Avid Media Composer | Legacy v2018.12.3 v2018.12.5

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Avid Media Composer | Legacy


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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)
  • One year of Avid Support (including software updates)
  • Available for purchase with a hardware dongle at $1,799 MSRP

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.

Tell great stories

Accelerate storytelling with the tools embraced by top movie, television, and broadcast editors. From first cut to final finishing, Media Composer helps spark and speed your creativity like no other, enabling you to take on any media resolution, work with HDR and 3D content, and create impactful scenes, effects, and soundtracks with unmatched ease.

Edit HD and high-res video natively

From the biggest movies to small indie films, more productions today are shooting in 4K and beyond. With Media Composer, you can edit and deliver high volumes of high-res media quickly. And get native support for the widest array of media codecs, including those from Panasonic, Sony, RED, Canon, and more.

Work faster, not harder

Media Composer takes care of the time-consuming tasks for you, so you can focus purely on telling your story. From automating complex tasks and rendering effects in the background, to simplifying high-res workflows and managing media, you get timesaving tools that work the way you want—with what you want—without getting in the way of your creativity.



Deliver your best stories

There’s a reason why more professional moviemakers and television editors use Media Composer than any other video editing solution—it gives you the editing and finishing speed you need to complete projects faster. From its ACE-certified tools and unique timesaving workflows, to the most reliable media management in the biz, Media Composer empowers creative storytelling like no other.

Edit anything

SD and HD. 2K through 8K and beyond. Even stereoscopic 3D and HDR. No matter what media you’ve got, Media Composer welcomes the widest range of file and camera formats, codecs, and resolutions, so you can acquire and turn around content faster. Without copying or transcoding media first. Whether you’ve got footage in a camera, media drive, smartphone, or video server, bringing your story together is easy.

Get beauty without the wait

It’s no secret that high-resolution, high frame rate media can put the brakes on any workflow. Media Composer eliminates these bottlenecks, offering powerful 64-bit performance, groundbreaking Avid DNxHR and Avid Resolution Independence technologies, plus background rendering and transcoding, to keep your media and creativity flowing.

Gain great efficiency

Experience the fastest editorial workflows in the industry. Instantly access and edit file-based media without transcoding or copying media. Build stories with up to 24 video tracks. Preview clips before committing them to a project. Edit multicam projects with ease. Even automate non-creative media tasks—such as transcoding, consolidating, and relinking—in the background using Dynamic Media Folders. 

Get reliable media management 

Media Composer keeps track of all projects, source material, rendered files, metadata, and other media for you, so you’ll never lose sight of your assets. Gain peace of mind with over 20 years of industry-proven media management innovation supporting everything you do.

Design stunning visuals

Add dramatic flair to your stories with a host of built-in effects, color, and title tools. From creating jaw-dropping VFX, green screen composites, motion effects, and transitions, to correcting color, tinting scenes, and designing graphical titles and animations, it’s easy to give your projects that professional polish.

Work in HDR 

With support for a variety of High Dynamic Range (HDR) color specs, profiles, and workflows, Media Composer enables you to color grade video and achieve richer, more dramatic imagery, with exceptional detail in the shadows and highlights. It’s a fast-growing technology—and an important way to future-proof your valuable content.

Create studio-quality soundtracks

Sound is half the picture. With Media Composer, you can make your projects sound as good as they look. Record, edit, and mix up to 64 audio tracks in 7.1 surround. Create groups to mix dialog, Foley, music, and sound effects more easily. And polish soundtracks using the same high-quality audio effects and sound processors that come with Pro Tools.

Expand your creative possibilities

Don’t have the footage or effects you need? Shop the in-app Avid Marketplace—no shoes, shirt, or pants required. Preview stock footage in context with your project. Purchase plugins, software options, and hardware to extend your capabilities. You’ll even find training material to help advance your editing skills.

Get the Avid hardware advantage

Looking for the fastest way to capture, monitor, and output high-quality video? Pair Media Composer with an Avid Artist interface and get the tight integration you need to handle the most demanding workflows—from portable 4K interfaces, to solutions that offer an extensive array of I/O or video over IP. You can also use third-party interfaces through Avid Open I/O. 

Extend your workflow

From finding every clip or take that contains specific words of dialog in seconds, to adding advanced color correction, mastering, newsroom integration, visual effects, and titling tools, it’s easy to extend your workflow by adding one or more Media Composer options.

Go further with Media Composer | Ultimate

Need to work together as a team in a post-production, news, or other media environment? Media Composer | Ultimate (formerly Media Composer) provides all the same editing tools as Media Composer, plus extended workflows for real-time collaboration.  See the details tab for a comparison chart.

What's Included:

Media Composer (monthly/annual subscription)

  • Media Composer—Edit SD, HD, and stereoscopic 3D material
  • Standard Avid Support (includes software updates/upgrades)

Media Composer | Ultimate (monthly/annual subscription)

  • Media Composer—Edit SD, HD, and stereoscopic 3D material
  • Media Composer | Symphony Option
  • Media Composer | NewsCutter Option
  • Media Composer | ScriptSync Option
  • Media Composer | PhraseFind Option
  • Production Pack
  • Standard Avid Support (includes software updates/upgrades)

Media Composer (perpetual license)

  • Media Composer—Edit SD, HD, and stereoscopic 3D material
  • 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

Media Compser 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 included with Media Composer | Ultimate 1-, 2-, and 3-year subscriptions
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
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


Media Composer | NewsCutter Option
Media Composer | ScriptSync Option
Media Composer | PhraseFind Option
Media Composer | Production Pack
Avid Solutions Support
Interplay | Production  
Interplay | MAM  
MediaCentral | Cloud UX  
Avid NEXIS shared bins and projects  

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.


  • 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
2 reviews
50% of reviewers recommend this product
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: May 01, 2012

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

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 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.

The Cleansing Hour: Using Mocha Pro & Sapphire for Feature Film VFX

Damien LeVeck shows how he used Boris FX Mocha Pro and Sapphire with Avid Media Composer for high-end horror VFX on his film The Cleansing Hour.


Avid: Essential Keyframing in Media Composer Knowledge

Soundsnap has a great beginners guide to keyframing in Avid Media Composer.  If you’re new to Avid, or new to keyframing, this article gives clear and detailed explanations on how to use keyframes to take your effects to the next level.


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 your timeline.


5 Ways to Edit Faster

Whether you've been editing for years or you're new to the process, everyone wants to edit faster. Although these tips are geared toward new editors, even seasoned editors will hopefully pick up a few tips to speed up their workflow.


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 Continuum’s Color & Tone tools and sister product Sapphire’s Night Sky and Luna.


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 with Avid Media Composer,Inspired by "The Lego Batman Movie", Kevin dives into extruded text, adding lights, and the easy workflow from the standalone to the plug-in version of Title Studio, all inside Avid Media Composer.


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 tracking data into the Lens Flare 3D MT.


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 tracking data into the Lens Flare 3D MT.


Audio Restoration for Video Editors

Here are a few audio tutorials made for the motion picture! Learn to edit dialog better, loudness levels, and audio restoration.


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 subtly layering multiple effects from Boris Continuum 10.


Tutorial: Let’s Edit with Avid Media Composer: Sapphire Builder, Part II

Kevin P. McAuliffe gives an introduction on how to use GenArts Sapphire Builder in Avid Media Composer. Sapphire Builder is a super cool piece of software that gives users endless effects, right within Media Composer!


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 and the integrated mocha planar tracking tools.


Avid Media Composer: Color Correction and Color Grading

Learn about color grading and/or color correction in Avid Media Composer. Here are many resources with advice from professional colorists.


Boris Continuum Transitioning with Cross Zoom and Removing Dead Pixels

Transitioning with Cross Zoom for BCC, Media Composer & Premiere Pro and Quick Tip: Removing Dead Pixels for BCC & After Effects


Top and Tail Editing in Avid Media Composer

Top and Tail editing can be a big editing time saver.  Learn how to use it with single and multiple tracks.


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 and adding supers and title crawls – all without leaving your timeline.


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 the video into MC using the AMA Link, resizing without loosing quality using FrameFlex, and fisheye removal using BCC Image Restoration.  Click the link below to watch the tutorial.  This tutorial is 2 years old, but don't worry, it is all still relevant.


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 displays. Here are some ways to make this reality work for you.


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 known Avid console window to enhance performance, access hidden features and more.


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 Sound, for dialogue clean up with AAX in Avid Media Composer.


Avid Speed Ramp

Walt Louie walks us through how to use the speed ramp and motion effect in Avid Media Composer.


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 explains the three metadata fields to watch for seamless Avid-Resolve roundtripping.


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 Composer.


SCRATCH: Avid roundtrip

This tutorial shows the workflow between Assimilate Scratch and Avid, how to export an AAF, Conform it on Scratch and re-link the new graded media on Avid.


BCC + RED + Media Composer “Favorites” Bin

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


Avid Releases New Codecs + Avid Workflow Tutorial

Get the latest Avid QuickTime Codecs LE downloads, new today. Plus, since it’s Tutorial Tuesday, we’ve included a tutorial from Little Frog in High Def about organizing your media.


In Depth: Transitions: Part 1: Basic Editing Terminology and A Brief History of Transitions

There are so many types of transitions, and in this series I’ll focus on several of them. From the simple dissolve to the swish pans to shatter effects, we’ll dive into the history of transitions with lots of examples. The goal of this series is to increase your editing vocabulary and entertain you, while showing you what is possible. And of course, I’ll show you some fun plug-ins for your favorite NLE.


Avid Media Composer 7

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


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 workaround using Script Interpolation which is "almost as good" as ScriptSync.


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 Resolve/Avid Workflows with Scott FreemanAvid Media Composer - DaVinci Resolve : Double Round Trip​Round Trip Between Avid Media Composer and Davinci ResolveRound Trip? AAF Blackmagic Design DaVinci Resolve/Avid Symphony


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 the Avid Media Composer Interface Windows.


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 have with your software and with information on how to fix problems.


Avid Screencast #29: Glow Transition

In this episode, they create a nice Glow transition using a Boris Continuum Complete Effect that ships with Media Composer.


Creating Customized Quick Transitions in Avid Media Composer

Learn how to create custom transitions within Avid Media Composer. These transitions can then be accesseed through the Quick Transitions dialog box.


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 Transitions, which he solves using an array of filters from the BCC 8 AVX package.Highlights included: a Ken Burns style pan & zoom with no key framing needed (!); a 1-2-3 step approach (BCC Smooth Tone, BCC Film Glow & BCC Film Grain) to giving your talent that Hollywood glow; and the power of BCC transitions - quick, easy, and versatile.Plus, get a sneak peak of the soon-to-be released BCC v8.2 AVX with up to 100% improvement in render time, the additions of lots more “green dot” effects, and enhanced real-time performance.


Avid Media Composer 6.5 ‒ Product Designer Series on Advanced Audio Keyframes

A new feature on manipulating audio keyframes using Volume control in Avid Media Composer 6.5


Avid to Sorenson Squeeze workflow

Learn about the Avid to Sorenson Squeeze workflow