The sleek, new UI looks much more up-to-date, while the updated color correction capability, Avid Artist Color, gets a sturdy if rather utilitarian hardware interface, courtesy of Avid’s purchase of sound mixer company Euphonix. That brings a lot more real-time responsiveness to scrolling, tweaking edits, and just life in general. The app has moved to 64 bits (along with Symphony version 6, and NewsCutter version 10, which were also part of the recent announcement). Of course we all know how that ended.īut the important news for anyone who edits for a living is that the pieces have all come together, finally, and the result is real good. The software is still the favorite of the vast majority of feature film editors, notwithstanding Final Cut Pro’s chewing into the lead over the past decade. So it took more than 20 years since the first release of Media Composer and a few near-death experiences as the company teetered near the edge of bankruptcy. From its early years until quite recently, Avid had a rep as a company that had all the answers a user might want in an NLE, down to what drives they might buy (of course only pricey storage arrays that they themselves sold fit the bill) and what I/O could breach its ‘black box’ architecture (at one point hackers garnered kudos for figuring out how to splice and solder the right I/O components to allow 3rd party gear to be attached to the NLE). That shouldn’t be so extraordinary, but it is, or has been, the case. As the pro media community has remarked online–and even Avid owned up to in its recent press conference in New York–with the release this month of Avid Media Composer 6 (MC6), the Tewksbury, Mass-based company has now embarked on a new phase of its existence: actually listening to its clients and implementing what they want as best as they are able.
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February 2023
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