As my website is not pretty solidly devoted to video post-production I’ve decided I’m going to rebrand it a little to be more clear. As a part of thing change I’m also hoping to keep this site updated a lot more regularly.
It’ll be a little changable around here for a week or so while I pull it all together, but all the existing links will continue to work.
Yesterday I posted a very brief summary of the workflow for Canon DSLR clips in Avid Media Composer 5.0, today I am following it up with the same demonstation for R3D media from the RED One camera.
R3D Media in Avid Media Composer 5.0 from Dylan Reeve on Vimeo.
A few weeks ago I wrote a post called Avid Media Composer in a DSLR World which detailed the various workflow options for working with DSLR media (mainly from Canon’s insanely popular 5D and it’s siblings). In that post I mentioned that the upcoming Media Composer 5 would change it all, and it really has, so here’s the update…
I’ve just received a copy of Avid Media Composer 5.0 – it’s a bit like Christmas!
I’ve had a chance to try some of the big new features – AMA linking to RAW RED media and Canon DSLR clips, but it’s going to take me a while to dig right into the new features – I may even have to read the manual!
An alert user on the Avid forum noticed this small quote in a Studio Daily post about senior Avid managers meeting with users:
Our goal is clearly to be more open. [...] We’re providing the SDK (software development kit) to 3rd party vendors so they can create drivers for Avid. Whether it’s AJA or Blackmagic… Everyone has their own favorite. We recognize the need for low-cost I/O. We will provide the SDKs to these folks as we have with all the camera manufacturers.
What this seems to suggest is that the hardware barrier is soon to fall. One of the most common criticisms of Avid’s systems in the last few years has been the cost of proprietary hardware, while Final Cut Pro and Premiere have been supporting a wide range of low-cost I/O hardware. From Avid’s perspective there have been good technical and business reasons for this, but with the changing face of post-production it’s become increasingly difficult for buyers to justify the cost of the hardware in the current market, especially when it may only be utilised for monitoring or a small number of jobs.
