User manual
Avid Media Composer 8 & FilmLight

User Manual for Avid Media Composer 8 & FilmLight Baselight Editions Kit

• Product category: Video Editing Avid
• Brand: Avid
• Description and content of package
• Technical information and basic settings
• Frequently asked questions – FAQ
• Troubleshooting (does not switch on, does not respond, error message, what do I do if...)
• Authorized service for Avid Video Editing

Product description

• Avid Media Composer 8 (Standard, Perpetual, Direct Download) Avid Media Composer 8 is a 64-bit non-linear editing system that allows you to work – without transcoding – with most file formats and resolutions, including SD, HD, stereoscopic (3D), 4K, and beyond. It also features built-in effects, transitions, and titling tools. With Media Composer 8, you can mix and match different formats, frame rates, and resolutions in the same timeline without rendering. Media Composer 8 features Full 4:4:4 HD RGB support, color correction tools, and ProRes encoding (Mac version only). You can install your choice of the Mac or Windows version.
  
  Featuring built-in support for stereoscopic/3D footage, Media Composer 8 is a full-fledged stereoscopic editing system. It is also compatible with a wide range of effects plug-ins. It features a multicam editing mode for cutting between 9 cameras simultaneously. For audio support, Media Composer features built-in 7.1 surround sound support and audio mixing of up to 64 audio voices. It also features improved audio keyframing on the timeline and supports Pro Tools RTAS plug-ins. It supports available Avid and non-Avid hardware I/O cards and devices and includes access to the Media Composer | Symphony Option, Boris Continuum Complete Lite, NewBlue Titler Pro v1, Sorenson Squeeze, EDL Manager, and FilmScribe. Note: This version is a standard, perpetual (non-subscription) license of the latest version of Media Composer 8. With your purchase, you'll be able to directly download and activate the software right away.

  What's New for Version 8.4

  • Custom Projects
    Avid now supports projects ranging from 256 x 120 to 8192 by 8192. Stereoscopic projects must have a height divisible by 4 and width divisible by 8. Custom project sizes can be saved as presets.
    
    Terminology Changes
    AMA is now referenced as Link in the editing application. All import and export settings for scaling of color levels from full range (RGB) to legal range (video) have been updated with more intuitive terminology.
    
    Adapter Display in Timeline
    The source side adapters icons are now represented individually so that you can quickly see which adapter has been applied to the clip. The display of these icons can be turned on/off individually.
    
    Refresh Sequence All
    The More tab of the Command Palette now has a Refresh Sequence ALL button that can be added to your Timeline toolbar and mapped to your keyboard.
    
    AAX Factory Presets
    The editing application supports Pro Tools presets for audio track effects.
    
    Alpha Support for QuickTime Wrapped DNxHR
    This release includes Alpha support for QuickTime-wrapped DNxHR media.
    
    Inactive Audio Tracks
    You can choose to include inactive audio tracks in the export process.
    
    Transcoding Media
    In previous releases, you could transcode with the media's original frame rate only when working with greater than HD projects. With this release, it now also applies to SD and HD projects.
    
    Deleting AMA Metadata Files
    You can now delete metadata files associated with linked master clips.
    
    Four Channel Audio Monitoring Options
    Additional options have been added to the Audio Mixer tool that tell the editing application the number and position of speakers connected to your workstation. The output of the sequence set in the Sequence Mix Mode is mixed into the speakers available according to one of these modes.

  What's New for Version 8

  • New Application Manager
    Lets you see what Avid software, AMA plug-ins, and related third-party applications you have installed on your system. Get notified when new updates, upgrades, and renewals are available. Activate and download new software, updates, and upgrades from the interface. And if you're interested in a new product or upgrade, you can even see if a software trial is available to try it out first. It will even alert you about special offers, upcoming webinars, and events.
    
    Workflow Acceleration with FrameFlex Tools
    Allows you can immediately start working in HD directly from high-res sources, such as 4K, and maintain full creative control of the image reframing and keyframing, from beginning to end. In addition, 1D/3D Look Up Tables (LUTs) and Color Decision Lists (CDLs) make it simpler to perform real-time RAW and LogC to Rec. 709 color space conversions.
    
    Automated Media Management
    Gain more time for creativity with new features that accelerate and simplify file-based workflows. With Dynamic Media Folders, non-creative media tasks such as transcoding, copying, and consolidating can be automated in the background, without disrupting your editorial flow.
    
    Edit and Collaborate Remotely in Real Time
    Edit, share, tag, track, and sync media and projects with everyone on your editing team. No matter where you are in the world, Media Composer enables you to connect to Interplay Production systems through Media Composer Cloud. What's more, you can edit just as efficiently as you would if you were all at the home facility, using the same familiar tools and workflows.
    
    Master Audio Fader
    You can insert RTAS plug-ins to tweak tones and optimize the overall program loudness, making broadcast regulation adherence quick and easy. You can also now make audio adjustments to any clip directly in the timeline-independently of any track-based automation with the Clip Gain control.
    
    Improved Pro Tools Interoperability
    Video Satellite is now included with Media Composer, enabling audio editors and mixers to play Avid HD and SD video sequences directly in sync with their Pro Tools session, while maintaining full system power.
    
    Additional New Features
    
    • Create cut lists and EDLs from within Media Composer
    • Do multicam editing in stereoscopic 3D
    • Get 9-way real-time multicam support for Long GOP (XDCAM) media
    • Select multiple clips in the timeline without the filler
    • Edit without interruption with new audio waveform caching
    • View location sound metadata from Broadcast Wave files with support for iXML
    • Deliver finished sequences to a standardized AS-11 (AMWA) MXF OP1a file
    • Work with Alpha channel media using the new AMA QuickTime with Alpha plug-in

  Editing

  • Full 64-Bit Power
    The 64-bit architecture of Media Composer provides more processing power, larger editing bins, and a smoother editing experience with less waiting than with a 32-bit system.
    
    Work With Virtually Any Media
    File-based media, 2K, 4K, and 5K footage, analog and digital tape, stereoscopic 3D material, film - Media Composer supports it all. With diverse editing tools and a wide range of features, workflows, and options you can work with nearly everything, from old-school media to the latest camera technologies. Plus, you can work in HD from a high-res source without having to transcode or resize files.
    
    No Transcoding with AMA
    With AMA (Avid Media Access), you can instantly access and edit file-based media, including ARRI ALEXA MXF, RED (EPIC, SCARLET-X, and ONE) files, AVCHD, ProRes, QuickTime (including footage from HDSLR cameras), XDCAM, P2, Canon XF, and other formats.
    
    Editor-Focused Tools
    Trim and manipulate on the fly using the Smart Tool, or perform ultra-precise edits using traditional tools. Mix and match media formats, frame rates, resolutions, and more in the same timeline without rendering. And edit HD material in real time using Avid DNxHD or DNxHD 444.
    
    Edit 3D
    Edit stereoscopic 3D material as quickly and easily as you do with standard 2D footage. Capture, edit, and manage the complete 3D end-to-end workflow. In addition, you can mix and match 2D and stereoscopic 3D clips on the same track, and it features full-fledged editing tools and video effects for stereoscopic post production.

  Workflow

  • Accelerate Performance with Avid Hardware
    Pair Media Composer with a Nitris DX or Mojo DX video interface - both separately available - for the fastest possible workflow when ingesting and editing certain formats. You can even customize Nitris DX with up to two Avid DNxHD or AVC-Intra chips to fully support stereoscopic 3D and HD RGB 4:4:4 workflows.
    
    Third-Party I/O Support
    Media Composer also supports many third-party video capture and outputs cards, including those from AJA, Blackmagic Design, Bluefish444, Matrox, and MOTU.
    
    Avid Marketplace
    Browse for stock footage, plug-ins, hardware, and more - right from within Media Composer.

  Audio, Color Correction, and Finishing

  • Audio
    With built-in audio recording, editing, and mixing tools you can:
    • Record and monitor voiceovers, overdubs, and more using select, separately available Avid audio interfaces
    • Edit and mix in up to 7.1 surround sound
    • Polish sounds with 20 included AIR effects - the same plug-ins that come with Pro Tools
    • Expand your sound with compressors, reverbs, and other sound processing plug-ins, many of which can be purchased within Media Composer from the Avid Marketplace
    
    Color Correction and Grading
    A fully integrated 10-bit color correction toolset lets you:
    • Quickly and accurately match colors from shot to shot using NaturalMatch
    • Gain better color precision with support for full-quality 4:4:4 HD-RGB color space processing
    • Get fine control over shots with animatable color correction
    • Speed up your color work with Artist Color
    
    Transcode and Export
    With Sorenson Squeeze Lite included, you can optimize media for the playback-online or on disc. Prepare and optimize content in a variety of formats, including HD, DVD, MPEG-2, MPEG-4/H.264, Flash, and 3GPP.
    
    Broadcast AS-02/AS-11 File-based Output
    Support for AS-02/AS-11 MXF formats through AMA means you can manage multiple versions of the same sequence easily, as the AS-02/AS-11 container packs everything into a single bundle without duplicating assets, saving storage space. Seamlessly move content between Avid and other systems that support the formats. Use JPEG 2000, DNxHD, IMX, AVC-Intra, and uncompressed media in your versioning/archive workflow. And because the formats are open industry standards, you'll eliminate time wasted on repackaging content.

  Bundled Software

  • Media Composer | Symphony Option, Sorenson Squeeze Lite, Boris Continuum Complete Lite, FilmScribe, NewBlue Titler Pro v1, EDL Manager
    
    Media Composer | Symphony Option
    With the Symphony Option you gain access to a full suite of advanced color correction tools. These tools allow you greater control over your image and more flexibility and speed in completing the color correction process.
    
    FilmScribe
    Helps manage the complex metadata associated with film and digital cinema workflows, beyond what a simple CMX EDL (edit decision list) can offer.
    
    EDL Manager
    Allows you to export timecode metadata for use in third party applications.
    
    NewBlue Titler Pro v1
    Allows you to create dynamic 2D and 3D titles to add visual value to your projects.
    
    Boris Continuum Complete Lite
    Effects software allowing you to create 2D and 3D motion graphics.
• FilmLight Baselight Editions (Download) Consisting of Baselight for Avid, Baselight for Final Cut Pro 7, and Baselight for NUKE, FilmLight Baselight Editions provides the same core toolset as the standalone Baselight system, with the same graphical user interface, but as a plug-in for Media Composer/Symphony, Final Cut Pro 7, and NUKE. You get one license that allows you to use Baselight in all three hosts at the same time as long as they are on the same computer. Baselight Editions share the same data structures as the standalone Baselight system and allow projects to seamlessly be transferred and shared between users and facilities.
  
  Work directly in the Avid/FCP/NUKE timeline in a flexible, tightly integrated workflow. Enjoy unlimited layers of colors, grading inside and outside mattes, variable feathering, point tracking, and area tracking -- all live and fluidly interactive on the timeline. Baselight for Avid is compatible with Mac and Windows Avid hosts, and Baselight for NUKE works in Mac, Windows, and Linux NUKE versions.
  Key Features
  • 
    Layer Blending
    Blend the output of a previous layer into the current layer by any amount you choose and using any of the available Photoshop-style blend modes, such as Mix, Add, Lighten, Darken, Overlay, Screen, and others.
    
    Instant Grade Recall
    The Scratchpad is designed for fast and simple saving and retrieval of looks (or grade stacks). Grab versions of stacks, cycle through Scratchpad slots, compare two versions, or show all versions for a quick, at-a-glance view of the Scratchpad contents.
    
    Support for Control Surfaces
    Baselight Editions support the optional FilmLight Slate grading control surface, which can be completely customized to your preferred way of working using the FilmLight Chalk application. Baselight Editions also supports the Avid Artist Color, Tangent Element, and Tangent Wave panels.
    
    Unlimited Layers of Color
    Baselight can be applied to any or all clips in your timeline allowing you to add multiple grading layers to each shot. There is no limit to the number of layers you can stack, allowing you to build up complex corrections to obtain the exact look you require.
    
    Built-In Keyers and Matte Generation
    Two separate grading or filter effects can be applied inside and outside of a matte, within any layer of a Baselight grading stack. Mattes are generated using a combination of built-in luma/chroma/3D keyers, bezier shapes, and various modifiers, allowing full adjustment of roll-off, softness, choking, and more. Baselight also provides variable shape feathering, so shapes can have differential softness, but without ever suffering from folding and edging.
    
    Color Space Management
    Baselight's Truelight Color Spaces allow color space conversions to be performed with the speed, accuracy, and dynamic range permitted by native floating-point GPU functionality. They can be defined externally of Baselight formats, and have a powerful function set that allows complex transforms generally only possible with 3D LUT mechanisms.
    
    GPU Scopes
    Baselight includes built-in Vectorscope, RGB Parade, YCbCr Parade, and Luma Waveform displays plus a high-precision Histogram. Accurate levels are displayed along with an indication of 'illegal' colors. Each scope can be displayed within the Baselight UI.
    
    Automated Tracking
    Baselight's automatic tracking system provides several options so you can track objects throughout a shot: one-point, two-point, or the area-based tracker. The area tracker allows you to define an area in the image rather than individual points and the system will accurately track the translation, rotation, and scale of the object.

• Media Composer 8 (Standard, Perpetual, Direct Download) awrtezbedxfubqerwwrbydtttqeq

• FilmLight - Baselight Editions (Download)

Upload User Manual

Please enter here the link to the user manual of this product: OR Enter here the file with the user manual of this product from your computer/phone: (60MB max; Permitted formats: PDF) 0%

Technical parameters

• Avid Media Composer 8 (Standard, Perpetual, Direct Download)

  Native Codec Support	Avid DNxHD 444 All DNxHD 444 Formats Avid DNxHD All DNxHD formats Avid Compressed SD Resolutions AVR (playback only) 15:1s, 4:1s, 2:1s 20:1, 10:1, 3:1, 2:1 35:1p, 28:1p, 14:1p, 3:1p, 2:1p 4:1m, 10:1m, 3:1m(p), 8:1m(p) Avid Proxy Formats Interplay MPEG-2 proxy, MPEG-4 proxy, 720p H.264 proxy (transcode service only) Canon XF 50 Mb/s, 4:2:2 DV DV25 / DVCAM (25 Mb/s): 4:1:1 NTSC, 4:1:1 PAL, 4:2:0 PAL, 24p DV50 (50 Mb/s) HDV JVC HDV (19 Mb/s) 720p Sony HDV (25 Mb/s) 1080 @ 24p/25/50i/59.94i Canon HDV 1080 at 24p/50i/59.94i Native project formats: 1080i/59.94, 1080i/50, 720p/23.976 (with support for 24p material), 720p/25, 720p/29.97, 720p/50, 720/59.94 Capture over IEEE-1394, edit, playback, export to file without timecode Ikegami GFCAM GFCAM 50 Mb/s GFCAM 100 Mb/s JVC ProHD Microsoft VC-1: VC-1 (edit/playback on Intel Macs only) Panasonic AVC-Intra Panasonic DVCPRO (SD) DVCPRO 25 Mb/s DVCPRO50 50 Mb/s Panasonic DVCPRO HD DVCPRO HD 100 Mb/s AVC-Intra (baseband capture over HD-SDI requires AVC-Intra encoding module with Avid Nitris DX-sold separately) Native project formats: 1080i/59.94, 1080i/50, 720p/59.94, 720p/50, 720p/25, 720p/23.976 ProRes ProRes encode (Mac only) and decode Full metadata support Sony XDCAM (SD) DV 25 Mb/s IMX30 30 Mb/s IMX40 40 Mb/s IMX50 50 Mb/s Full ancillary data support through AMA Sony XDCAM EX MPEG 25 Mb/s CBR MPEG 35 Mb/s VBR Full ancillary data support through AMA Sony XDCAM HD MPEG 18 Mb/s VBR MPEG 25 Mb/s VBR MPEG 25 Mb/s CBR MPEG 35 Mb/s VBR MPEG 50 Mb/s CBR MPEG-4 Proxies Full ancillary data support through AMA
  Supported A/V Plug-In Formats	Audio RTAS (Real-Time AudioSuite) AudioSuite Video AMA (Avid Media Access) AVX 2 (Avid Video Extension)
  Uncompressed SD and HD Video	SD 1:1 interlaced 8/10-bit 1:1 progressive 8/10-bit HD 1:1 8/10-bit YUV 4:2:2 RGB 4:4:4 (via dual link HDSDI)
  File-Based Support	ARRI ALEXA MXF AVCHD Full native direct access to AVCHD media and metadata Native editing of all listed formats Canon XF Full native direct access to Canon XF media and metadata Native editing of all listed formats (see "Native Codec Support") Ikegami GFCAM Supports MXFand OP-Atom Wrapper Full native direct access to GFCAM material and metadata Native GFCAM editing of all listed formats (see "Native Codec Support") Direct edit of GFCAM media from GFPAK cards or disk drive JVC ProHD MXF Full native direct access to MXF media and metadata Native editing of all formats Panasonic P2 Supports MXF and OP-Atom Wrapper Full native direct access to P2 media and metadata Native DVCPRO HD and AVC-Intra editing of all listed HD formats Direct edit of P2 media from cards or disk drive Support for P2 Store Write-back of finished program to P2 media (Windows only) QuickTime Full native direct access to QuickTime media and metadata (including Canon 5D and 7D media) Full native ProRes encode (Mac only) and decode support Native editing of all listed formats (see "Native Codec Support") Direct edit of QuickTime movie files RED Full native direct access to RED (.R3D) media and metadata (frame size scaled to HD) Full native direct access to RED ONE, EPIC, SCARLET-X (5K/4.5K/3K2K RAW, 1080p RGB, and 720p RGB) material Native editing of all listed formats Direct edit of RED (.R3D) files from a RED-FLASH card or RED-DRIVE Sony HDCAM SR / HDCAM SR Lite / HDCAM SR-SQ Full native direct access to HDCAM SR Lite media and metadata Native editing of all listed HD data rates (see "Native Codec Support") Sony XDCAM / XDCAM EX / XDCAM HD / HD420 Supports MXF and OP-1A Wrappers for all but XDCAM EX; XDCAM EX supports MP4 wrapper Full native direct access to XDCAM media and metadata Support for optical media and SxS cards Native editing of all listed SD and HD data rates (see "Native Codec Support") Full ancillary data support Import via File Access Mode (FAM) over IEEE-1394 Ingest via FTP client over Ethernet Play-out and Write-back of finished program to XDCAM media

  Computer	Avid-qualified Windows- or Mac-based computer.
  Operating System	64-bit OS: Windows 10 (Professional and Enterprise), Windows 8.1 (Professional and Enterprise) or Windows 7 Professional (Service Pack 1) Mac OS X 10.9.5 or 10.10.x or 10.11.x (with Media Composer 8.4.1) Note: Avid does not supply support for non-Avid-qualified systems.
  Processor	Intel Quad Core i7 or Quad Core Xeon processor
  Memory	4 GB RAM minimum (6+ GB recommended) 8 GB RAM minimum required to support Interplay Sphere, background transcoding, and Dynamic Media Folders 16+ GB RAM recommended to support full-frame stereoscopic 3D, simultaneous background transcoding, Dynamic Media Folders, FrameFlex 4 K workflows, Raw format AMA plug-ins, Long GOP media editing, and other high-performance workflows
  Graphics Card	Mac Nvidia GeForce family (recommended), Intel HD4000, or ATI Radeon family (as supported by Apple) Windows NVIDIA Quadro FX family3 (Q600 or higher recommended), Intel HD4000 NVIDIA cards are recommended; full-screen playback requires a minimum of 128 MB of graphics memory.
  Internal Hard Drive	Minimum 250 GB, 7,200 rpm SATA drive or 128 GB SSD
  Compatibility	QuickTime: Avid has tested and qualified Apple QuickTime X for Mac users and QuickTime 7.6.9 for Windows users Windows Media Player: Microsoft Windows Media Player 11 is required to export certain formats and to work with VC-1 material

• FilmLight Baselight Editions (Download)

  Host Compatibility

  Avid Media Composer and Symphony (Mac/Win) Apple Final Cut Pro 7 (Mac) The Foundry NUKE (Mac/Win/Linux)

Rating

Discussion