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2018.11 / 20 November 2018; 46 days ago ( 2018-11-20) minimum, minimum Website Avid Media Composer is a film and video (NLE) and is the flagship product of. Initially released in 1989 on the Macintosh II as an system, the application has since evolved to allow for both and film editing, including uncompressed standard definition (SD) video, high definition (HD), and editing and finishing. Since the early 1990s, Media Composer has been the dominant non-linear editing system in the film and television industry, first on Mac and then also on Windows. Avid Newscutter, aimed at newsrooms, aimed at finishing, were all Avid products that were derived from Media Composer and share similar interfacing, as were (discontinued in 2008) and its predecessor Avid Xpress DV, which were aimed at the lower end of the market.

There is one version of Media Composer, which can be used as standalone software, or to which the user can add specific external I/O devices, either from Avid or from specific third parties. Contents. Avid designed hardware Avid systems used to ship with Avid branded I/O boxes, like Mojo, Adrenaline and Nitris, but in recent years have ceased to produce their own hardware, and have started collaborating with companies like and AJA, releasing customized, Avid-branded I/O boxes, like DNxIO, DNxIQ and DNxIV. Third party supported hardware Starting with Media Composer v6, Avid has introduced a new Open IO API to allow 3rd party companies to interface their hardware into Media Composer.

AJA Video Systems, Blackmagic Design, Matrox, BlueFush and MOTU are supporting this API. Avid's own DX hardware is still natively interfaced into the application which currently allows some extra features that Open IO is limited in (LTC timecode support for example). It is expected that over time some of these missing APIs will be added. The majority of users will probably not be affected by these limitations. AJA Video Systems IO Express: Starting with Media Composer v5.5, Avid has added support for the AJA Video Systems IO Express interface. This interface will allow SD/HD input and output via SDI and HDMI. It also has analog video and audio outputs for monitoring.

It connects to a desktop or laptop computer via PCIe or ExpressCard/34 interface. Matrox MXO2 Mini: Starting with Media Composer v5, Avid has added support for the Matrox MXO2 Mini interface, as a breakout box with no additional processing. While this interface does have input connections, only output is supported by Media Composer v5.x, starting with Media Composer v6.x you can capture with this interface. The connections on the unit support analog video/audio and HDMI in both SD and HD formats. The device is connected by a cable to either a PCIe card or ExpressCard/34 interface, so this unit can be used on a desktop or laptop system.

Avid Media Composer compatible hardware is manufactured by AJA Video Systems, Blackmagic Design, and MOTU. Discontinued hardware Avid Mojo DX: a newer version of the Mojo with architecture offering faster processing and full 1920x1080 HD resolution in addition to standard definition video. This interface has SDI/HD-SDI inputs and outputs, HDMI outputs and stereo 1/4' TRS audio inputs and outputs. Avid Nitris DX: a replacement of the Adrenaline hardware, a successor to the original Avid Nitris (used with and ), with architecture offering faster processing and full 1920x1080 HD resolution (without extra cards) in addition to standard definition video. This interface also has a hardware DNxHD codec.

Video connections include SDI, HD-SDI, Composite, S-Video and Component (SD or HD) inputs and outputs, it also has a HDMI output. Audio connections include XLR, AES, optical S/PDIF and ADAT inputs and outputs. It also has RCA inputs and 1/4' TRS outputs, plus timecode I/O. Starting with Media Composer v5.5 an optional AVC-Intra codec module can be installed in the Nitris DX for native playback of this format.

With Media Composer v6.0 is it now possible to have two DNxHD or AVC-Intra modules installed for dual stream stereoscopic capture and full resolution stereoscopic playback. Discontinued Avid Mojo: includes Composite and S-Video with two channels of RCA audio. There is an optional component video cable that can be added to this interface. This interface only supports SD video formats. Avid Mojo SDI: includes Composite, S-Video, Component and SDI video, with 4 channels RCA, 4 channels AES and 2 channels optical S/PDIF audio. This interface only supports SD video formats.

Avid Adrenaline: rack mountable interface which includes Composite, S-Video, Component and SDI video, 4 channels of XLR, 4 channels of AES, 2 channels of S/PDIF and 8 channels of ADAT audio. This interface also has an expansion slot for the DNxcel card which adds HD-SDI input and output as well as a DVI and HD component outputs. The DNxcel card uses Avid’s compression which is available in 8-bit color formats up to 220mb as well as a 10-bit color format at 220mb. The DNxcel card also adds real-time SD down-convert and HD cross-convert. Hardware history Media Composer as standalone software (with optional hardware) has only been available since June, 2006 (version 2.5). Before that, Media Composer was only available as a combination of hardware and software, or as turnkey systems (including CPU and monitors). From 1991 until 1998, Media Composer 1000, 4000 and 8000 systems were Macintosh-only, and based on the NuVista videoboard.

The first-release Avids (US) supported 640x480 30i video, at resolutions and compression identified by the prefix 'AVR'. Single-field resolutions were AVR 1 through 9s; interlaced (finishing) resolutions were initially AVR 21-23, with the later improvements of AVR 24 through 27, and the later AVR 70 through 77. AVR12 was a two-field interlaced offline resolution. Additionally, Avid marketed the Media Composer 400 and 800 as offline-only editors. These systems exclusively used external fast drives (interfaced through a SCSI accelerator board) for media storage. Avid media was digitized as (Open Media Framework Interchange) format. In the mid-nineties, versions 6 and 7 of Media Composer 1000, 8000 and 9000 were based on the Avid Broadcast Video Board (ABVB), supporting video resolutions up to AVR77.

The video image was also improved to 720x480. 3D add-on boards (most notably the Pinnacle Alladin, externally, and the pinnacle genie pro board, internally, through special 100 pin by-pass cable ) and 16bit 48K 4-channel and 8-channel audio I/O (Avid/DigiDesign 442 and Avid/DigiDesign 888) were optional.

The 1998 introduction of the Avid Symphony marked the transition from ABVB to the Meridien hardware, allowing for uncompressed SD editing. This introduction was also the first version of Media Composer XL available for the Windows operating system. Many users were concerned that Avid would abandon the Mac platform, which they eventually did not do.

Media Composer XL versions 8 through 12.0.5 (models MC Offline XL, MC 1000 XL, MC 9000XL) were built around Meridien hardware. Compression options were expressed in ratios for the first time in the evolution of the product. Even though the video board had changed, the audio I/O was still handled by the Avid/DigiDesign 888 (16bit 48K) hardware. At this time, 16x9 aspect ratios began to be supported.

Avid Media Composer Meridien was released through November, 2003. In 2003, Avid Mojo and Avid Adrenaline formed the new DNA (Digital Non-linear Accelerator) hardware line. The launch of Avid Media Composer Adrenaline brought along a software version renumbering, as it was labeled Avid Media Composer Adrenaline 1.0. At this time, Avid began using (Material Exchange Format) formatting for media files. Avid products maintain compatibility with OMFI files. Adrenaline was the first Media Composer system to support 24bit audio. It also meant the end of Film Composer and Media Composer Offline, since the Avid Media Composer Adrenaline featured most of the film options and online resolutions and features.

From this point onward, Avid systems have supported media storage using, &, and interfaces. In 2006, Media Composer 2.5 was the first version to be offered 'software-only', giving the user the option of purchasing and using the software without the additional cost of the external accelerators. Software-only Avid setups could use third-party breakout boxes, usually interfaced via, to acquire video from and analog sources. In 2008, the Mojo DX and Nitris DX were introduced, replacing the Adrenaline. Both are capable of handling uncompressed HD video, with the Nitris DX offering greater processing speed and input/output flexibility.

Features. Animatte. 3D Warp. Paint. Live Matte Key. Tracker / Stabilizer.

Timewarps with motion estimation (FluidMotion). SpectraMatte (high quality chroma keyer). Color Correction toolset (with Natural Match).

Stereoscopic editing abilities (expanded in MC v6). AMA - Avid Media Access, the ability to link to and edit with, R3D, and AVCHD native material directly without capture or transcoding. Mix and Match - put clips of any frame rate, compression, scan mode or video format on the same timeline.

SmartTools - drag and drop style editing on timeline, can be selectively adjusted to the types of actions that the user wants to use when clicking on timeline. RTAS - (RealTime AudioSuite), support for realtime track-based on the timeline.

5.1 and 7.1 Surround Sound audio mixing, compatible with. PhraseFind - analyzes clips and indexes all dialog phonetically allowing text search of spoken words. (reacquired as of 8.9.3). ScriptSync (with phonetic indexing and sync) (reacquired as of 8.9.3) Avid Symphony includes Advanced/Secondary/Relational Color Correction and Universal HD Mastering.

Starting with version 7, Symphony became paid option for Media Composer; with version 8, it was included with monthly and annual subscription licenses. The software used to be protected by means of 'blesser' floppy, tied to the Nubus's TrueVista board (means that if the board is replace, new 'blesser' floppy come with the board), and later with USB dongles. As of version 3.5 the dongle is optional, and existing users may choose to use software activation or keep using their dongles, while new licenses are sold exclusively with software activation. The software ships with installers for both Mac and Windows and can physically be installed on several computers, allowing the user to move the software license between systems or platforms depending on the licensing method.

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With Media Composer 8, Avid introduced monthly and annual subscription licensing systems similar to, allowing users to install and activate Avid without purchasing a perpetual license. Media Composer licenses must be confirmed either by Avid's internet servers every 30 days or by an on-site floating license server.

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Starting with version 8, updates and support for perpetual licenses also require annual support agreements; support is included with subscription licenses. The installer includes installers for:. EDL Manager.

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Avid Log Exchange (no longer in v8). FilmScribe.

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MediaLog (no longer in v8). Interplay Transfer. MetaSync Manager (no longer in v6). MetaSync Publisher (no longer in v6).

MetaFuze (Windows only), a standalone application to convert files (, ) from film scanning, systems or camera into media files. Actually based on an import module that was taken from.

Avid offers a line of Digital Nonlinear Accelerator devices that work with Avid software to help improve your workflow. Avid DNAs work with your computer's CPU to divide up the work of video editing and processing.

The software will leverage the power of the CPU to perform some tasks while using the DNA to handle media processing. This extra processing horsepower allows you to work with high resolution video and apply many effects and transitions in real-time, without overtaxing your computer's CPU. The Avid Mojo is the 'entry-level' device in the DNA family.

Previously the portable Mojo only featured FireWire, Component, Composite and S-Video input and output. Users who required broadcast-quality SDI video connections were limited to using an Avid Nitris or Adrenaline DNA.

While these systems provide outstanding power, they are designed for professional installations and are certainly not portable. Now Avid has filled that gap by introducing the Mojo SDI.

Housed in the same compact form factor as the previous versions of the Mojo, you'll quickly notice that it functions in many of the same ways. Simply connect the appropriate video cables and computer connections, fire up your Avid editing suite of choice and start working. The core difference between the Mojo and Mojo SDI is the ability to input and output video and audio over the SDI connections.

This allows you to effectively use the Mojo in a broadcast video environment. News editors should especially appreciate this, as it allows you to more easily edit in the field. Anyone who is currently using a Mojo for broadcast work and would like to reap the benefits of the SDI video interface should consider moving up to the Mojo SDI. The same goes for Adrenaline or Nitris editors who are interested in obtaining a more portable solution without sacrificing quality. B&H is now accepting orders on the.