When you opt to transcode AMA files, you can choose to run that in the background and set a priority level for these background services. One big new feature is the ability to transcode in the background, with the introduction of Background Services. New Features: background services and high-resolution formats In short, there are three ways to bring in files: traditional import, AMA-linking (direct access to the files) or transcoding AMA files into MXF media. Files that don’t match are transcoded on import, thus changing the video “essence”, such as the codec type. That means files are only copied and rewrapped without alteration. Media that already matches native codecs, including DNxHD, XDCAM, ProRes, AVC-Intra and others, will “fast import”. This makes direct editing with AMA-linked files more solid than in earlier versions.ĭepending on the installed AMA plug-ins, Media Composer 7 supports a wide variety of native camera formats, including media from RED, ARRI, Canon, Sony and Panasonic cameras. Media Composer will track the AMA files, just like it does with its own MXF folders. When files are imported using AMA, a folder is created on the user’s hard drive with database information and small AAF files that point to the location of the actual media. With Media Composer 7, AMA takes a big leap forward, with linked files becoming Avid-managed media, just like Avid’s internal MXF files. AMA is an architecture to directly link to native camera formats without conversion. This started to change with the introduction of Avid Media Access a few versions ago. Media Composer has traditionally ingested media and converted it into a native Avid format, but media handling has been undergoing big improvements. Other options include Script Sync and PhraseFind. Along with new features, it has been reduced in price to $999 and the big brother Symphony is now available as a $1499 add-on.
#Avid media composer software only professional#
While it’s not always the flashiest product, Avid’s flagship Media Composer editing application delivers the toolset that professional editors rely on to be productive. Avid continues to be the dominant force in television and film editing in spite of being challenged by strong offerings from Apple, Adobe, Grass Valley and others.
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