News: Avid Media Composer 2019 – Upcoming Features Preview

avid media composer 2019 preview

At NAB Avid revealed some of the new features that are coming in Media Composer 2019 and Pro Tools 2019.  I haven’t seen a release date for either of these yet, but hopefully they will be ready soon.

What’s New: Media Composer 2019

More than just an upgrade, this is Media Composer reimagined to inspire creative storytellers at every levelfrom beginning students to top-echelon experienced editors.   

For both new and current users, there is a lot to discover. This new version of Media Composer has a redesigned modern look and feel to enhance the user experienceas well as more power under the hood to handle the demands of modern media formats. Whether you’re an independent editor or part of a large-scale production team, these new features and tools will help you work faster and more efficiently, so you can readily meet deadlines without sacrificing artistry.   

Here are a few of the highlights:

media composer 2019Redesigned UI and a new user experience

The Media Composer team thought long and hard about how create a better user experience. Their goal was to create something that would be intuitive, easy to use and easier to learn, look clean and modern, and let editors focus on their creative task without needless clutter or distraction. The software also had to be flexible enough to adapt different needs for different users. All this while maintaining what our customers know and love best about the software – no small feat! We believe they succeeded.

For more on the new UI features, click this link: http://www.avidblogs.com/whats-new-media-composer-2019/

Finish & Deliver

We’ve talked to many customers and understand some very important current and future challenges for production companies. The growth of the everchanging formats, bit depth and resolutions as well as the different industry standards around delivery requirements causes extra costs in the tools along with deficiencies in operational efficiencies. In the Media Composer 2019 there are number of new capabilities that will give production companies as well as individual freelancers the tools they need to finish and deliver complex projects on time without sacrificing quality.

The new 32-bit full float color pipeline allows you to work in high-res HDR formats from start to finish. We know that exporting to external color grading and finishing applications is time-consuming and expensive, and isn’t needed on every project. Now you can edit, finish, and package productions entirely within Media Composer when appropriate.

For projects and workflows that need to make the roundtrip to other applications for grading, effects and finishing the new color pipeline and standards support for ensures pristine quality, accuracy and precision, so you can be confident you won’t lose any color data coming or going. We’ve also added support for finishing formats like OpenEXR to continue to improve interoperability and speed up roundtrip workflows.

This new release is also the industry’s first video editor to join the ACES Logo Program under the new Editorial Finishing category. Adopting an ACES-compatible color workflow, allows you to work more efficiently, maintain consistent color-accuracy throughout your project, and finish faster. We’ve also expanded Media Composer’s capability to ingest, edit, grade, and render DNxUncompressed codec with more bitrates.

Finally, we’ve aligned with the latest industry standards for delivery and packaging. With the Symphony option (included in most licensing options) you can now create SMPTE Standard 2067-21 IMF packages and deliver them directly out of Media Composer to the OTT provider of your choice.
media composer 2019 finish deliver

Next-gen Avid Media Engine

We’ve been doing a lot of work under the hood of Media Composer as well. If editing software isn’t powerful and efficient, it will slow down production with non-creative tasks and tie up your computer’s resources when they should be helping the editor stay focused on telling the story. That’s why over the last year we’ve implemented next-generation features like background rendering and transcoding and live timelines with edit-during-playback. These were major improvements to how Media Composer handles media and they succeeded in removing processing inefficiencies and waste to allow editors to stay in their creative flow.

Now, with this release we are upping the ante again with a few more major improvements to the next-gen Avid Media Engine. First, we’ve added native support for OP–1a wrapped media, a common industry media file format. Now Media Composer editors can not only ingest OP–1a footage directly into their bins and timelines without needing waiting or re-wrapping files, they can create new OP-1a media inside their projects and consolidate, transcode, mixdown and distribute it for better performance, faster interoperability and turnaround.

We are also introducing Media Composer | Distributed Processing, a new add-on option for both Media Composer | Ultimate and Media Composer | Enterprise. Distributed Processing goes beyond background rendering and transcoding and allows users to completely offload these processor-intensive tasks to other machines, either idle or dedicated, that are on their network. This saves Creatives even more time and compute resources, and it’s scalable.

By moving GPU- or CPU-intensive jobs like rendering off the computer you’re working on, you and your team can stay focused on the project at hand (or just surf the web) without any slowdowns. When the job is done users receive a notification that files are ready, and they can link to their new material immediately. Additionally, a render or transcoding process can be split among multiple clients or servers and scaled for even greater efficiency. In practical terms, that means a 30-minute job could be split among three machines to become a 10-minute job. Older or out-of-use computers and servers retain value when put to work as a rendering and transcoding farm.

For lots more info on the latest new features, or if you want to sign up to be notified the moment Media Composer 2019 is available, click this link:  http://www.avidblogs.com/whats-new-media-composer-2019/

Pro Tools 2019 Preview

At Avid Connect and NAB 2019, we are really excited to give our community a preview of Pro Tools 2019. This upcoming release will deliver more power and performance, from doubled MIDI track counts, more fluid track interactions during playback, and support for the macOS Mojave.

avid pro tools voicesOne of the most highly anticipated features, however, is the 50% voice increase in Pro Tools | Ultimate. With Pro Tools 2019, Pro Tools | Ultimate standalone software and HD Native systems will be capable of 384 simultaneous voices/audio tracks at 48 kHz (up from 256)! And there will be options to further scale to 768 voices, matching the voice limit of a three-card HDX system.

For a deeper look at voices, into what they are, and why this improvement will matter to high-track count workflows, click this link: http://www.avidblogs.com/avid-at-nab-2019-pro-tools-2019-preview/

Pro Tools 2019 will deliver several other features and improvements as well, including the ability to edit tracks and perform timeline interactions without stopping playback and support for macOS Mojave. To learn more about what is coming soon in Pro Tools 2019, please visit our What’s New page.


Posted by Kim Sternisha