effect for Avid. TextureFlux creates abstract textures of fluctuating liquid or...


GenArts Sapphire Shake Tutorial for Avid

Video Tutorial of the Sapphire Shake effect for Avid AVX products. Shake simulates camera shaking motions with...


GenArts Sapphire Distort Tutorial for Avid

Video Tutorial of the Sapphire Distort effect for Avid. The
Distort effect warps the source clip using the gradient of a...


GenArts Sapphire FlysEye Tutorial for Avid

Video Tutorial of the Sapphire FlysEye effect for Avid AVX products. Sapphire FlysEye breaks an image into tiles to create...


GenArts Sapphire Glow Tutorial for Avid

Video Tutorial of the Sapphire Glow effect for Avid AVX Products. Glow generates a natural, organic light source that...


GenArts Sapphire Cartoon Tutorial for Avid

Video Tutorial of the Sapphire Cartoon effect for Avid. Cartoon generates a version of the source clip with a cartoon...


GenArts Sapphire FilmDamage Tutorial for Avid

Video Tutorial of the Sapphire FilmDamage effect for Avid. FilmDamage simulates film damaged with dust, hair, stains,...


GenArts Sapphire RackDefocus Tutorial for Avid

Video Tutorial of the Sapphire RackDefocus effect for Avid. Rackdefocus defocuses using an iris shape convolution to...


GenArts Sapphire Tutorial on New effects in Avid v3

A summary of new features and effects in Sapphire for Avid version 3.


GenArts Sapphire v.5 LensFlare Tutorial for Avid

Video Tutorial of the Sapphire LensFlare effect for Avid. The LensFlare effect renders a lens flare image over a...


Everyday VFX in Avid Media Composer with Boris Continuum Complete

Steve Holyhead’s engaging presentation shed light on three everyday VFX problems, Pan & Zoom, Beauty Pass, and...


Avid to Sorenson Squeeze workflow

Learn about the Avid to Sorenson Squeeze workflow