Avid Products-Media Composer Family

Unprecedented Power and Quality Avid ScriptSyncT automatically synchronizes any text script or transcript with source footage, allowing you to perform text searches for a phrase in the video, and perform edits directly from the text using the script-based editing feature. Work offline in HD. Avid DNxHD36 encoding supports full frame 16:9 HD content at just 36 Mbps. Store a full hour of footage on only 16GB of storage The strongest creative toolset in features, compatibility, workflow, and performance. Professionals count on Avid, from top clients to top talent More compatible and more open than ever. Increased levels of portability and access with Panasonic P2 and Sony XDCAM support, now including direct import and write-back functionality Flexibility: Mac and PC. One package, two platforms. Now on Intel on Mac. No other manufacturer is as committed to delivering best-of-breed tools for both leading operating systems. Project and media compatibility between Mac and PC-based Avid systems The only facility-class editing solution. Adrenaline hardware provides support for any I/O format you need. Total Conform eliminates the need for costly, time-consuming manual re-creation in the online, Every nuance of the offline comes across The gateway to a true collaborative workflow. Support for Avid Interplay - the world's first nonlinear workflow engine, featuring remote bin capabilities, integrated asset management, and multi-res relinking of media


Key Feature	Function	Benefit

Editorial Tools
MultiClip Copy/Paste	Simultaneously copy/paste information across multiple clips for all columns of editable metadata.	Save time by entering once across all selected clips. Eliminates errors in logging for more accurate searched downstream.
Real-time multi-cam at most resolutions.	All screens play in real time with on-the-fly editing - up to 4 HD screens, up to 9 SD, including non "m" resolutions	Work faster with real time playback and on-the-fly editing regardless of source material.
Long GOP splicing	The ability for the NLE to work at MPEG GOP (Group of Picture) structures smaller than the standard 15 frames.	Customers can now export HDV material without rendering the entire sequence.
Add black during trim	Foolproof method for maintaining sync during complex trim operations.	Create fine-point single-side trims on one or more tracks without worrying about going out of sync.
Script integration with ScriptSync	Import script files directly into the project and associate source media with the text using phonetic indexing powered by Nexidia. Synchronization of text to source clips is automated and happens ~25 faster than real time.	Creates a more cohesive line of communication between editor and director by associating the written words with the pictures and audio. Also allows for elaborate searches for media throughout the script based on text searches.
Dual rolling trim	View both incoming and outgoing material while trimming an edit point.	Trim faster with a more immediate understanding of how the story is changing while you change it.
Clip Coloring	Assign colors to source clips in the bin or on the timeline.	The amount of information and versioning that need to be tracked in a project can be dizzying. Clip color provides an intuitive visual approach that gives editors the data they need at a glance.
Rename Tracks	Video and audio tracks can be renamed to custom track titles. (e.g., "V2" becomes "B-Roll")	Edit faster with the ability to quickly discern which tracks are for titles, graphics, b-roll, music, narration and so on.
Sub-framed audio resync	Resync audio to picture down to the quarter-frame level.	Maintain rock-solid sync while compensating for the discrepancies introduced by telecine and deck delays.
Source-side viewing	Displays complete timeline information and audio waveforms for material (clips or sequences) loaded into the source monitor.	Editors are often looking for a quick and easy way to edit material from existing sequences into new ones. Source-side viewing lets them do that quickly and just as easily as if they were cutting in a regular clip.
Audio Mark in-and-out	Separate set of in and out marks for audio portion of a clip.	Creating split edits ("L" cuts) on the source before it's added to the timeline gives editors greater control over story construction.
Sync-point editing	Allows you to overwrite material onto your sequence in such a way that a particular point in the source material is in sync with a particular point in the sequence.	Editors creating montages or audio driven sequences can edit much faster than with the traditional splice/overwrite model.

Effects
Motion Tracking and Stabilization (featuring SteadyGlide)	Steadies footage that may have been unusable due to shaky camera work. Aids in creating complex composites of live and synthesized elements.	Big savings in time and money. Reshoots and tedious compositing work are expensive. Even worse is having to throw away valuable footage that may have helped the story.
AVX2 support for built in and 3rd party effects Supports 16-bit rendering	AVX2 plug ins can be installed and integrated	Richer built-in effects; High quality renders for plug-ins using Avid's advanced keyframe model (no new learning curve).
SpectraMatteT 16-bit Chroma Keyer (Now with Alpha display in the source monitor)	Avid's new keyer.Real time preview (for both SD and HD) featuring patent-pending Avid SpectraGraphT for visual display of image color map superimposed over foreground elements being keyed out. (Render required for final output.)	Chroma keying is a fundamental element in compositing.everybody needs it. System comes integrated with a 16-bit chroma key toolset that not only delivers crisp keys, but does it with an efficiency that can only be found in Avid SpectraGraphT technology. SpectraGraph is an interactive environment that helps users understand the changes they're making and how those changes will help them achieve the perfect key.
10-bit effects and titles (using Marquee)	Title system for creating both static and animated titles with textures, lighting and mappable surfaces.	Maintain high-quality 10-bit through all editorial functions
YUV-native effects	All effects work in native video YUV space. No color space conversion is done.	High quality effects with amazing real-time performance.
10-bit real-time Color Correction with AutoCorrect	High-quality primary color correction with system-assisted image correction.	One click can automatically analyze and color-correct an entire sequence.
Scene-to-Scene NaturalMatch color correction and reference window	3-panel display for reference matching between shots in the timeline plus still frame for reference within a single window.	Color correction is all about creating color continuity between shots that may have captured under different lighting conditions and with different camera formats. The 3-panel display makes it easy to eye-match between these different shots. The reference window gives colorists the confidence that their eyes haven't been fooled and real color changes have been made to a shot.
Customizable rampable motion effects including FluidMotionT and FluidFilm	Avid's patented FluidMotion technology gives editors rampable motion effects that track every pixel in the image to synthesize totally new frames.	Creates amazingly smooth slow-motion effects and film look from interlaced sources.
Batch Import	Single operation for multiple file import and replace function of material already placed in the timeline.	Batch Import keeps the lines of creativity and communication between graphics artists and editors open up until the final output. No worries about looks and logos changing at the last minute. Point-and-click simplicity to update graphics that have already been timed out and placed in the sequence.
Reformat (Pan and Scan)	Deliver both 4:3 and 16:9 formats from a single acquisition format (16:9, 4:3)	Content creators can protect themselves for the "widescreen future" by acquiring at 16:9 ratios while delivering the needed 4:3 content for broadcasters today.
Pan and Zoom	Import graphics files that are traditionally larger than broadcast rasters (eg. 720x486) and maintain their high-resolution detail during scaling operations.	Like an "animation stand in a box" Avid's Pan and Zoom allows editors to create complex tracks and zooms within a single hi-res image just as easy as if they were working with normal source clips without sacrificing image quality.
Real-Time 3D FX	Apply operations such as scaling, rotation, cropping and corner pinning to graphic and video elements in X,Y,Z space via OpenGL hardware.	Quick and powerful 3D operations that are otherwise reserved for third-party applications can be built and played back in real-time without having to leave the editor.
Integrated Paint and Animatte	Complete set of interframe drawing tools for painting multiple layers of objects and masks and assigning them to different color, blending and keying operations.	Keeping complex painting and keying operations within the edit systems speeds along the process and ensures that there will be no metadata or image loss when transferring with other external graphics/compositing packages.

Audio
24-bit audio file compatible with Digidesign Pro Tools®	Audio editors and video editors can share audio files without conversion or render	Seamless interchange for high-quality audio post production
4 Channel Audio Punch-In	Record 4 channels of audio direct to the timeline without having to capture and then edit the material. Primarily used for dialogue replacement or narration.	Multiple voices can now be recorded into the timeline for more complex dialogue.
Mix Sample Rates in the timeline	Freely combine audio from different sample rates in the same timeline.	Audio HAS to have the same sample rate before going to output, regardless of the edit system. Just as with video, often far more audio material is captured into a project than is used for the final story. Avid's ability to mix differing sample rates on the fly gives editors the freedom to audition all the audio material they want while only having to sample rate convert material used in the final piece.
Center pan clips	Create a standard distribution of audio between left and right speakers with a single command.	Editor friendly feature that smooths playback of the edited sequence and eliminates the distraction of having to listen to left and right speakers because of audio sources that have audio channels panned hard left and right interchangeably.
Read Audio Timecode	Decode timecode embedded inside an audio channel for a captured clip.	Gives content creators greater freedom on the set by allowing them to audio sources with cameras that don't have 'time code in' capabilities. Time code generators jam sync the audio recorder and then are connected directly to an available audio channel on the camera.

User Interface and System Architecture
Avid DNxHD 3 Open Timeline	Streamlined HD and feature film workflow using low-bandwidth high picture quality Avid DNxHD 36. Codec flexibility for mixing SD and HD material of differing codecs and compression ratios within the same timeline in real-time.	Work natively in HD removing all workflow limitations of SD. Perfect Total Conform of all titles and effects. Eliminate recapture times for screenings when working on feature films by editing at a screening quality. Editors are free to begin the creative editorial process without having to give consideration to different formats that might otherwise require transcoding, rendering or dubbing down of the source tapes.
Playback of Uncompressed 8 and 10-bit HD without DNA hardware	Leverage the escalating power of modern CPUs and OpenGL hardware to playback Uncompressed 8 and 10-bit HD material without the aid of dedicated hardware.	Big cost savings for workgroup configurations where acquisition and encoding of HD material Is not required on every system in the chain.
Powerful real-time editing of multiple streams and effects (e.g. up to 11 real-time streams of uncompressed SD video)	Edit in the timeline and press play, multiple layers and effects play in real time	Full-quality real-time results when you need them - for maximum creativity, client sessions, output to tape
Integrated 'Send to DigiDelivery' functionality	Direct export from the editor to DigiDelivery's secure media delivery system.	Safely and securely share your precious media assets for collaborative workflows that extend across town, across the country or across the globe! The email driven UI makes it a perfect vehicle for review and approval.
HD video support - Avid DNxHD mastering quality HD for all popular frame rates (optional Avid DNxcel board required for full support)	The Avid DNxHD codecs come in three bandwidths and bit depths per resolution and frame rate, one high-quality 10 bit and two 8 bit. Avid DNxHD codecs were designed as high quality mastering formats for post production processes such as multiple generation compositing. Avid DNxHD encoding allows for collaborative workgroup environments on the Avid Unity media networks.	Maintain gorgeous delivery-quality HD while consuming a fraction of the storage and allowing full media compatibility with workgroups over Avid Unity MediaNetwork or Avid Unity ISIS.
MXF Support	MXF is the foundation for Avid's DNxHD media format and an emerging industry standard.	Handle the new MXF format, increasingly embraced by industry leaders.
Compatible with ABVB and Meridien projects, bins, sequences, and media.	Capture, play and render Avid Meridien JFIF, ABVB AVR (play/render only), DV25, DV50, IMX 50/40/30	Takes Total Conform to the next level even for ABVB customers. A great addition to Media Composer facilities, even those going back many years
Mouse mapping with scroll wheel scrubbing	Map various system functions to associated buttons on the mouse as well as scrubbing functionality for the scroll wheel.	Make most commonly used controls more immediate by literally placing them at your fingertips.
Linked Workspaces	Create customized views of common tools based on user defined settings.	Work more efficiently by having the system group commonly used tools, customized the way you like them, into a single keystroke. For example, when working with audio tools the system could automatically expand your audio tracks and display waveform and level information.
Script View	Bin view that allows the editor to view a single (playable) frame of the media as well as metadata headings in conjunction with a notation window where text can be entered by the user.	Allows the editor to incorporate text, such as notes from the lab, director or transcriptions of talking heads, directly into the clip.The more information on hand, the smoother the edit goes.
Search across timecode ranges	Search and sift on a timecode (or KeyKode) number within a specific range.	Timecode is the common language between production and post. Notes from the set often reference timecode, if not time of day, information. Being able to search for shots based on a broad range of timecode values speeds the shot selection process
Unlink, Modify and Relink media	Break and/or associate clip information with the actual video and audio media in order to change clip properties such as track, timecode format or source tape information.	Mistakes can happen during the capture process. Unneeded tracks are left armed in the Capture Tool, source tape notation is logged incorrectly and timecode formats may be wrong. Media Composer's flexibility for unlinking, modifying and relinking clips and their associated media means it's never too late to correct for mistakes.
Archive to tape (SD Only)	Consolidate project and sequence material out to analog and digital tape formats.	Projects are made up of multiple source tapes. Tape formats like MiniDV are becoming cheaper and cheaper and offer a high level of portability between systems. Repurpose those tapes by archiving project material onto them. Material which is often digital and won't suffer a big hit in image quality in the process. Started with 30 MiniDV tapes? Consolidate to 3 DVCAM or DVCPRO tapes that provide a more robust tape format less susceptible to dropout.
Autosequence	Create master source tapes of synced video and audio media captured separately.	Traditional film workflows and the fast approaching file-based formats commonly involve audio and video being captured separately and then synced together in the NLE. Autosequence creates a simple and singular reference format for offline and archival. Editors don't have to track and maintain sync for differing audio and video sources and have a quick method for restoring both to the system once the media is deleted.
VTR Emulation (Remote play and capture)	Slave control of Media Composer by other devices via serial device protocol. Media Composer functions like a source deck in this scenario.	Traditional post facilities and broadcast environments are made up of a wide variety of cpu-based and black-box solutions. Many of which can't be networked over TCP or Fibre connections. Using the broadcast standard serial control protocol, Media Composer's VTR emulation lets it work together with devices such as switchers and media encoders with the simplicity of a source deck.

Film and Digital Intermediate (DI) Support
Standard Pull-down support for 23.976p capture over FireWire	Connect 24p DV devices for direct capture of both normal and advanced pulldown in real time	Low-cost capture on-set for offline using HD decks such as Sony's JH-3 (with FireWire option) or cameras using FireWire down-convert
Improved file based metadata tracking and 3-perf tracking	Additional data management with columns to help track file based workflows such as DPX, VFX, and UNC paths. Allow 3-perf film tracking in all areas of Media Composer comparable to other supported film gauges.	Easier to manage film projects as well as solutions for file based workflows. Automate the tracking of sources for a DI conform.
Capture and Output
Enhanced P2 and XDCAM Support. Support for Mojo and Mojo-SDI	Enhanced support for direct import of P2 files as well as XDCAM-HD proxy support. Write back to the P2 card also available (Support for PowerPC and Windows platforms only. Panasonic has not released drivers for MacIntel based systems) Connect low-cost, competitive quality hardware for SD I/O and acceleration of analog and digital sources.	Streamline the overall file-based workflow for HD-based projects using P2 and XDCAM HD. Enhanced Proxy support on XDCAM HD allows for quick editing of lots of material and a quick rebatch capture of hi-rez sources. Now available for all frame rates. Save money while maintaining the high-quality of digital formats.
Avid DNxcel board option (requires Adrenaline DNA)	Adds Avid DNxHD capture and output functionality to Avid Media Composer Adrenaline hardware.	Capture, edit and output mastering-quality HD from all popular sources (HDCAM, DVCPRO HD, D5, etc.)
Support for Sony XDCAM HD Media	Native editing of Sony's MXF file-based HD media.	Take advantage of a tapeless HD workflow: · 18, 25 and 35 Mb data rates · 23GB storage capacity No need to shuttle through tape looking for a shot
Panasonic Varicam off-speed support	Capture and playback off-speed frame rates from tapes and files created by Panasonic Varispeed cameras.	Panasonic Varicam cameras are an extremely popular choice for acquiring HD content and offer the in-camera capability of creating motion effects. Avid Media Composer let camera operators choose those off-speed frame rates with the comfort of knowing the will be seamlessly reproduced in the NLE.
Full screen play over DVI output	View sequence output over DVI cables and monitors.	Content creators can utilize LCD monitors for viewing SD and HD material. LCD monitors that are lighter, take up less desktop space and cost significantly less than crt-based HD monitors.
HD Crossconvert	Deliver both 720 and 1080 HD formats from other formats with compatible frame rates.	The words "standard" and "HD" currently don't coexist. Broadcasters have settled on one or the other, but you don't have to. Create once and deliver 720 and 1080 from the same sequence.
HD Embedded Audio over SDI	Capture HD video and audio via a single cable.	Engineers and post managers can use existing facility wiring to patch digital video and audio over a single, more manageable cable.
24p support including Panasonic 24p DV Camera (AG-DVX100). NTSC Only. SDX900 support via SDI. 25p support for PAL	Capture directly over 1394; the Avid system automatically manages pulldown for accurate 24p / 23.976p editing	The powerful Film Composer functionality that's won Oscars and Emmys for Avid users in motion pictures and film-based television, now expanded to include DVX-100, DVX100a, SDX900.
Native HDV Editing	Edit HDV natively, removing the need for transcoding and the use of intermediate formats. Mix HDV with other HD, SD and DV formats in the same timeline in real-time.	Fully realize the time-saving and cost-saving advantages of HDV by removing the need to transcode or convert multiple sources to a common format before editing.
Sony XDCAM Support	Import both long-GOP proxies and high-resolution IMX and DV media for native editing	Take advantage of a tapeless workflow: · Quick and efficient capture of media into edit system · 23GB storage capacity · No need to shuttle through tape looking for a shot
Panasonic P2 Support	Connect P2 card directly to systems for immediate editing directly from P2 cards or high-speed file transfer	Take advantage of a tapeless workflow: · Edit directly from P2 cards · Quick and efficient capture of media into edit system · No need to shuttle through tape looking for a shot
DVCPRO HD (DV100) codec and ingest over separate FireWire card Includes support for 23.976.	Pure native digital capture	Easy to capture directly from camera, maintain DV100 codec for easy output back to master.
10-bit video I/O Support for 10 bit source material	Support for 10 bit source material (Digi Beta, etc.), 10-bit or higher accuracy for effects	Maintain highest SD and HD image quality in Avid post solutions
SD-SDI embedded audio (8 tracks)	Capture SD video and audio via single cable over serial digital I/O.	Works with existing facility wiring and makes it easier to interconnect Media Composer Adrenaline with facility equipment (decks, routers, switchers, etc.)
Capture to Timeline	Capture Tool writes media directly to a predetermined segment of the timeline.	Even up to the last minute editors often have to change out a shot in the timeline. Rather than go through the process of; logging, capturing, marking and editing, the editor can replace the necessary material in the timeline with a single keystroke.

Workgroup Functionality
Support for Avid Interplay PC Only	Direct access to a shared data and media backbone that enhances teamwork, productivity and security. Workflow intelligent editing upports revision control, multi-res media relinking, asset management, powerful network services, and more.	The most precious asset any media creation company has is talent. The most efficient and productive way to use that talent is in a collaborative workflow. Avid Media Composer Adrenaline integrates effortlessly within the Avid Unity and Avid Interplay network to create a network-aware environment of increased productivity, superior media management and one-step processing for media transfer and archive.
Avid Unity MediaNetwork support (v5.0 or v4.1.5/v4.2.3 required) Avid Unity ISIS support (v.1.2, v1.3, v1.3a)	Integrate Media Composer into a dynamic shared storage environment capable of SD and Avid DNxHD collaboration.
Frame Chase Editing	Editors in workgroup environments that incorporate Transfer Manager can begin editing material seconds after it starts being ingested into the network.	Reduces the overall amount of time to complete a project by allowing creative work to begin before capture process is completed
Support for Avid Studio Toolkit PC Only	Install and run Avid 3D, Avid FX and Avid DVD by Sonic on the same system as Media Composer.	Increase capability and turnaround time with easy-to-learn, tightly integrated applications for effects and compositing, 3D animation and DVD authoring