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Media Composer 7: Avid Brings Their Flagship NLE into the High Resolution Future and Lowers Price

04.9.13 @ 6:30PM Tags : , , , , , ,

Avid has been the leader in high-end film and television post-production for the past 20 years. Despite this fact, Avid’s primary competitors (Adobe and Apple) have been stealing customers left and right for the past few years with new innovations in their NLE offerings. However, Avid has slowly and steadily been bringing Media Composer up to modern standards with 64bit processing, support for modern GPU’s, AMA linking etc, but up until yesterday, the Media Composer platform was still limited to a 1920 x 1080 pipeline. Avid’s Media Composer 7 looks to change all of this and bring the platform into the 21st century, where 4k looks to be the new standard. Check out the product video below:

Here are a couple of the key features (from Avid’s website):

  • Accelerate HD delivery from high-res sources. With the new FrameFlex tool and LUT support, you can acquire 2K, 4K, and 5K media and deliver the HD programming required today, eliminating time-consuming transcodes and resizing.
  • Maximize creativity time with acceleration through automation. With new Dynamic Media Folders, copying, consolidating, and transcoding tasks can be automated in the background, so you can keep editing without the wait. What’s more, Avid media management now looks after all of your AMA-linked files too.
  • Extend real-time production everywhere. Media Composer 7 Interplay Edition provides connectivity with Avid Interplay and Interplay Sphere, so you can edit, sync, and share projects and media with anyone around the world over the Internet.
  • Make your picture sound as good as it looks. Take control of the overall program volume and insert plug-ins to adjust the tone with the new Master Audio Fader. And with Clip Gain, you can adjust gain on a specific clip, independent of track-based automation.

While Avid still won’t natively support 4K output, the ability to bring files into the program and edit with them in their native resolutions, without having to transcode just to make the files work, will save Avid editors (and their assistants) so much time. Additionally, if you are planning to deliver in 4k, getting your Avid projects into Resolve for conforming and output has never been easier. Another huge time saver will be the ability to automate tasks like transcoding, and then have these tasks run in the background. With these new workflow enhancements and time savers, I expect Media Composer to be a much more pleasant (and speedy) experience for users both old and new.

Avid has also been ramping up the quality of Media Composer in terms of audio capabilities for the past few years as well. Ever since the company bought the world-class DAW (Digital Audio Workstation) Pro Tools from DigiDesign several years ago, many of the features from Pro Tools have been slowly making their way into Media Composer. This version looks to be no exception, as the audio abilities of the program now go above and beyond the competition.

Lastly, Avid has dropped the price of Media Composer to $1000. While it’s still a cut above the measly $300 for FCPX or Adobe’s $30/month, the toolset is extremely high-end (especially considering that it comes bundled with Avid DVD and Sorensen Squeeze), and it’s one that you’ll find in just about every major post production house. Familiarity with the software is something that can potentially land you an editorial or assistant job, so with its lowest ever price point, right now could be the time to hop aboard the Avid train.

What do you guys think? If you’re already an Avid editor, do these new features have you excited about the future of the program? If you haven’t yet tried Avid, does this new version (and its new price) make you inclined to try it? Let us know in the comments.

Link: Media Composer 7 — Avid 


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Description image 58 COMMENTS

  • Peter Kelly on 04.9.13 @ 6:44PM

    some dodgy editing in that product video

  • “committed to the professional”. I’m not sure, but I think they might be trying to slam another company (or two) here.

  • Lord of Darkness on 04.9.13 @ 6:57PM

    Our prayers have been answered…

  • Gian Ciammariconi on 04.9.13 @ 6:59PM

    You left the best part out, they reduced the price from 3000$ to 999$!

  • The AMA Dynamic media management sounds like a god send.

  • When’s it out?

  • Nigel Thompson on 04.9.13 @ 9:08PM

    I left avid editing in 2001….. It’s time to go home ….

    And the editing in that promo was not bad I’ve seen much worse trust me

  • How has MC been the “professional standard” if it hasn’t been able to edit 4k?

    • How many places do you know that are broadcasting in 4k? Even Hollywood class post production houses largely work in 2k still. Also, can anyone confirm if the price reduction is permanent, or temporary NAB promotional pricing?

      • It’s a permanent offer. They simply dropped the price, they couldn’t keep chargin 3k for that program when the other NLE are bastly cheaper. It will ship in June but if you buy now a MC 6.5 you will get a free update to MC7. Go to avid website and you’ll see it. :)

        • Fantastic news, Been using FCPX because of its amazing price, but damn is it fustrating to use at times. Adobe stuff is completely price gouged out of the realm of mortals in my region, A Human attainable price on an industry leading Editing suite is fantastic!

          • …Adobe costs $30/mo. with their latest promotion. That’s hardly outrageous, especially if you’re considering plunking down $1000 on AVID – which has plenty of its own headaches.

          • @Hummer (not sure why I can’t reply to yours) $30/month is the US price, It’s closer to double that where I am, which is just too much $$/month

      • Jonathan Swan on 08.20.14 @ 5:50PM

        Well, at my place we shoot natively in 4K (Prores 4K, Cinema DNG 4K from FS700 or BMC, 5K from Epic..) and we MUST edit with the same files, in order to save time and therefore money, for most of our files (Prores, Redraw) we can do that, but not with Avid of course. That’s why we don’t use it, and the other reason why we don’t use it it’s because it can’t EXPORT in 4K. We don’t export HD since 2011 and Adobe Premiere C5.5 ….everything we export now is in 4K minimum…….And it’s been like that for 3 years..

    • Because:
      1. Most professionals don’t finish in 4K yet.
      2. To do final color & full res finishing, they send their edit to separate finishing applications anyway that handle the final touches.
      Media Composer is a professional standard because of its creative editing and collaboration tools. Not its finishing tools. Think about it: a good word processor doesn’t need to be a good desktop publisher or HTML website creator. Often, the best word processing apps are focused on writing, not finishing.

      • this is talking

      • Not to mention it’s stability. It’s a tool you can count on to almost never crash when it matters most. I don’t use it anymore, but the stability is the #1 thing I miss from Avid. Nothing comes close.

        • Sincerly Avid is the less stable soft of the three A, Adobe is not stable either, I’m not a huge fan of FCP X but at least when it crashes, it comes back like nothing happened and that’s pretty cool.

          I also forgot in my last post to talk about the #1 feature of Adobe, the dynamic link with AE that again prevent us from losing precious time and therefore money, because at the end of the day, the only that matters is Money.

          It’s sad, but we have to make a living right?.


      • 1) Not true not wrong, here at my production house we’re doing everything in 4K, corporate, advertising, short films, documentary and that since 2011 and Adobe Premiere CS 5.5. Professional is not only the guy working on features films but also the ones working in ad, corporate and short films. Shooting 4K for us since 2011 is a way to get new clients by offering solutions that none of our business competitors can do, the only ones that can work in 4K are the feature film post-houses and they are on the same market as we are. That’s why we’ve choosen Adobe Premiere over MC.

        2) Not true at all, when I was working as an simple assistant editor 4 years ago, the color grader sent me the master in ProRes HQ in HD and the mixer sent me the AIFF files with the different mixs (french, english, international) and I put them back together and then export them again. So the final export should not be done in a color grading software but in the editing software in a new timeline with the visual master and sound master files in order to have them in the editing project for organization purposes. That’s also why we don’t use MC as it can’t export 4K and we only export 4K since 2011. BTW we could have been working in 4K since a long time ago as it came thanks to RED…

        And to answer further questions, we don’t work in HD because we use cameras that record in 4K or more (F55, Red) and if we had to work in HD we would lose time (and therefore money) because you have to transcode your files, then you need to back-up them, it make us lose time and money, so it’s simple to work in 4K even though the client want a final export in HD they got both, they the HD one and the 4K one, as we are the only one in france to have that for the same price as HD, we get more client.

        Time Changes..

  • Anthony Marino on 04.9.13 @ 10:18PM

    You learn avid you can edit on anything.

  • Enoughting attracts me back to Avid, MC7 just not seem a bit lack luster and still over priced. This thing about been better or more creative usesing MC or a matter of fact any NLE software is, it is you mind that bring forth been creative , the Software is the tool.

  • What is it about Avid editors that they see themselves as so much better than any one else?

    As someone pointed out above, the NLE is just a tool. Sure some might be better than others but its the skill and creativity that counts, right?

    • AVID is heavily focused on collaborative workflows, so line editors on large productions appreciate it immensely. Independent or smaller-scale production houses see it as unnecessarily expensive and having a somewhat archaic, unintuitive interface.

      So it’s just different needs for different folks. At the end of the day, no one on the audience end or the client end really knows or cares which program you used to edit as long as they’re satisfied.

    • Al T. Netid on 04.18.13 @ 10:13AM

      “What is it about Avid editors that they see themselves as so much better than any one else?”

      Maybe because they are editors as opposed to owners of Macs.

  • This is great news. Everything they’re doing is moving things forward!

  • After MC-7 they’ll release MC-X which will have a “Fisher-Price” GUI and be incompatible with previous versions.

  • Hahaha oh my goodness, this video made me realize how poorly suited a fast-paced promo video is for postproduction software… it was basically EDITORS! CROPPING! WAVEFORMS! GAIN! TRIM A CLIP! EDITING SUITES!

    … and now we’re done.

  • Currently I am only used to working with Adobe Premiere. In what ways is Avid better than the more mainstream/consumer editing suites?

    I have always regarded Avid as being very high-end and expensive software, only to be used in professional environments. But the new price does seem to open up the software to filmmakers that only do it as a hobby (such as me at the moment).

  • I gotta bookmark this internet site it seems extremely helpful invaluable

  • Hey,

    Does someone know about the requirements for the machine? 64bit sounds like a few requirements to me… are we going to be able to edit on a mac book pro or we’ll simply have to go ahead and use the hackintosh guide on

    • Chris-
      Macbook Pro should be fine. You may need to boot into the 64 bit kernel mode if your machine default starts in 32 bit. There is a terminal command to switch the default but I can’t remember it, but I’m sure you can figure it out. Here are the system requirements for version 6, and I’m guessing v.7 won’t be dramatically different:

  • Rob Manning on 04.17.13 @ 1:20PM

    I had a back and forth with a writer for the LA Times, over a fluff push piece before the NAB week. He was touting FCPXs re-roll out, of a roll out, basically lifting the talking points press released, threaded with interviews of the featured users and PR person from the company.

    His reply e-mail alluded that AVID had not made a profit since 2005, which I had pointed out was a result of purchasing debt laden DigiDesign (bought M Audio for entry level demographic and PC segment), and at that time, the migration to FCP and less a factor, to Logic by Apple.

    Both of these companies, which used to dominate the first few acres of South Hall were gone from NAB by 2009. AVID because of their slow transition from hardware, and Apple because they had morphed into a hand held device company and were not pursuing the ones that brung’ em’ to the dance.

    That was an epoch ago but variously, on other forums, I have been reminded that most features are cut on AVID, not Premiere, not FCPX.

    That might be true, but in any event, I migrated to Premiere only because at that time a few years ago, the files I needed to cut when getting my feet wet in editing, would not open in AVID’s demo, so Premiere, is what I’ve become acclimated to.

    I hope they do well.

    • Debt-laden Digidesign? Where do you guys get this stuff? Avid purchased Digidesign in 1995. It’s well known within the industry that the audio side of the business was the cash cow that kept the Avid alive for many years.

  • when i first started editing i started in media composer, but when i was introduced to final cut pro, i left avid and went with final cut pro, but when final cut x came in at 1st i thought about going back to avid, and of course not premiere cause i hate this editing system i think it is for weddings and small stuff, but when final cut X update 10.0.6 came in, it was all good again, and now what i am seeing is most of the features avid are happy with, they are all found in final cut x, and Avid went the in the same direction of Final cut x, so why should i follow the follower and not the creator and on the other side the price is 999$ whereas Final cut pro X is the father of the new editing systems now and is less than half the price of avid and you can buy a matrox for full editing comfort for 2500$ and not being committed into getting an avid mojo dx for 10,000$, so money wise final cut X is better, and for all the features Avis is proud of in their media composer 7 Edition, they are found in final cut x from more than a year so whatever avid is doing final cut x is more than a year a head, this is not like the past times where Avid was the founder and all other softwares where following there footsteps, know Final cut X made the new Editing platform and now Avid is following the footsteps of final cut pro X.

    • roland… BULLSHIT

      • Al T. Netid on 04.22.13 @ 3:23AM

        @landro – +1, roland clearly has no idea what he’s talking about.
        Avid MC
        That MS video editor thingy

        in that order.

    • Paul Maddison on 04.27.13 @ 9:53AM

      If Avid media composer was taking the best features from FCPx, such as simple media management, then I would definately upgrade my MC6 to version 7. I have become fed up with the instability of FCPx, especially after the timeline is 10 mins or more while containing compound clips, effects and multiple color adjustments. I was working recently on a 30 minute segment and had to put up with multiple crashes. Thankfully we can export as xml to Resolve. Avid is far more stable, it’s just more for me to get my head around, and my BCC addons need to be upgraded to work with anything above 5.5 (more cost). My plan is to leave mac dependent software and get something cross platform. I have only test run CS5.5 and didn’t like it, although loved the color sampling tools. Many forums have a lot of nice things to say about CS6 over CS5.5, So i think my choice will be between MC7 and CS6. If I didn’t care about cross platform compatibility I would go back to Edius. I am interested in any further advise as to how CS6 may be a more suitable option for a small time editor with no more than two computers on a single project.

  • Sony Vegas is the best Video production software with DVD Architect for blu-ray and dvd authoring, and all toooooools have in sony vegas pro 12 like avid media composer, and very easy to use and very light on computer like a very small software, you should try it…..thanx

  • I have edited on Avid since 97 and have many decades of editing experience. I have used FCP and have Premier. I would choose Premier over FCP hands down. Now both FCP and Premier will have problems in the media management department when you are handling a large project wiht hundreds of bins like a movie. Those programs will fall apart under such pressure where Avid shines in that department. The 6.0 64 bit is a vast improvement and I have not crashed once on a power Mac. In a fast post enviornment Premier cant hold up and has no media management system for a work flow like a movie. If you want to make a decent living editing you must learn Avid and you will be able to take on any job. The 4K will work on 7.0 but remember we are not a 4k world as of yet.

  • Maybe its just me but I think video editing is a very visual task (LOL who would have thought!) and Avid is pretty damn visually ugly…I mean really both FCP X and Premiere Pro are just way easier on the eyes and have lesser learning curves. I’m working with Avid MC 7 right now since I figured I need to know how to edit on Avid and I like allot of its features, particularly the ease of collaboration and sharing options but Its so hard on the eyes! I like it over Premiere so far though.