- #Current avid media composer 8 how to#
- #Current avid media composer 8 install#
- #Current avid media composer 8 update#
- #Current avid media composer 8 portable#
In this example, I’m using RED media, which like most high-resolution cameras, uses a very specific file structure that includes many folders. Once you’ve set your target bin, use the left-hand side of the browser to navigate to your source media. In the drop-down menu, you can set which bin you’d like your linked clips to end up in or even create a new bin. In the lower right corner, notice the setting for Target Bin. Make sure the Link option is selected in the lower left corner. Open the Source Browser (File > Input > Source Browser), which allows us to browse for files to either import to or link to.
#Current avid media composer 8 install#
Once you install the plugin for your specific camera media, the process of linking and creating proxies is the same for each plugin. If you’re not sure if you’ve already installed a specific plugin, you can check by opening the Project Window (⌘9) and clicking the Info Tab. You can find a list of downloadable plugins on Avid’s AMA page.
#Current avid media composer 8 update#
Though a few standard plugins come bundled with Avid, like one for Quicktime Media sources, most have to be installed manually, which allows camera manufacturers to update them with each new camera release. Installing AMA Pluginsīefore we can actually link media, we need to download and install the correct AMA plugin for our source media. In some cases, linking also provides more control over your media, like with RED footage, where linking with AMA allows you to access and edit color profiles for the raw media. When working with high-resolution camera media, it’s generally best practice to maintain the original folder structure, especially if you’ll be color correcting in another application like DaVinci Resolve. Importing source media creates new MXF files that are placed and managed within the Avid MediaFiles folder, on whichever drive you’ve specified in your Import Settings, and does not maintain original file and folder structures. Linking to source media allows us to take advantage of AMA (Avid Media Access), which links the file-based media directly into a bin through a plug-in, leaving it in place on the hard drive and maintaining all file and folder structures.
There are two ways to bring media into an Avid project:
How do we get started? By bringing some high-resolution media into the project. Here, we’re going to dive into the details of how Avid in particular deals with proxies. Proxies are lower-resolution copies of your media that are created in one of two ways-either by transcoding raw media to an intermediate codec or by simultaneous in-camera proxy recording, a standard feature on many high-end cameras, like the RED Epic.Įditing with proxy media is commonly referred to as an offline edit, while the process of relinking back to the full-res media at the end of a project is called the online edit.Ī previous article explains in detail why using proxies is awesome and how they fit into an overall postproduction workflow. We’ll also talk about Avid’s proxy mode timeline setting, which we can combine with proxy media to get even better performance.
#Current avid media composer 8 how to#
With its built-in proxy workflow, Avid Media Composer makes editing with high-resolution media as painless as possible – you can do it all without ever leaving the program or interrupting your work.īy the end of this article, you’ll understand how to use the source browser to link to high-resolution camera media, transcode that media to lower resolution proxies, and relink back to the original media when necessary.
#Current avid media composer 8 portable#
Proxies give you tons of flexibility – they increase playback and editing speed without forcing you to sacrifice quality, allow you to edit seamlessly on laptops and lower-powered computers, and drastically reduce file sizes, allowing you to take your projects with you on a portable drive.
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