The Verge on Apple not using Final Cut Pro X

The Verge noticed a job listing for an editor at it's Beats Music division, but it is asking for someone with experience with AVID MEDIA COMPOSER and ADOBE PREMIERE PRO! Ha! It seems even Apple does not use Final Cut Pro X.

Macnn Feature Thief article on Final Cut Pro, iMovie and iDVD

William Gallagher and Charles Martin have an interesting article on Apple and it's changes to it's video lineup. It goes into iMovie, Final Cut Pro and iDVD, and how Apple upgraded the first 2 with less features, but slowly made better versions.

My biggest complaint with the article would be on who they polled as they say that most of the people who were angry over Apple's switch from Final Cut Pro 7 to Final Cut Pro X have moved back X (with a cursory mention of Premiere Pro as an alternative).

Personally being a professional editor, I did give the initial Final Cut Pro X a try, and hated it. And got a refund and have not gone back. There are some features that I do really like in X (especially it's handling of Meta Data), but since I edit complicated graphics heavy shows, it is the timeline that is the deal breaker for me, and it is the fundamental feature of X, so no matter how many updates they do, the timeline is too unorganized and broken for it to make sense for a 15 track highly organized video project.

And of all the editors that I know, I have only heard of one that has gone back to X and really likes it now. And while features are starting to make their move to Premiere Pro, there have only been a few instances I have heard of big houses moving to X. Most of the big houses I know that were basically all Final Cut Pro have moved to AVID at the studios insistence (kick backs?!??!), while most commercial houses have moved to Premiere Pro for it's fidelity with graphics.

I just don't see Final Cut Pro X as a viable solution, and with Apple's history of dropping software, I don't trust Apple to keep it going anyway!
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AVID will once again be releasing a free version of Media Composer

It is called AVID Media Composer FIRST, and will be heavily feature limited. Including only being able to save a limited number of saves and those saves can only be made to the cloud, and you can pay for more space.

It is a good idea for AVID to do for sure, and I would like to see Adobe do it with Premiere Elements at least.

AVID Announced 4K and Resolution Independence at IBC

Scott Simmons at the Pro Video Coalition has the story. 4K, resolution independence, a new compression format DNxHR, LUTs as timeline effects, and the ability export projects as DPX Also coming soon is Background Rendering, Favorite Bins and Search Across Bins for Markers.

The funny part being you need a third party video card to do 2K or 4K, since no AVID hardware can do that (and honestly they should move software only and work more with AJA, BlackMagic and Matrox)

And it is a good thing too. With Adobe offering up Updates in their Creative Cloud very quickly, and it is great to see AVID finally getting on that bandwagon, which they should since they are now subscription based as well.

AVID Media Composer 8.1 Update

AVID Blogs has the news on AVID releasing the 8.1 update to Media Composer. This is the first update since releasing their subscription model, and has come fairly quickly. Lets hope AVID keeps moving this quickly with updates. This was what I was worried about as AVID usually has a fairly slow update cycle.

PVC on latest version of AVID Media Composer

Scott Simmons at the Pro Video Coalition has a great article on the latest version of AVID Media Composer that has just been released.

This is made mainly for the subscription model that AVID has moved to, but as a bonus they are letting existing users sign up for $299 a year for the support version which includes updates, and you can sign up for a year to get the latest versions at least through 2014, then it goes up to $1299 a year for the subscription with support.

This means for $299 you can get a year of updates for your current version, and hopefully get the next version of the software as well.

You knew it was coming, but it seems that subscription is going to be the way going forward for most software companies

It all started with Adobe and Creative Cloud which is $49.99 a month with a yearly subscription, and $79.99 for a per month basis. And with no other versions available, it means you need it if you need the latest and greatest.

Now they have been great with rapid upgrades, and with the full suite so necessary for most video post work this is basically a necessity.

Not sure how it will work for Media Composer with the same pricing. Most places buy a version and keep them on non-upgraded machines so they can just stick with the same version. Not only that, with Creative Cloud you get the full suite of apps, including Premiere Pro, and with Media Composer you just get Media Composer. Sure you get more options, like Symphony, NewBlue Titler Pro 2, Sorenson Squeeze Lite, and Boris Continuum Complete Lite, but it is still basically just an editing and finishing system, so seems like buying it is a better idea (at least while they still offer the ability to purchase) at least unless you just need it on a month to month basis and can bill a client for it.

And now Smoke 2015 is getting it, though it is a $3500 program that is $195 a month or $1750 a year. Or $3500 every 2 years, which makes sense if they continue to do an upgrade every 2 years, which they have done once now.

Still it is depressing for us independent post guys, as more monthly expenses does not seem like a good thing overall.

Chris Hocking at Late Nite Films on Final Cut Pro X, Premiere Pro CC and Avid Media Composer

Chris Hocking at Late Nite Films has an awesome article, where he goes into not only the best things about AVID and Premiere Pro, but also his first attempt at using FCP X. And his is the first article that makes me interested in taking a look again at FCP X, though maybe once they fix audio issues.

And I still say that for graphics heavy projects, even longform (at least 28:30 Direct Response), I think Premiere Pro with a proper video card can easily outdo AVID, which is still archaic in how it deals with Alphas (and importing them) even if it is the king of media management. And those same projects would be a mess in FCP X without the ability to have tracks for organization.

I mean my current sequence has 18 tracks of video going all organized into different layers.

AbelCine on home to import Sony F5/F55 Footage into FCP 7, AVID and Premiere Pro

AbelCine has a great article on importing footage from a Sony F5 or F55 into the 3 leading NLE's.

AVID Media Composer and Apple Mavericks

From AVID themselves, they do not support Mavericks with Media Composer 7, though they are working on it.

I know Apple must have purposely made Mavericks work with Final Cut Pro 7, but it still works and Premiere Pro CC and CS6 work just fine, so AVID had better get on the ball here.

Of course they have till December with the new MacPro (which will likely coincide with a new version of Mavericks), but that means no new Macs will run AVID until they update!

AVID Updates Media Composer to 7.0.2

Wim Van den Broeck at AVID Blogs has a post on the new features, which all sound good. I love that it finally will export names longer than 27 characters! Took long enough!

Over 150 New Features being added to Adobe Creative Cloud Video

Yes, just 4 months after their last upgrade, Adobe is good to it's word and is turning around much faster upgrades with creative cloud, and in October are upgrading Premiere Pro, After Effects, Speed Grade, Prelude, Media Encoder, Story and are adding the iOS app Prelude Live Logger. Awesome! You can check out the upgrades at Adobe.

Steve Forde at the Adobe After Effects Blog has a post on the new After Effects Features.

The Adobe Premiere Pro Work area Blog has more on Premiere Pro, Media Encoder (which now has GPU enabled rendering!) and Prelude and Prelude Live Logger.

The Adobe Moving Colors blog has more on the SpeedGrade Upgrade which includes direct link (an improvement over Dynamic Linking which you can see more about here) and GPU acceleration.

Thank you Adobe, looking forward to it! And here's to hoping that Adobe permanently keeps up this rapid pace of development, except it will certainly keep us editors on our toes, as I have just scratched the surface of CC by now! Ha!

Decompose broken with Imported Media in Media Composer?!?!?

Now this is just showing how long it has been since I have worked in offline resolutions in AVID Media composer, but I didn't realize that basically Decompose doesn't work with imported clips. It leaves the clips their whole length, not subclipping anything to consolidate space. So if you were to re-import you are taking entire clips.

I tried Consolidating the media to make smaller clips and then Decomposing, but AVID only imports black clips this way. 

So with all imported Media, you have to import the whole clips and at 1 to 1 that can take a very large amount of hard drive space and time! This is insanity!

This makes the argument to use AMA if you can, but AMA is not working on either Media Composer 5.0.3 box I have access to right now with this copied P2 media. And if it wasn't working at some point I don't see how they initially managed to get the Media as DNxHD 36!

So frustrated right now!

PVC Posts Media Composer 7 Top 10 and info on new Audio Features

Steve Hullfish at the Pro Video Coalition has posted his top 10 new Media Composer Features, and info on the new Audio Features.

PVC Posts 25 New Features of AVID Media Composer 7

Scott Simmons at the Pro Video Coalition has posted 25 new features of AVID Media Composer 7.

Let's hope the cached waveform redraw is great, as this has been a sore point with AVID forever!

Spanned Markers is a cool idea for sure.

Masks on output monitor is awesome, especially for center cut shows done in widescreen, which I often have to do!

Changing audio gain in timeline is a great addition.

AVID has released Media Composer 7

AVID has released Media Composer 7. And it is now $999.00 and the upgrade from 6.5 is $299 and the upgrade from Previous version is $399.

I would love to give it a run as I have 6.5, but can't afford it right now. And honestly AVID never changes that much that most post houses that use it won't be upgrading, so it isn't as important to learn as say Premiere Pro that many people are now considering and most editors don't have much experience with.

Josh Short at Screenlight on 8 AVID Media Composer defeault settings you should change now

Josh Short at Screenlight on 8 AVID Media Composer Default Settings you should change now.

All are good and smart changes that you should make. And remember the more recent versions of AVID now use XML for your user, so you will need to make new user settings for them anyway.

Michael Kammes on AVID Media Composer 7

Michael Kammes on AVID Media Composer 7 and what it means for you.

His thoughts do seem to jive with mine, that this version is somewhat disappointing. Yes you don't often need to finish above HD, but it would be great to be able to, especially for future proofing (and how often do you see a new version of Media Composer being used in an edit bay, places tend to stick with a version for a long time), and especially when Final Cut Pro 7 could do it so long ago. I guess they want you to buy DS to finish with true resolution independence.

LUT support is great, and it is good that it is finally included.

And instead of background rendering we get watch folders? Useful, but not all that useful!

Scott Simmons of PVC talks to AVID and Lightworks

Scott Summons at ProVideo Coaltion talks to AVID and EditShare. Worth checking out!

I am still not 100% that Media Composer 7 is a big enough upgrade. Great that AMA is upgraded and working like AVID Media does, though you have to put it in a specific place, so it isn't quite AMA anymore.

Never tried out LightWorks, but I am excited to give it a try once it makes it to Mac.

AVID Annouces Media Composer 7 at NAB


The Pro Video Coalition has the coverage of AVID's Sunday night event. And AVID has a video at their web site, and you can sign up to get more info when it arrives.

Instead of 4K they have Flex Frame which lets you edit in either 720 or 1080, but have up to a 4k or 5k frame that you can pan and scan within (pretty lame since you can do 4K in FCP 7!). I am sure it will be a nice pan and scan, but still not very impressive.

And you can now treat any AMA folder as if is an AVID Media Folder, so it will automatically process, and can now transcode in the background (though I still prefer Premiere where you don't need to transcode). And AMA is promised to work better. Background transcoding is great (though I would be happier with not having to transcode) and watch folders are a good idea, but nothing revolutionary.

Faster Audio waveforms is a much needed feature, as it always seemed slow and unresponsive. Still have to look at the waveform in the timeline for the viewer clips though, which is slow.

The price drop is a good idea, and is what it should have been since their $999 Final Cut Pro Crossgrade offer. $999 for Media Composer 7, and $1499 for Symphony and upgrades from 6.5 for $299 and $399 for earlier programs. I hate how 7.5 will be a paid update too, maybe they need something like creative cloud for $50 a month?

I hope there is more as this doesn't seem like the revolution that will put AVID back in the black. I hope AVID manages to stick around, but I would think they need to start really making impressive additions to Media Composer and not just ho hum features.

Will AVID be delisted from NASDAQ?

Cinescophilia has the news that AVID has been notified that they may be delisted from NASDAQ because they are so behind on some of their forms.

Wow, further proof that AVID is doing incredibly badly right now.

I think AVID needs to innovate but I don't want to see them go under.

Creative Cow asks if AVID is sinking or sunk

Creative Cow has a short article on the dire straights of AVID. I didn't realize that they were hemorrhaging money that much for that long, or just how much they lost on their consumer editing programs!

While AVID does have it's place, I do think it is a dinosaur that needs a lot of updating, and a price drop to be really competitive. I don't think FCP X is a competitor though. A 64 Bit FCP 7 could still take back over from the whole left by it's passing, but FCP X just has too many things wrong with it to really take over for all professional applications.

Jonny Elwyn on switching from FCP 7 to AVID Media Composer 6.5

Jonny Elwyn at Toolbox has a great article on making the switch from FCP 7 to AVID Media Composer 6.5.

Neptune Salad on FCP X 2 Years In

Neptune Salad has a good look at FCP X 2 years after the demise of FCP 7 and the alternatives out there (he too preferes Premiere Pro as his editing choice for a FCP 7 replacement).

Under $1000 for a way to monitor 1080p with worldwide frame rates using thunderbolt

Allan Tépper at the Pro Video Coalition has a great solution for monitoring video using thunderbolt and a Sony KDL-40BX420E, which will work with US power and supports, both PAL and NTSC frame rates as well as 23.976 and 24 FPS. Very very cool. The monitor is grey market in the US, so he also recommends a third party warranty. This is a inexpensive and great solution for monitoring.


SLCCut, has a an interesting letter to AVID on how they need to update to keep it in line with Premiere and FCP X if they want to stay relevant in the future.

Some of it I agree with, but some I don't. Yes, the interface needs updating in a major way, the title tool needs serious updating (as does handling of still photos and the like, which he doesn't talk about), but the organization I do like, though it could use more, like Meta search.

Still I do think many of us left AVID because we found something that worked better in many ways, and now are going back and while it has seen some great little updates, there is nothing groundbreaking in the latest version over much earlier versions.

And I know they are trying to please their old customers, but it is true that that will only work for current editors, and new editors may move to other tools if AVID does not add some inovation on top of their old venerable tools.

Avid Media Composer 6.5.2 Released

The Provideo Coalition has the news. With 126 Bug fixes, and a slew of new features including some great new selection tools within the timeline!

AVID update Available

Go to AVID's download's page for of Media Composer, Symphony and of Newscutter.

New features include:

  • XDCAM and XCAM EX Support
  • FrameChase Editing with Sony XDCam Station (XDS Series)
  • No longer have to uninstall the P2 or XDCAM before performing a legacy P2 or XDCAM import

iChat theater has issues, but is still a wonderful solution that Adobe and AVID need to implement

I know, I know iChat theater is old technology and has been out since Final Cut Pro 7 was was released, but it is still awesome tech. If you have a web camera or iSight you can share what you are viewing in Final Cut Pro 7 using iChat (or messages in Mountain Lion) and you can hear the person on either end and see Timecode as well. It has it's issues (audio often drops out and you have to restart the computer to get it back, and often it is hard to get the chat to actually start), but overall it works very well and allows for remote monitoring of an edit.

Sure you can share your screen with Skype, but that shared the whole screen, timeline and all, and the video is small. iChat theater allows you to share just what is playing back from Final Cut Pro. It is awesome for editors who like to work at home, and producers who like to do the same. And it works very well overall.

The problem is that Final Cut Pro 7 is EOL and will never be updated again, and is really showing it's age. Sure many companies have such an investment that they are still using it before the go with AVID (though I prefer Premiere Pro, if only it were more stable). And neither Premier Pro or Media Composer have anything like it.

iChat theater and Final Cut Pro 7 is an elegant solution to a problem that is very relevant today (editors working remotely), and a new solution needs to be implemented in AVID and Premiere Pro.

I wonder if it could be done via a plug in like BlackMagic or AJA, as if it was going out via video to Messages or Skype or a proprietary messaging program? The thing is it is such a great piece of software that the competitors need it (even if FCP X doesn't have it anymore either).

Working from home means companies need less edit bays, editors get more sanity from not driving, and it is better for the environment not having to drive, so someone please come up with a solution and fast!

Digital Rebellion on AVID best AMA Practices

Digital Rebellion has an excellent must read article on AMA practices with Media Composer.

StudioDaily on AVID

I realized I hadn't linked to this Studio Daily Article on the reductions at AVID.

By the third quarter AVID will be down to about 1500 after losing more than 350 more employees, and hasn't said which facilities it will be closing.

I still say if AVID doesn't really push there opportunity here they are fools. Look at what Autodesk has done with Smoke. I think it should be cheaper than $4000 ($3500 and $500 a year for upgrades and support), but it has moved into Media Composer Range, and it can do all Media Composer can and much more.

What I think AVID should have done

Personally I think AVID should have bit the bullet and pulled the price of Media Composer to $1000 to fight Premiere Pro (I don't think they need to fight FCP X) and gain market share back. The $1000 that Apple charged for FCP 7 was really a sweat spot and other apps have gone bellow that).

And have made the cross grade even $500 from FInal Cut Pro, and make symphony a plug in that costs another $300-$500 (Or really just roll it in to Media Composer completely to have a unified product line). Now there sales for this year might be down (though they might have gone up do to the amount of sales they would have made), and there customer bass would have grown back to what it used to be, and they would make a ton of money in the future.

They need to focus on less products and make them less expensive. They have already been making Media Composer so much better, so they don't have to worry about that, but it is there business decisions that seem iffy.

Doddle News on Five Ways Avid Could Stay Alive

An interesting article at Doddle news on how the foundering AVID (which just sold it's consumer division including M-Audio, Pinacle and even the new iPad app) and cut another 20% of it's work force after previously losing 10% not too long ago.

Some interesting ideas, though other than doubling down on protools and moving to the cloud like Adobe CS6, I don't see them trying any of them.

Videoguys video on building a ProRes pipeline for Avid Media Composer

Check the video out at Videoguys.

PVC Part 2 of Making the Switch from FCP to AVID Media Composer

The Pro Video Coalition Cut.N.Colro by Steve Hullfish has released part 2 of making the switch from FCP 7 to AVID.

This talks about SmartTools (Avid's concession to an FCP like Timeline) and keyboard controls as well as the Pen tool for Audio rubberbanding.

PVC on Making the Switch from FCP to AVID Media Composer

Steve Hullfish of Cut.N.Color at The Pro Video Coaltion has part of an article on Making the Switch to FCP 7 from Avid Media Composer.

it talks about using JKL and IO which are the same, and then how AVID shows you what speed it is playing back, and the differences in keyboard shortcuts with normal tools, such as zoom.

AVID Media Composer for Final Cut Editors from DigitalFilms

DigitalFilms on AVID Media Composer for Final Cut Pro Editors. And must read for any recent switcher to let you know about the features you need to look into to really become an expert in AVID.

Richard Keates on why he dropped FCP X

Richard Keates has a good article on why he dropped FCP X after trying to use it to cut corporate video, and why Premiere Pro is the solution for what he needs to do (graphics heavy productions).

Unfortunately I see many places moving back to Media Composer which I do find inferior for graphics work and hope that Premiere CS6 can make some inroads. I just wish that Apple would re-commit to the MacPro and push to get powerful CUDA Nvidia cards across their line to allow people who are unhappy with FCP X to use the products they want to and stay with Mac!

Biscardi on editing for now

Walter Biscardi has a good post on editing for now, and or now that is AVID. And Premiere CS6 will be or some things as it is getting better, and Smoke will be tested and he is giving the ideas for their next version, both will possibly be implemented for him in 2013. For me it looks like AVID will be part of it, but I am hoping that CS6 is really a good replacement for Final Cut Pro 7.

Media Composer 6 Editing Guide

AVID has released the Media Composer Editing Guide v6.0 in PDF form. It is 1555 pages and well worth checking out!

Bunim/Murray drops Final Cut Pro for AVID

Arstechnica is reporting that, that top reality show producer and long time Final Cut Pro proponent Bunim/Murray has dropped final Cut Pro and is moving back to AVID media composer.

Due to the large volume of media generated by our reality shows, we needed to re-evaluate our editing and storage solutions. At the same time, we were looking for a partner who would understand our long-term needs,

Basically FCP X is not good enough, and FCP 7 is old and gettiing long in the tooth, and with AVID now being 64 bit, they felt the need to make the move.

Blackmagic released HyperDeck Update to DNxHD

MacTech has an article on Blackmagic Design having announced a Pulbic Beta of their version 2.0 software for the HyperDeck, which gives Avid DNxHD format to the device.

I actually wonder if ProRES will stay as a big format now that FCP X is no longer pro software, looks like AVID and Premiere will be the way to go.

Avid Assistant Editor Handbook

The AVID assistant Edtitor’s Handbook has been released.

The Avid Assistant Editor's Handbook provides new users a solid foundation for working in Avid, and it can accelerate an Avid assistant editor's transition to a coveted editor role. There is also a comprehensive chapter on multigrouping that details this often-used process and often-encountered job requirement.

Sounds interesting, and anything to teach assistant editors is a good thing, and I am sure there are quite a few editors who could use this as well.

Scott Simmons on Media Composer 6

Scott Simmons from the Edit Blog at the Prod Video Coalition has a must have article on Media Composer 6. It is a must read for some of it’s gotchas on ProRES.

While it can fast import ProRES footage like it can with DNxHD footage, it cannot then Consolidate ProRES footage, which means copying without recompressing, it can still only do that with Avid compressed footage. You have to Transcode ProRES footage, so it adds another layer of compression into the mix.

Walter Biscardi on AVID Media Composer 6 at Creative Cow

Walter Biscardi from Biscardi Creative, has a great article on beta testing AVID Media Composer 6 over at Creative Cow.

It is most interesting because he was a die hard Final Cut Pro user, who only used AVID when it first came out, but now seems totally sold on AVID. And says it is more rock solid with an AJA Kona 3 than Final Cut Pro ever was, and way better with it than Adobe Premiere is.

Way to go AVID! I just think they should permanently make the upgrade from FCP $1000 instead o $1500, but any which way they are going to slaughter the market, I just hope Adobe is up to making enough competition to keep the innovative, just like Apple did for them.

AVID announces Media Composer 6 64 Bit

AVID has announced the fully 64 Bit Media Composer 6, and if you buy or upgrade to Version 5.5 from October 15th you get a free upgrade to 6 when it comes out.
They also announced a software only version of Symphony.

The most exciting thing is being able to use AJA, Black Magic and Matrox I/O cards, no more need for expensive AVID hardware. And AVID has made the program completely 64 bit without losing features (yea screw you Apple). And it has a new interface which has added tabs to bins (taken from FCP 7, which FCP X does not use), but still looks familiar, if darker.

Full ProRES support on a Mac (read only on PC) including being able to just wrap them in an MXF for full AVID support, without re-rendering. Nice!

This is exciting as all hell!

The prices are as follows:
Media Composer 6.0 starts at $2499 with upgrades starting at $299. NewsCutter 10 starts at $2499 with upgrades starting at $499. Symphony 6.0 starts at $5,999 with upgrades starting at $499. Nitris DX starts at $5,499 USD.

Automatic Duck Plugs Ins are FREE!


I honestly thought with them moving to Adobe that the old plug ins were gone for good, but it seems not as
Automatic Duck has released all their old plug ins for FREE!

I already owned Pro Import AE 5.0, which allows you to import either Final Cut Pro 7 or AVID Media Composer sequences into After Effects. You use Free XML exporter for FCP and it works almost perfectly. A must have.

Pro Export FCP 5.0 is for FCP X and is to allow OMF export.

Pro Export FCP 4.0 lets you export either OMF or AAF from FCP to AVID, and I previously owned this.

And their is Pro Import FCP 2.0 which allows you to import an AVID sequence into Final Cut Pro.

And they are all FREE. So download them now. Sure they will not be updated again, but free is a huge price drop!

Splice now has a great AVID tip

Splice Now, have a great tip on Copying a clip to source monitor, that can really speed your up in editing.

The shortcut, not visible in the menus, is Command-Option-C. Mark a region in the timeline and select tracks, or simply select a clip or clips. Then hit Command-Option-C. Your material instantly appears in the source monitor.

Apple has new FCPX Videos Comparing it to AVID

You can see them right on Apple’s front page for Final Cut Pro X. They Claim to show how superior FXPX is at Faster Editing, A New Way to Organize, Motion Graphics and File Based Workflows, but are obviously BS marketing speak from people who are not professional editors. Sure there are some cool new features, but they needed to be ad ons to the features and not replacements, because Apple’s way is not the better way, just a different way, that I do not believe is better.

Editing Software on Lion

So I am checking Editing Software Compatibility of Mac OS X Lion.

As Apple Said Final Cut Pro 7.0.3 does open fine in Lion, though it does ask me to register, though the button to register is grayed out.

The Demo of AVID Media Composer 5.5.2 boots and runs just fine.

Adobe Premiere Pro 5.5 I am having issues with. and it won’t start. Adobe claims it should run fine, so I am going to try and re-install and see what happens. It is weird as After Effects and Photoshop work fine, but just Premiere won’t boot.

Avid Event gives some tantalizing clues

There is a great article over at EditBlog on some tweets from this weeks AVID Media Composer Committed to Professionals event held at Warner Bros.

There is some pretty amazing stuff here.
LiveToEdit tweets:

3D, 7.1, new U.I., Kona, Decklink, Matrox, Bluefish support coming soon


3rd party I/O: no announcements,  other than ‘we’re working with them for the future’


80% of pro systems are Avid, 50% of #Avid employees used to be in production

And even cooler

future is 64bit, new interface, WILL NOT lose known features, keyboard short cuts, etc.

And @comebackshane has this interesting tidbit.

Third party hardware support (Matrox, AJA, BMD, MOTU)...Plugin support from more vendors (Red Giant)...external control surfaces… #avid


And thanks to
Pietari Creative for this awesome pic of the possible AVID Media Composer 64 Bit Interface.


Pretty amazing news, though no timeline given. Still I love the look of the new interface, especially if is fully 64 bit, and does not lose all the features of previous AVID (see it can be done Apple).

And Black Magic and AJA support is huge, as is Red Giant Support, does that mean we may be getting Collorista 2 for AVID soon? Awesome.

It can’t come soon enough!

Techvessel has an interview with a former Avid Employee on FCP X

This is an interesting article at Techvessel on Final Cut Pro X. I still don’t think that Apple is really thinking they have the new professional paradigm. I tend to think they are using the cache of the Final Cut Pro name to try to sell to Prosumers, but the article dose have some interesting points.
It’s hard to say exactly what Apple’s strategy was with their release of FCPX. Its announcement at the NAB convention seems to suggest that they were trying to get professional editors excited about FCPX, yet the lack of support and backwards compatibility with FCP7 shows either a disconnect, or outright disregard for the realities of being a professional editor.  

This release feels similar to their previous iMovie reboot. In that case, I think Apple could afford to be more aggressive with abandoning the previous version of iMovie and starting from scratch.  Many iMovie users probably don’t use it on a daily basis, so throwing out their previous experience with an older version and starting over really wasn’t that big of a deal.

For *professional* editors, this is an entirely different scenario. Pro editors use their software of choice all day, every day. They become masters at shortcuts and UI tricks to make them effective. If you’ve never seen a *good* professional editor at work, I can tell you it’s amazing. The speed and precision in which they work is staggering. They can do this because they’ve spent countless hours training on and mastering their tools. That’s why it’s unreasonable to expect that Pros would jump on board with FCPX on day one.


What happens if you’re currently on a project using FCP7, and you need to bring some new people on board to help finish the project? You’d better hope they already have a copy of the software, since now you can’t buy FCP7 any longer. I’m not sure what you do in that scenario. I think it’s these kinds of issues that show a lack of respect for the Pro editor that has gotten the community so riled up.


The bigger concern I would have if I were at Avid would be that it appears Apple is again trying to leapfrog their competition with a new paradigm for video editing. Avid’s interface was already showing its age, and now it’s only going to appear more antiquated in the eyes of young editors growing up on FCPX. Maybe Avid doesn’t necessarily see that as a big deal – they have their loyal users who aren’t going to switch and they know it. Remember also that Avid doesn’t make their money from the editor software alone – they also have big enterprise server systems that manage large amounts of media and also do things like big newsroom automation systems. These are things that Apple are not likely to compete with. However, in all those kinds of systems, the lynchpin is the Editor, and if none of the younger editors know how to use, or don’t care to learn Avid, that’s a big long-term problem.

As I said I don’t fully agree, as I don’t see FCP X really taking off in the condition it is in, and I believe some of it’s basic paradigms are so flawed (the magnetic timeline being one) that I don’t see this being the choice for young editors if they actually expect to work in a professional environment.

AVID may work with AJA!

OneRiver Media Blog had an awesome twitter exchange with AVID today. It seems that Media Composer may soon support AJA Kona cards! Woohoo!

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