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The other factor is whether your workflow is a part of a larger production workflow with many moving parts. Of course, there is the part where you would need to learn another program, so that would have to be factored into a decision to switch applications. ![]() On one hand, there are a ton of editors who want consistency and improvement in small increments, but if you never own the product and there is something else out there that can do it just as well (or better), there isn’t a compelling reason to keep using a particular product. However, when you are continually paying for something, you would expect the product to evolve. The updates did work as they should, and we are happy they made them. #BUY AVID MEDIA COMPOSER UPDATE#If you are subscribing to the product, why is it mostly the same update after update?įor some, the updates over the last year could be very helpful. They also allowed a user to resize windows as they see fit. #BUY AVID MEDIA COMPOSER PRO#NDI has already been supported for Final Cut Pro and Premiere Pro for a while now. In July, Avid incorporated the ability to send video over IP with NDI, giving users the option to send audio and video from Media Composer to an NDI device over a local network. Lastly, if you work with DPX files, Avid says Media Composer now exports DPX files up to 10 times faster than before. #BUY AVID MEDIA COMPOSER FULL#This update also supports the new DNxUncompressed format, which Avid says is “… used for import, transcode, mixdown, and render, enabling you to work with camera originals and apply and render color corrections and VFX while maintaining the full bit depth of the media”. The September update saw the addition of unlimited video playback streams for powerful computers. And lastly, Media Composer now works better with DPX files. Again, this is something that Final Cut Pro and Premiere Pro have had for a long time. You’re also now able to save bins in the background - kind of hard to believe this wasn’t already a feature. Although it’s been greatly improved over previous versions, Final Cut Pro and Premiere Pro have both had this type of titler built in for years.Īvid also updated Multicam editing groups to allow you to make adjustments to multiple clips at the same time, even with mixing frame rates. In December, we saw an update to the titling tool- not revolutionary. Let’s start with the latest update and go back in time to the beginning of 2018. Don’t get me wrong, there is some good stuff in there, but when you strip the marketing language away from the updates, there isn’t too much that’s especially innovative or exciting. Each had a different focus, however, they all had one theme: Prepare to be underwhelmed. What’s new in 2018Ī few times over the last year, Avid has released a new set of updates for Media Composer. #BUY AVID MEDIA COMPOSER PROFESSIONAL#This is lower than previous plans and Avid says the new pricing is targeted towards “aspiring and professional editors and filmmakers who work independently and need advanced editing tools.” When you look at subscribing to just Premiere Pro in the same tiers, Avid matches or beats the price. ![]() It gets even cheaper if you pay for a whole year up front for $200 flat. Commit to a year and it’s five dollars cheaper at $20 per month. Currently, if you want to subscribe to Avid Media Composer and want to pay month to month, it will set you back just $25 a month. ![]() The new pricing is the biggest change, as updates are released quarterly. That said, this update does a good job at keeping up with the industry. Now matching the monthly cost of Adobe Premiere Pro CC, Avid has held onto the high-end pro market for Hollywood editors, but its grip is not nearly as firm as it once was. With the newest release of Media Composer, Avid is beginning to regain its footing as a competitive option for aspiring and professional video editors. ![]()
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