Wednesday, March 18, 2009
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4:39 PM
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Compliant with Avid Media Composer v3.x
Compact enough to take on location yet powerful enough to serve as the core of a professional video-editing suite, Avid Mojo SDI and Avid Mojo hardware connect to both laptop and desktop systems, both Mac and PC, with a single IEEE-1394 (FireWire) cable.  Unlike other add-on hardware, they let you capture audio or video while also providing output of the same source, so you can monitor what you're capturing, including watching video on a client monitor while recording voiceover – impossible with hardware from other manufacturers. In addition, Avid Mojo and Avid Mojo SDI let you monitor and output HD timelines in SD with real-time down-convert. Avid Mojo SDI provides the highest quality professional SD connections to facility-class cameras, decks and digital pipelines. In addition to serial digital video, Avid Mojo SDI also provides I/O for IEEE-1394, and either component or composite and S-video. Mojo SDI supports up to 8 channels of embedded audio over SDI and 2 channels of optical S/PDIF audio, with additional connections for 4 channels of AES/EBU audio.
Avid Mojo offers uncompressed analog SD video support over S-video, composite and optional component video, along with built-in support for IEEE-1394 capture and playback. Both offer simultaneous output to both broadcast monitors and tape, and feature Genlock and Word Clock for video and audio sync with external devices. Avid Mojo and Avid Mojo SDI are compatible with Avid Xpress Pro, Avid Meda Composer, Avid 3D, Avid FX, Avid NewsCutter XP, and Avid Pro Tools LE (Avid Mojo only). Avid Mojo is included in Avid Xpress Studio Complete.For diagram see below 
Video resolutions Capture 10-bit SD video via SDI inputs
Capture 8-bit uncompressed SD video via analogue inputs
Create uncompressed SD titles and graphics
Edit uncompressed 10-bit SD video material
Capture and playback native HDV and DVCProHD via FireWire I/O
Input / output
Digital video I/O (SD-SDI, AES/EBU and embedded digital via SDI)
Digital audio I/O (8 channel of embedded audio ion SDI I/O, 4 channels via AES/EBU I/O, 2 channels optical S/PDIF)
Analogue video I/O (composite, S-video, YUV component)
Analogue 20-bit audio I/O (4 channels)
Genlock input for blackburst synchronisation
4-pin FireWire port for video/audio I/O and machine control
6-pin FireWire port for single-cable connection to host CPU
Real-time accelaration No information System Requirements Size and Weight 6 3/4 " (17cm) wide by 11 1/4" (28.6cm) tall
Only 1 inch (2.5cm) thick
1.5 lbs (.68 kg); 2.82 lbs (.1.28 kg) with stand
 Avid Mojo SDI connectivity diagram Package deals that include this product: We currently these finance options available:
| 36 months finance at 19.9%
| Price (inc. VAT)
| £1,811.25
| Deposit
| £181.13
| Credit amount
| £1,630.12
| Monthly payment
| £59.17
| Balance payable
| £2,311.25
| Charge for credit
| £500.00
| Typical APR
| 19.9%
|
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Posted by
AvidMediaComposer
Avid Media Composer Adrenaline System :
Avid Technology, Inc., the world leader in digital nonlinear media creation and distribution solutions, today announced that editing teams from Big Primate Pictures, the production company behind King Kong, and Weta Digital, the movie's digital effects house, employed an end-to-end Avid postproduction workflow to bring to life Peter Jackson's vision of the 1933 movie classic. The all-digital production environment - which included 11 Media Composer Adrenaline systems, three Avid Unity shared-storage solutions, an Avid Xpress Pro system, a Digidesign Pro Tools HD system, and the use of Avid DNxHD for HD screenings - facilitated a collaborative workflow for the film's postproduction teams.
Avid Unity shared storage
"We used nine Avid Media Composer Adrenaline editing systems linked to more than 20 terabytes of Avid Unity shared storage, which were key players in King Kong's postproduction, editorial and visual effects pipeline, in the race to bring this classic remake to our screens," said Jamie Selkirk, the Academy Award winning editor for Lord of the Rings: Return of the King and supervising editor for Big Primate Pictures. "This workflow handled the massive amounts of data we created and helped us deliver the grand scale film that Peter Jackson envisioned. Using the Avid DNxHD format also enabled us to set up a conform process that negated the traditional film conform and allowed us to seamlessly create HD projection reels with minimum delay and maximum quality for review screenings."
Avid Video - Media Composer Adrenaline System
"King Kong was a true test for our Media Composer Adrenaline system - and the most ambitious feature film project that these systems have supported to date," said Chas Smith, vice president and general manager of Avid Video. "With approximately 653 hours of film and 2,200 effects, Big Primate and Weta Digital placed some heavy demands on both the Media Composer Adrenaline and Avid Unity systems, relying on them to manage a tremendous amount of media and meet extraordinary deadlines. The success of this Avid workflow for King Kong underscores the strength of Media Composer Adrenaline in particular, as well as our other industry-leading technologies for feature film postproduction."
King Kong film - Avid Unity MediaNetwork shared-storage system
While overseeing all postproduction on the film, Selkirk worked with director Peter Jackson and editor Jabez Olssen and managed the Big Primate post team, which used nine Media Composer Adrenaline systems to make editorial cuts, review sequences, and view dailies. A second team at Weta Digital completed visual effects on two additional Media Composer Adrenaline systems connected to an Avid Unity LANShare system.  Both teams were linked via two Avid Unity MediaNetwork shared-storage systems, allowing them to continuously exchange sequences as they were updated with new cuts and effects. By the time the film was completed, the postproduction teams had stored, managed, and shared media assets for approximately 96,000 visual effects and live action shots - without ever deleting any files they had created during the process. The film's sound team used Digidesign's Pro Tools to assemble dialogue, sound effects, and music sequences, importing more than 400 hours of audio files.
About Avid Technology
Avid Technology, Inc. is the world leader in digital nonlinear media creation, management, and distribution solutions, enabling film, video, audio, animation, games, and broadcast professionals to work more efficiently, productively, and creatively.
Posted by
AvidMediaComposer
Avid AdrenalineMeet the most diverse and demanding creative challenges with the Avid Media Composer Adrenaline. The standard Firewire connection provides Adrenaline the power and flexibility you demand. Combine the newest video formats including 24p DV and resolutions with legacy Avid files in the same timeline. You will be amazed at real-time Open GL 2D and 3D DVE's; 24p/25p support; native Boris Continuum effects and filters; and advanced color correction features. Mastering
Capabilities such as Pan + Scan for creating 4x3 and 16x9 content, or 24p Universal Editing and Mastering, which allows you to output multiple formats from a single master and eliminates the need for a standards converter, helping you to product multiple formats quickly. Minimal Learning Curve
With the familiar Media Composer user interface and Avid editing model, Adrenaline is instantly familiar to over 50,000 trained Avid editors. Collaborative Workflow
With high levels of interoperability with other Avid products, as well as third party tools via OMF, AAF, OMM, and support for Avid Unity MediaNet, Adrenaline was builty for a distributed, collaborative, nonlinear production environment. Storage Notes
Keep in mind that to archive the needed data rates for some video resolutions, multiple drives may be needed to create a faster disk array.
Posted by
AvidMediaComposer
Installing Avid Media Composer on Leopard ओस
UPDATE: After this article was written, Media Composer 2.8.3 will no longer allow you to install the software on Leopard. This means you'll need to download Media Composer 2.8.1 or 2.8.0 in order for the installer to work. You have heard the rumors and read the blogs that Avid Media Composer will not work on the awesome Mac Leopard OS. Well, we here at GeniusDV have found otherwise. There are a few quirks to installing Media Composer and a quick trick that allows the task bar to remain open. First and foremost you need to make sure that you download the latest version of Leopard OS but do not allow the latest version of Quicktime to be installed. There is no uninstall for Quicktime on Mac and you will be in big trouble with the Avid software if you do not have the correct version. Once the software is up and running you will find that your task bar is on top is hidden until you hover over it. This is very aggravating because it will switch between the OS task bar and the Avid task bar. To fix this you need to navigate to Toolset in the task bar and select Fullscreen Playback.  You only need to do this once and every time you launch Media Composer after that you will not have the issue again. So far I have not found once glitch in the software running on Leopard, but stay tuned for any updated information just in case.
Posted by
AvidMediaComposer
Tuesday, March 17, 2009
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3:14 PM
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What are some of the critical settings within Avid Xpress or Media Composer that you should be aware of? There are many different settings within the Avid software. At last count there are roughly 40 different categories of settings within Avid Media Composer, and that doesn't count all the various settings within each category. We've compiled a list of common 'critical settings' that you might want to check before launching the software. Audio Settings: A common mistake among amateur editors is to double up audio tracks in order to get sound from their left and right speakers. It is recommended that you work with all tracks centered, therefore saving valuable timeline space.
Import Setting: It is recommended that you turn off the 'autodetect sequential file' option. Otherwise if you import an image that has a number after it, the Avid will only import one frame. Since digital photo cameras always place numbers after picture files, the Avid would mistake a single image as part of an image sequence. It is also recommend that you click on invert existing alpha for importing graphics that contain an alpha channel. General Settings: Use this setting to configure the default starting timecode for new sequence. This is particular useful for Avid Xpress users who do not want the default starting timecode value to reset to 00:00:30:00 each time they start a new sequence 
Keyboard: Don't forget to customize and configure your keyboard. 
There are a couple of critical editing functions you might want to map to your keyboard layout.
The keyboard can be mapped by navigating to th e Tools-Command Palette menu. You can then drag the appropriate editing functions to re-map your keyboard. 
Marquee Settings: If you are used to the traditional Avid Title tool, or if you simply need basic titling capabilities, it is important that you modify the Marquee Title tool setting so the appropriate title tool launches when you go to create titles.
Media Creation: It is not recommended that you record media to your internal hard-drive. Within the media creation settings, you have the option to filter out your internal hard-drive would will prohibit media being recorded to it accidentally.
Render Settings: For most motion effects, it is recommended that you use the 'interpolated field' method, which will normally produce superior results over the default method of using duplicate field rendering.
Timeline Settings: Within the timeline settings box, I recommend activating the auto-patching and segment drag sync locks option. Turn off auto-monitoring and the default Snap-to-Edit functions.
Site settings: The avid site settings file can be found by navigating to the file menu and selecting 'open setting file'. You can drag important settings such as the default timecode start time for new sequences. The Avid site settings can be found by navigating to the file menu and selecting 'open setting file'. Find your way to the Avid programs folder on your internal hard drive and look inside the settings folder. You should be able to find site_settings.avs. 
*It is important that the Project window is the active window and that you are parked on the settings tab. Otherwise, the 'open setting file' option from the File menu will not be an option. 
When you're finished dragging your settings into the site setting folder, make sure you save your changes by navigating to the file menu and selecting the save site-settings menu as shown above.
Posted by
AvidMediaComposer
Icons Change in Media Composer 3.0 There are quite a few new features and enhancements in Media Composer version 3.0. Over time we'll be examining some of them. But, right off you'll notice a change to more than a dozen icons. So, here's a quick guide to Avid's icon-makeover:
Posted by
AvidMediaComposer
Labels:
UPDATED ICONS
HD, SD and DV(Professional Grade)Editing and Finishing
High definition without the high overhead. The world's most capable and refined editing experience. You get it all with Avid Media Composer Adrenaline HD, plus powerful new features that include 10-bit video capture and playback, real-time HD and SD multi camera editing, support for the most popular HD frame rates, and much more. Legendary collaborative tools make it the ideal system for both film and HD originated television and film productions as well as seamless DI (Digital Intermediate) file-based workflows with Avid DS Nitris systems. Upgrade in an instant.
Add Avid DNxcel board to your Media Composer Adreniline
and handle anything that walks in the door. Features Avid's world-renowned user interface, allowing Media Composer Adrenaline owners to leverage the talents of tens of thousands of trained editors and freelancers Balances the power of host-based software with the power of purpose-built hardware, enabling real-time software OGL-based effects, real-time Digital Cut, uncompressed video over FireWire, mixed resolutions in the same timeline, support for all Avid Legacy media, and much more Easily upgradeable - the faster your computer, the faster and more real-time effects you can support; plus, future format and codec requirements can be handled through simple software upgrades Delivers the most comprehensive support for multi-format online and offline delivery of EDLs for standard and high-definition video finishing as well as frame-accurate film matchback and comprehensive cut-lists for feature film editing. Adrenaline A/V Break-Out Box - 10-bit SMPTE 259M SDI serial digital I/O
- Component YPbPr, S-Video, and composite I/O
- DV I/O with real-time analog-to-DV and DV-to-analog conversion
- Uncompressed PAL and NTSC ITU-R-601 formats
- Sync reference input
- Serial deck control and 1394 deck control
Audio I/O - 48 kHz, 44.1 kHz, and 32 kHz (hardware supports up to 96 kHz)
- 16 or 24-bit resolution
- 8 channels ADAT audio I/O or stereo Toslink optical S/PDIF
- 4 channels AES/EBU digital audio I/O
- 4 channels RCA analog audio inputs
- 4 channels XLR analog audio inputs
- Separate stereo monitor output
Optional Tools:
Avid Studio Tools HD - Get it all with Avid FX, Avid DVD, and Avid 3D Avid DNxcel board
The Avid DNxcel™ board delivers broad high definition (HD) functionality to Media Composer Adrenaline HD systems. More specifically, it delivers capture and output to all popular decks in all popular formats (via HD-SDI), support for real time Avid DNxHD™ - the incredible HD finishing format with the bandwidth and storage requirements of standard definition, and more! The Avid DNxcel board option is available on PC-based systems only. For information on the features of the Avid DNxcel HD board, please go to: www.avid.com/products/dnxcel/features For answers to frequently asked questions about the Avid DNxcel board, please go to: www.avid.com/products/dnxcel/faq
Posted by
AvidMediaComposer
Avid versus Final Cut Pro
Longtime professional editor, Patrick Inhofer -- whose work has included many stints on systems like Smoke, Avid and newer tools like Final Cut -- explores the differences between Avid Composer and Final Cut Pro. With his experience, Patrick explores workflow and feature comparisons of areas where they are both similar and dissimilar. Whether you agree or disagree with Patrick, we guarantee that you will find his perspective to be well thought out and full of information gained from years in the editing booth.
Posted by
AvidMediaComposer
@ Avid versus Final Cut Pro: One Editor's Perspective: 2006
Longtime professional editor, Patrick Inhofer -- whose work has included many stints on systems like Smoke, Avid and newer tools like Final Cut -- explores the differences between Avid Composer and Final Cut Pro. With his experience, Patrick explores workflow and feature comparisons of areas where they are both similar and dissimilar. Whether you agree or disagree with Patrick, we guarantee that you will find his perspective to be well thought out and full of information gained from years in the editing booth. This article has been entirely rewritten to reflect where we stand today, the start of 2006.
Posted by
AvidMediaComposer
Friday, March 13, 2009
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12:50 AM
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avid media composer is tool for editing video files.it is the main tool which is used by several media people like TV channels and film industry.plz give me instructions to learn avid media composer
Posted by
AvidMediaComposer
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MARVEL and SPIDER-MAN: TM & 2007 Marvel Characters, Inc. Motion Picture © 2007 Columbia Pictures Industries, Inc. All Rights Reserved. 2007 Sony Pictures Digital Inc. All rights reserved. blogger templates |
Unlike other add-on hardware, they let you capture audio or video while also providing output of the same source, so you can monitor what you're capturing, including watching video on a client monitor while recording voiceover – impossible with hardware from other manufacturers. In addition, Avid Mojo and Avid Mojo SDI let you monitor and output HD timelines in SD with real-time down-convert. 
