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Media Composer 7 features listed
https://apps.avid.com/mediacomposer7/
Announced yesterday.
Key features:
Symphony is being rolled into Medi composer and will nolonger be a separate product it will become an option to Media Composer
FrameFlex is a new addition to Media Composer offering resolution independent sources (still or moving) that can be panned and zoomed via key fraes on your time line (but MC timelines are still no resolution independent)
A Main audio output mixer allowing overall level controls and RTAS plugins on output and it looks like R128 loudness monitoring on output as well.
Background Transcoding and Consolidating (another really big feature plus)
Dynamic folders will allow you to specific folders and sub folders in MC and apply actions to them (like copy to new location, or transcode etc)
Any media dropped in those folders will have those actions applied (even with MC not running)
Background consolidate and Transcode will allow MC to switch to that new media in the application automatically once complete.And they are pushing Avid Sphere as a remote working solution even harder now with an additional MC version called interplay version.
Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US -
18 Replies
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Some very good news here.
Even if the app is still hd, if I can crop some red footage without loosing reso, it’s already a change in the right direction.
Background transc-conso, it was time!
MC and Symphony needed to be merged. Now, it could be that DS will be cheaper, wich would really be logical as Smoke is 1/3 the Price of the previous version and puts DS in an embarassing situation. Avid needs to compeat with Autodesk. (not only with Adobe or
Lightworks)In my case for ex, I am a potential DS
Client as I’m looking for a specific
Workflow only DS can, but I’m
In a wait-and-see attitude because
Smoke is 4000 euros…too big gap
To be ignored.
For small people like me who aren’t
Hollywood, 6000 euros is not nothing.Fred.
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Many of those are overdue and certainly welcomed! It will be interesting to see how integrated the pan & zoom for video is to all parts of the editorial process – not just via source settings but within all the effects where a resize is used or needed – for example, if I do a picture in picture where the frame starts at one size and end up another as it moves – is it using the original image’s pixels or the scaled image as HD? Testing will tell. Also curious to see how that information travels to other finishing systems.
Certainly LUTs are welcome – again will be interesting to see how integrated those are up to and within the color corrector. Looks like just source LUTs for now and now export or integrated monitoring ones.
All the AMA changes were needed, and looks like a lot of work was done with watched folders and actions. I wonder how tied that is to LUT and such? Can a system be used as ingest into a system on shared storage? Not so much for feature type dailies, but for reality shows and such will be a real time-saver – I wonder if it handles different frame rates as well so one doesn’t have to make specific projects each time but can set up a rule/action to take care of that “virtually”.
Symphony as an option – interesting. Some interesting marketing here: in the end you have a MC at $999 and a Symphony (er option) for a total of $2500 (the old MC price). So a price drop for MC/Symphony functionality. Basically keeping the brand of Symphony while no longer offering it as a product but now have a longer named product called Media Composer with Symphony option. I believe that the option is enabled ala PhraseFind/ScriptSync with another set of software license. I wish they would move to an iLok type license for those of us who use dongles – especially rental houses with multiple systems. No mention of Universal Mastering which I assume it also gets as part of the option, but no mention (yet) whether is was still tied to Avid hardware only.
Storage/Interplay pricing change is fantastic – I am looking forward to the more “post” version of the product. Post encompasses a lot of different “personas”. I still feel that companies that own their own content are prime candidates for this – in the rental market it is has diminishing value due to setup overhead, support, etc. I will be looking to see if it can manage the non-Avid assets with all the new AMA stuff.
Michael
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Michael,
About watch folders and actions in AMA, are you thinking about metadatas and/or also transcodings?
Fred.
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I don’t know yet as I have yet to get the demo, but from press releases and such it appears to be both – I am curious as to how tied in these all are with the LUT and FrameFlex features or is this version really about applying actions HD camera originals already in matching Rec.79 color space, resolution (scale only), and frame rate? In the one marketing still, it didn’t appear to have settings that could be called up as part of the AMA rules so I am doubting it can at this time. Maybe in Phase 2.
Michael
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As usual nothing done about outdated colour corrector in Symphony.
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Hey…yeah.
I supose that they want to reserve the big artillery for DS. And they know that everybody corrects on the cheap in Resolve anyway.
(except me maybe)But I agree, MC is ridiculously limited on that.
Fred.
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No mention of Avid DS at NAB – Symphony is no longer and its feature set is now an option. Basically eliminating the need for separate development to differentiate those two products…
Michael
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No it was as I expected. Sadly last year we pulled the DS from our flashing suite and Resolve is in its place.
However I do know work continues on DS even now.
The bigger question now will now good will the Resolve v 10 edit features be and will they impact Media composer
Jobs.Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US -
It would be sad if DS dies. Avid has the platform and IMO strategicaly good they compeat with Autodesk.
The Resolve “dependance” is not a very good news. In the end it’s different interface and not everybody colors in it. I do not for ex but use scratch, even sometimes Nuke, a friend of mine who cut mc uses nucoda etc…
Them, I don’t end to understand how resolve could replace the compositing capabilities of DS. DS Ian’t Nuke but at least a lot can be done before the need of specialized app is requiered.
It’s the wild west for now. My scratch license is old, same as my Nuke’ and I need to wait until the panorama clears up to take purchase decisions.
For us it would be an obligation then to dig into a new learning curve. Now, if they make the roundtrip a breeze, ok.
Fred.
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I’ve had a chance to “play” with the resolve grading interface and it’s incredibly powerful and sensible to use.
And the round trip to MC is already very good. Not far off the the round trip from MC to DS.
And that looks to be improving all the time. The Resolve route is far more flexible than the DS route and we see it as expanding.
It’s a shame I always I’d imagine DS becoming a “plugin” option for Media Composer and adding the advanced effects tree side and using the MC I/O system but that won;t work until MC can output greater than HD.
Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US
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