![]() ![]() It also offers security to lock down content, reducing the chances of unauthorized leaks of sensitive media. HDR is on board, too plus support for ACES workflows.įor this feature you’ll need the Media Composer | Enterprise edition, though. Regarding resolution, is 8K even a thing anymore? 16K is here, people! Well, maybe not quite but just in case you ever happen to need it, Media Composer 2019 won’t let you down. A new 32-bit full float colour pipeline helps moving your pixels through Media Composer at peak quality. No more waiting on CPU and GPU heavy tasks to be finished, distributed processing shortens turnaround times and accelerates post production by sharing the media processing load over multiple machines over the network. This feature requires a dedicated plug-in which will be available in late spring for all variants of Media Composer 2019. Native support for MFX OP1a (Material Exchange Format Operational Pattern 1a ), a standard delivery format for most big broadcasters is aboard and effects render in the background.Ī new feature called distributed processing streamlines the workload of your project. Under the hood, Media Composer 2019 sports a whole new Avid Media Engine which makes sure everything runs smooth and stable. There’s a lot more than just eye candy going on here. The whole thing actually looks a bit like a best-of-both-worlds approach with elements of Premiere Pro and Media Composer. Navigating huge bins is easier and much more intuitive (read: visual). No more floating windows in front of each other.įurthermore you can create task-based workspaces, so you’ll only see the tools you need right now (and hide the others). With Media Composer 2019 Avid introduces a new panelled interface (which is also fully customizable, of course). But for the rest of us, the part-timers, the do-it-alls? It’s just confusing. While it’s nice to place each bin, effect window, preview monitor and audio level mixer in its own dedicated window, it could be pretty crowded and confusing pretty fast.Īgain, if you happen to be a full-time pro editor, you would sit in front of a workspace perfect for you, because you made it perfect for you. The totality of these windows would then form the Media Composer. Back in the days an Avid editor would sit in front of at least two screens with dozens of tiny windows open. New Interfaceįirst and foremost the new UI (user interface) will be the most noticeable new feature of Media Composer 2019. ![]() ![]() Granted, you have to know your tool in order to get creative with it but Avid really demands a lot. My hope –and it seems that Avid is in the same boat here– is that Media Composer 2019 will take the pain out of that learning process. You really have to devote a serious amount of time to learn the thing, master the shortcuts, get your head around the numerous oddities Media Composer has to offer. My very own problem with Avid was (and still is) the steep learning curve. Especially when it comes to full-length feature films. Avid Media Composer 2019Īvid’s Media Composer is a heavy-weight in the industry and although many members of the younger generation tend to use alternatives like Adobe Premiere Pro, Blackmagic Design DaVinci Resolve or Apple Final Cut Pro X for their editing, Avid has always been around. Time will tell if performance, compatibility, and ease of use meet that expectation. Not an easy task, admittedly, but from what you can see in the new version, it really looks pretty promising. The goal here is to satisfy longstanding users while attract new users at the same time. Let’s dive in, shall we?Īvid claims the new Media Composer 2019 is both, revolutionary and evolutionary. Media Composer 2019 has been ‘redesigned and reimagined’ from the ground up: a new customizable UI, a next generation Avid Media Engine and new finishing and delivery workflows. Avid has revealed its latest version of Media Composer, the long-time favorite NLE system for professional users. ![]()
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