Saturday, September 19, 2009


This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Wondering the same thing Bouke. Does it require a specific switcher? --J.B.

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Pete, You've misunderstood. What my LiveCut app. does is creating a timeline identical to the linecut, but from the ISO's (It makes an EDL based on the

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Need some help with FILM (the real thing...)
... Here's a first clue. In Avid, it is better/easier to AutoSync based on Mark In or Timecode. Then you get sync clips that carry the name of the original

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Re: Need some help with FILM (the real thing...)
Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Hi Mark, Thanks for the review! We're very much in the same ballpark. BTW, for anyone else who is willing to take a stab at this, I'm only involved on the

Scrubbing through timewarps?
Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

Re: Need some help with FILM (the real thing...)
Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Need some help with FILM (the real thing...)
Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
All good points. For sake of budgetary discussion let's assume that CC is needed and that there are good reasons to recut from the ISOs and not use the

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Here's a rough stab at what this could cost if it's in a small market I have a good friend who runs a 5 camera live truck. The truck, with out crew crew, goes

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Bouke - sounds like pretty neat technology. How does LiveCut work, i.e., how does it obtain its data? As to your other message about CC versus a good video

Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Pete, You've misunderstood. What my LiveCut app. does is creating a timeline identical to the linecut, but from the ISO's (It makes an EDL based on the

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Bouke - sounds like pretty neat technology. How does LiveCut work, i.e., how does it obtain its data? As to your other message about CC versus a good video

Need some help with FILM (the real thing...)
Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

Re: Need some help with FILM (the real thing...)
Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
All good points. For sake of budgetary discussion let's assume that CC is needed and that there are good reasons to recut from the ISOs and not use the

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Wondering the same thing Bouke. Does it require a specific switcher? --J.B.

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Need some help with FILM (the real thing...)
Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Here's a rough stab at what this could cost if it's in a small market I have a good friend who runs a 5 camera live truck. The truck, with out crew crew, goes

Scrubbing through timewarps?
Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

Re: Need some help with FILM (the real thing...)
... Here's a first clue. In Avid, it is better/easier to AutoSync based on Mark In or Timecode. Then you get sync clips that carry the name of the original

hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Scrubbing through timewarps?
Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Bouke - sounds like pretty neat technology. How does LiveCut work, i.e., how does it obtain its data? As to your other message about CC versus a good video

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Here's a rough stab at what this could cost if it's in a small market I have a good friend who runs a 5 camera live truck. The truck, with out crew crew, goes

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
All good points. For sake of budgetary discussion let's assume that CC is needed and that there are good reasons to recut from the ISOs and not use the

Pete, You've misunderstood. What my LiveCut app. does is creating a timeline identical to the linecut, but from the ISO's (It makes an EDL based on the

Scrubbing through timewarps?
Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

RSS Feeds up
And back up- hopefully behaving this time.

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Bouke - sounds like pretty neat technology. How does LiveCut work, i.e., how does it obtain its data? As to your other message about CC versus a good video

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Pete, You've misunderstood. What my LiveCut app. does is creating a timeline identical to the linecut, but from the ISO's (It makes an EDL based on the

Re: Need some help with FILM (the real thing...)
Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Wondering the same thing Bouke. Does it require a specific switcher? --J.B.

Need some help with FILM (the real thing...)
Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Here's a rough stab at what this could cost if it's in a small market I have a good friend who runs a 5 camera live truck. The truck, with out crew crew, goes

... Here's a first clue. In Avid, it is better/easier to AutoSync based on Mark In or Timecode. Then you get sync clips that carry the name of the original

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Need some help with FILM (the real thing...)
Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Here's a rough stab at what this could cost if it's in a small market I have a good friend who runs a 5 camera live truck. The truck, with out crew crew, goes

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Pete, You've misunderstood. What my LiveCut app. does is creating a timeline identical to the linecut, but from the ISO's (It makes an EDL based on the

Pete, You've misunderstood. What my LiveCut app. does is creating a timeline identical to the linecut, but from the ISO's (It makes an EDL based on the

RSS Feeds up
And back up- hopefully behaving this time.

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

All good points. For sake of budgetary discussion let's assume that CC is needed and that there are good reasons to recut from the ISOs and not use the

Ballpark Figures - cutting a 30 minute live-to-tape show
Hi All, Been off the list for awhile and have a query for everyone. This arises from my trying to help the producer of a startup regional TV series airing on

Need some help with FILM (the real thing...)
Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

Re: Need some help with FILM (the real thing...)
... Here's a first clue. In Avid, it is better/easier to AutoSync based on Mark In or Timecode. Then you get sync clips that carry the name of the original

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Guys, I have a client with a question. But i hardly know anything about film. As far as i understand things, i could write a couple of tools that would solve

Re: Need some help with FILM (the real thing...)
... Here's a first clue. In Avid, it is better/easier to AutoSync based on Mark In or Timecode. Then you get sync clips that carry the name of the original

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
This highly depends on the quality of the shooting. If there is a shader (i'm not sure if that is correct english, we use it over here for the guy that does

(now) Great Avid Employees (was) More Marianna Love
I second Terry's praise for Samantha. I was on the phone with her a lot during the early days of the Symphony Nitris and she did a great job of keeping us

Scrubbing through timewarps?
Mac Os 10.5.6 SNDX 3.5.4 I'm noticing when a scrub around on motion effects (timewarps) there is a hesitation and the little clock symbol for a second or two

Ballpark Figures - cutting a 30 minute live-to-tape show
Hi All, Been off the list for awhile and have a query for everyone. This arises from my trying to help the producer of a startup regional TV series airing on

Re: Need some help with FILM (the real thing...)
Export both orig transfer bin and sync bin to excel, copy and paste clip names, import revised bin. PeteO POP Pictures Orlando

RSS Feeds up
And back up- hopefully behaving this time.

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Bouke - sounds like pretty neat technology. How does LiveCut work, i.e., how does it obtain its data? As to your other message about CC versus a good video

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
hmm. Why spend 1800 bucks CC'ing per episode, as you can get a decent tech to do it right the first place for 450 grand total per five episodes? That makes no

Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

All good points. For sake of budgetary discussion let's assume that CC is needed and that there are good reasons to recut from the ISOs and not use the

Re: Ballpark Figures - cutting a 30 minute live-to-tape show
Bouke - sounds like pretty neat technology. How does LiveCut work, i.e., how does it obtain its data? As to your other message about CC versus a good video

Hi All, Been off the list for awhile and have a query for everyone. This arises from my trying to help the producer of a startup regional TV series airing on

Re: Need some help with FILM (the real thing...)
Thanks. I'll see if i can bill the client for this advice. If so, i'll buy you a beer (well, i'll get you drunk) in Utrecht in a couple of days... Bouke

Friday, September 18, 2009


I too love Marianna and think she is a great example of the new Avid. In tech support, Samantha was the best, but sadly she has left Avid in search of a west

Re: More Marianna Love
Marianna is one of the best things ever to happen to Avid. Or us, for that matter. -- Job ter Burg film editor - NL

Re: Can't Capture Correct 23.97 Cadence
Depending on the film A frame settings is the Avid will bump an inpoint a frame if it thinks that frame is the X frame. Check where the system's pulldown

Re: More Marianna Love
She did the same for us just this week. I am always amazed by her. Thank you! ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of


I too love Marianna and think she is a great example of the new Avid. In tech support, Samantha was the best, but sadly she has left Avid in search of a west

Re: Can't Capture Correct 23.97 Cadence
Depending on the film A frame settings is the Avid will bump an inpoint a frame if it thinks that frame is the X frame. Check where the system's pulldown

Re: More Marianna Love
She did the same for us just this week. I am always amazed by her. Thank you! ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of

Re: More Marianna Love
Marianna is one of the best things ever to happen to Avid. Or us, for that matter. -- Job ter Burg film editor - NL


I too love Marianna and think she is a great example of the new Avid. In tech support, Samantha was the best, but sadly she has left Avid in search of a west

Re: More Marianna Love
She did the same for us just this week. I am always amazed by her. Thank you! ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of

Re: More Marianna Love
Marianna is one of the best things ever to happen to Avid. Or us, for that matter. -- Job ter Burg film editor - NL

Re: Can't Capture Correct 23.97 Cadence
Depending on the film A frame settings is the Avid will bump an inpoint a frame if it thinks that frame is the X frame. Check where the system's pulldown

Thursday, September 17, 2009


Ideas ? I would start by running it on 10.5.7 not 10.6 which has not been qualified by Avid. Rupert Watson www.root6.com +44 7787 554801 From:

Wednesday, September 16, 2009


Yep. It is.   Weird huh,   Chris ... From: avid_curren Subject: [Avid-L2] Re: Can't Capture Correct 23.97 Cadence To:

Re: AVCHD To Avid Xpress Pro
On 16/09/2009, at 11:23 PM, "oliverpetersvidy"

Re: AVCHD To Avid Xpress Pro
I've been using After Effects for this, on Mac. Toast also appears able to transcode these files, in a more user-friendly batch-oriented way, but when trying

Re: AVCHD To Avid Xpress Pro
From what you've told us, your files are Progressive at 24 frames. Although I suspect that they could actually be 23.98. As to what your target files are set


On 16/09/2009, at 11:23 PM, "oliverpetersvidy"

Re: AVCHD To Avid Xpress Pro
From what you've told us, your files are Progressive at 24 frames. Although I suspect that they could actually be 23.98. As to what your target files are set

Re: AVCHD To Avid Xpress Pro
I've been using After Effects for this, on Mac. Toast also appears able to transcode these files, in a more user-friendly batch-oriented way, but when trying

Re: Can't Capture Correct 23.97 Cadence
Yep. It is.   Weird huh,   Chris ... From: avid_curren Subject: [Avid-L2] Re: Can't Capture Correct 23.97 Cadence To:


Yep. It is.   Weird huh,   Chris ... From: avid_curren Subject: [Avid-L2] Re: Can't Capture Correct 23.97 Cadence To:

Re: OT: aging Re: [Avid-L2] Re: Storage Raid Recommendations Needed
Check the dryer... ... -- ... Rob Lawson System Administrator, ACSR ISIS, Windows & Unity CBS News

Re: AVCHD To Avid Xpress Pro
I've been using After Effects for this, on Mac. Toast also appears able to transcode these files, in a more user-friendly batch-oriented way, but when trying

Re: AVCHD To Avid Xpress Pro
From what you've told us, your files are Progressive at 24 frames. Although I suspect that they could actually be 23.98. As to what your target files are set


Drag into Sony Vegas. Edit. Be done.  Rick Emery www.rickemery.com ________________________________ From: maladaahn To:

Re: AVCHD To Avid Xpress Pro
No it means yahoo mail was telling me it didn't error, can't send message and my dumb ass keep hitting send. There may be more.  Rick Emery

Re: AVCHD To Avid Xpress Pro
Does that mean you have to do it 4 times Ian Wilson Colortape Productions Ian@... 0418 327 082 Via iPhone

Re: AVCHD To Avid Xpress Pro
Movie Studio Platnum handles AVCHD. Still under $100. http://www.sonycreativesoftware.com/vegaspro/compare  Rick Emery www.rickemery.com

Re: AVCHD To Avid Xpress Pro
Drag into Sony Vegas. Edit. Be done.  Rick Emery www.rickemery.com ________________________________ From: maladaahn To:

Re: AVCHD To Avid Xpress Pro
Rick, One other question: Do you need Vegas Pro or would Vegas Movie Studio do the trick? As conviluted as it is, a $55 workaround would allow me to continue

Re: AVCHD To Avid Xpress Pro
Just checking Rick, do not know Vegas, jokes aside, it seems it manages many of the codacs that others can't. We have 2 very expensive RedRocket cards sitting

Re: AVCHD To Avid Xpress Pro
... Ian, I certainly hope you didn't buy the cards solely based on a presumption that Apple would have anything to do with them. As far as Sony Vegas Pro, it

Re: AVCHD To Avid Xpress Pro
Drag into Sony Vegas. Edit. Be done.  Rick Emery www.rickemery.com ________________________________ From: maladaahn To:

Re: AVCHD To Avid Xpress Pro
Drag into Sony Vegas. Edit. Be done.  Rick Emery www.rickemery.com ________________________________ From: maladaahn To:

Monday, September 14, 2009


Is this information found on http://www.avid.com/red still accurate? It is under the "Avid Resources" tab. "Avid DNxHD QuickTime Codecs v1.10 These codecs (Mac


Does Avid still not support consumer AVCHD? I could try it. I do have a media composer at home and an AVCHD camera, but Vegas is just to smooth with it.

Re: Avid New Releases & Varicam
The frame rate of a sequence is still determined by the project. Tape based footage will need to be captured in the matching project type and the bin opened in

Re: xw8200 ram
Quadra . . . ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of James Hoppe Sent: Monday, September 14, 2009 10:51 AM To:


Quadra . . . ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of James Hoppe Sent: Monday, September 14, 2009 10:51 AM To:

OT: Re: [Avid-L2] Lighting mistake
Fantastic. They even say in the info, it's fake, but use it if you think the landing was faked.  Rick Emery www.rickemery.com

Re: xw8200 ram
... Z-Pro boxes were a PAIN to work in. ... From: "Craig Rutledge" To: Sent: Monday, September 14, 2009 10:52 AM

Re: xw8200 ram
Plenty of room yes, unlike like the old 9500's. ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of James Hoppe Sent: Friday,

Re: Avid New Releases & Varicam
The frame rate of a sequence is still determined by the project. Tape based footage will need to be captured in the matching project type and the bin opened in


Plenty of room yes, unlike like the old 9500's. ... From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of James Hoppe Sent: Friday,

Re: Media Composer / Symphony 4 announced
isnt' there a timewarp render on the Avid mixed timeline?

Sunday, September 13, 2009


Avid Accelerates Customer Workflows with New Editing and Production Asset Management Solutions

New versions of Media Composer, Symphony, NewsCutter and Interplay enable customers to lower production costs, increase productivity and shatter collaboration barriers
IBC (Stand #7.J20), AMSTERDAM, September 10, 2009 - Avid® (NASDAQ: AVID) today introduced new versions of itsMedia Composer® (4.0), Symphony™ (4.0), NewsCutter® (8.0) professional editing software and Interplay® (2.0) production asset management system.  Reinforcing Avid’s commitment to providing open and flexible solutions, these new offerings enable broadcast and post production professionals to lower production costs and enhance their productivity by:
  • Eliminating timely transcode processes with the capability to mix and match different frame rates and resolutions in an open timeline within the same project.
  • Expanding native support for file-based media with the addition of industry-leading formats such as Panasonic AVC-I and Ikegami GFCAM.  GFCAM support is a result of Avid Media Access (AMA). 
  • Empowering production teams to become more efficient by extending workgroup capabilities to the Wide Area Network (WAN) - allowing journalists, producers and assistants to work with media at any time, from any location.  
What Customers are Saying
Emmy® and A.C.E. Eddie winning editor Steve Cohen has beta tested Media Composer 4.0 and said, "My first experience with AMA was eye-opening, largely because it's so trivially simple: no logging, no digitizing, no importing is required. Clips appear in a bin magically, with all the metadata available and ready for cutting. The fact that it's possible on a laptop with no extra hardware is also very impressive.  And Avid's Mix and Match is one of those features that's so well designed that it's completely transparent. You simply edit as you would with any other material and the Media Composer does the right thing automatically, adjusting the speed as needed, without rendering."
Industry Standard Editing Tools - Fast, Reliable, More Native Formats
Media Composer (named the preferred tool for acclaimed editors by the American Cinema Editors (A.C.E.)), Symphony and NewsCutter software now offer customers a wide array of new features designed to streamline the production process including:
  • Improved Stereoscopic 3D editing: Enables customers to view 3D material side by side in addition to over/under - ensuring greater accuracy of editing decisions and a wider choice of cost-effective monitors for stereoscopic viewing.
  • Monitoring HD and SD cross-and-down converted formats from 1080p24 masters: Enables customers using Mojo DX or Nitris® DX hardware to view HD material on an SD monitor, eliminating the need to incur additional hardware costs. 
  • Panasonic AVC-I encoding support: Allows customers to deliver final masters in Panasonic’s AVC-I format while working natively in the Avid editing system from acquisition to final delivery.
  • Mac support for Pro Tools® Video Satellite: Offers customers the ability to work with Mac or PC when using Media Composer as a video satellite with Pro Tools systems to deliver frame-accurate, synchronized and full resolution monitoring of video. 
  • Mix and Match capabilities: Provides customers with the flexibility to use media sources of different frame rates and resolutions (SD and HD) in the same timeline - eliminating external transcoding and time-consuming frame-rate conversions.  
  • Avid Media Access (AMA) enhancements: Delivers native support for the popular Ikegami GFCAM 100 mb/s format. Customers can now directly access GFCAM media, including full metadata, and begin their work immediately without transcoding, copying or re-wrapping the material. 
  • New Production Suite updates: Include new versions of Boris Continuum Complete, Sorenson Squeeze and SmartSound SonicFire Pro to provide customers with more creative possibilities and media delivery options.   
Production Asset Management – Extending Flexible Anytime, Anywhere Collaboration
With more than 600 Interplay sites deployed worldwide, Avid has enhanced its industry-leading production asset management solution by delivering the most significant update of the product to date: Interplay 2.0. The new version empowers broadcasters and post facilities to extend collaborative productions beyond the four walls of a facility - enabling customers to consolidate production operations as well as manage and contribute to projects when working remotely.  Lower bandwidth streaming proxies enable Interplay workgroup members to work with media at anytime from anywhere, using a qualified Mac or PC with a 1Mb/s Internet connection. 
Highlights of Interplay 2.0 include:
  • WAN Workflow with Interplay Access:  Enables journalists, producers and editors to remotely search and work with media assets across multiple workgroups – no longer requiring them to return to the edit suite/news station to assemble stories. A new streamlined interface allows users to browse, log and shot list media in three unique viewing modes, via a single screen, and easily toggle between views -ultimately offering more time savings and reduced production costs.  Additionally, station groups will now be able to consolidate functions by increasing the range of material available for users to share across geographically-dispersed newsrooms.
  • Final Cut Pro (FCP) workflow support: Offers check-in and check-out of FCP media with project links as well as media and metadata conversion of FCP-to-Avid and Avid-to-FCP projects - providing customers with more platform flexibility. 
  • Interplay Delivery: Simplifies a previously time-intensive process of media transfer by offering a one-step transfer of materials such as subclips and shot lists.
  • Interplay Transcode with new mixdown capability: Enables users to mixdown full audio and video sequences while transcoding to a specified output format, simplifying downstream processes such as archiving or publishing to formats such as mobile, the Web or digital signage.
Pricing and Availability 
Media Composer, Symphony and NewsCutter systems will be available on September 30.  Interplay 2.0 will be available on September 16. Media Composer 4.0 is just $295 USMSRP for educational institutions and students. Beginning September 30, 2009, students with academic versions of Media Composer software (versions 3.5 through 4.0 purchased on or after March 1, 2009) will qualify for complementary upgrades for four years from the date of software activation. For more information on qualifications and availability, please visit www.avid.com
About Avid Avid creates the digital audio and video technology used to make the most listened to, most watched and most loved media in the world – from the most prestigious and award-winning feature films, music recordings, television shows, live concert tours and news broadcasts, to music and movies made at home. Some of Avid’s most influential and pioneering solutions include Media Composer®, Pro Tools®, Avid Unity™, Interplay®, Oxygen 8, Sibelius® and Pinnacle Studio™. For more information about Avid solutions and services, visit http://www.avid.com/,del.icio.usFlickrTwitter and YouTube; connect with Avid on Facebook; or subscribe to Avid Industry Buzz  © 2009 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. All prices are USMSRP for the U.S. and Canada only and are subject to change without notice. Contact your local Avid office or reseller for prices outside the U.S. and Canada. Avid, the Avid Logo, Pinnacle Studio, Avid Unity, Interplay, Media Composer, Pro Tools Symphony, NewsCutter, NItris, Avid Xpress and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. The Interplay name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products. Emmy is a registered trademark of ATAS/NATAS. All other trademarks are the property of their respective owners.

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