If you’re planning on taking advantage of Media Composer’s virtual machine option but are worried about managing who’s connected to what and where, we have good news: Avid have qualified the Leostream Connection Broker.
For the uninitiated, Leostream is a vendor- and protocol-agnostic management tool that’s designed to simplify the management of access to virtual machines. It allows systems administrators to manage and monitor which end users are using which desktops to connect to which virtual resources, all from a single point, whether you’re using a single hypervisor or multiple ones.
According to Leostream, this Avid qualification means you can allow users to:
– Create pools of available VM resources.
– Terminate cloud-hosted instances when users log out.
– Manage the power state of VMs and user access.
– Maintain user access logs and monitor who uses which VMs.
– Maintain usage statistics for pools of machines.
– Provision new VMware virtual machine pools from templates or as linked clones from snapshots, or build pools of cloud-hosted machines from images available in the cloud platforms.
– Manage user roles and session control levels.
Why choose Leostream?
We’ve been working with Leostream for several years, and have found it to be the most secure option for brokering virtual machines. It’ll also handle mixed environments with ease – we like to pair it with Amulet Hotkey cards to ensure facilities can broker their physical workstations and virtual machines using the same system.
“If you have a mixed estate – perhaps you have a server in a data centre running virtual machines that you use for your offline, and then users switch to using a high powered workstation in your machine room for the online edit – the combination of Amulet Hotkey and Leostream ensures that any end user client device can be pointed at any virtual or physical machine at any time,” explains our Systems Integration Engineer, Matt Ward. Leostream allows you to manage connections to on-premise virtual machines and standalone machines, as well as cloud-based VM systems, creating a truly flexible hybrid system accessible from anywhere on your network.
“We’re one of the few post integrators who have experience deploying Leostream at scale, and we find that it’s more secure than other options – it’s also been deployed in a huge number of critical enterprise environments, so there’s plenty of evidence that it can provide the availability, reliability and – with the right help – simplicity that we know our post clients need so that they can stay focused on delivering the end result.”
We asked our experts which technologies they were keeping an eye on in 2018, and their answers were pretty much unanimous: VR and AR are going to come on apace; you’re all going to need to get comfortable with CWDM to maximise your infrastructure investments; you’re going to love IMF delivery and there are a few key changes to your Avid workflow…
Virtual reality finds its niche
2017 was the year everyone and their cousin learned the difference between VR, AR and 360, as various vendors, manufacturers and platforms tried to corner the market for this new technology. However, much of the hardware and software that has existed until now has veered between magical and cumbersome, hampered by a lack of standardisation, the sheer volume of data involved and a patchy understanding on the part of corporate clients on how best this should be implemented.
However, we think 2018 is the year that VR and AR are going to come into their own. Practitioners are finding better applications, first generation cameras and software are becoming more stable, and people are zeroing in on how to create compelling content in a reasonable timeframe and for a manageable cost.
The key thing, though, is to make sure you have the storage and infrastructure to handle the amount of footage involved. This is often more than you need – even at a very small scale, VR requires a huge amount of throughput and space. To find out more about developing your setup, get in touch.
CWDM fibre and the remote MCR of the future
While we’re on the topic of storage, it’s worth taking another look at Phil’s Tech Breakfast presentation on Coarse Wave Division Multiplexing (CWDM, the process by which you can put many, many signals over single fibres and maximise return on your investment in fibre). It’s a topic our engineers have been asked about again and again in 2017, and things don’t look to settle down in 2018, as our appetite for data over distance shows no sign of diminishing.
Offering distances of up to 80km and an excellent signal to noise ratio (28dBs with the best optics), single mode fibre allows you to transmit more data on your single mode fibre in areas where it is difficult or prohibitively expensive to add more cores of fibre (for example, if your campus fibre network crosses a local authority boundary, you’ll have to pay tax on every cable you lay in perpetuity).
We’re acutely aware of its usefulness, having employed it to set up the Dolby 4K cinema net in Soho last year. This lets several Soho facilities remotely connect to the control panels and ultra hi-res Eclipse projector in Dolby’s cinema facility in order to grade their work at a resolution they’d be unable to support internally.
In more general use, it’s one of the technologies that’s allowing central London facilities to combat ever-increasing rents by relocating their MCR to a datacentre and converting that space into something more revenue-generating. The other technology that’s helping on this score is KVM over IP, in which your workstations, storage and servers are remotely located, and can be accessed by anyone with a keyboard, display, mouse and internet connection. This has been popular in corporate and finance sectors for some time, but we’re finally seeing it reach a point where it’s a viable solution for high-end video work, and it’s only set to become more popular in 2018.
Interoperable Master Format (IMF) delivery
IMF is a flexible framework that allows you to take a ‘mix and match’ approach to the delivery of file based assets such as images, audio, technical metadata and subtitles. Designed to make the delivery of final masters easier by providing an SMPTE-approved framework for the contents of your master, it’s proved popular with customers who maintain long term archives, as you can save space by only saving the differences between versions of your initial assets, rather than saving multiple whole versions, and can combine multiple cuts and language versions into a single master.
2017 saw lots of customers enquiring about high dynamic range (HDR) – one of the four improvements that UHD Television brings, the others being increased resolution (aka 4K), wide colour gamut (aka WCG or Rec.2020), and higher frame-rates (all the way to 120 frames/sec).
Modern TVs are capable of much brighter whites and consistently good blacks, so we need a system to exploit that and give us a much richer range of light values. To many eyes HDR is the most compelling aspect of UHD-TV, and it will come as no surprise that there are competing standards. Dolby have their PQ (aka Dolby Vision) which is derived from their work in digital cinema; Sony have their Slog3 cameras and the BBC/NHK (the UK and Japanese state broadcasters) have Hybrid Log Gamma (HLG). In addition, TV manufacturers have HDR10 and now HDR10+, and each one of these systems has its own benefits in acquisition, post, production and delivery.
It seems like it’s all to play for, but here at Jigsaw24 we have been paying attention and have a stable of products to suit different production requirements. The Leader LV5490 test set is the best piece of equipment we’ve found so far for HDR shooting, grading and delivery to Netflix, Amazon and the BBC.
And as always, Avid have big plans…
And while we’re always excited to talk about cabling, we’d be remiss if we didn’t catch up on what Avid have been up to. They’ve already announced that they’re going to be rolling out MediaCentral | Editorial Management next year, and there is also a host of updates coming to Media Composer.
We don’t have a firm release date for the full updates, but we know that it will include NDI support, so you can stream content directly from Media Composer to a client; a brand new 4K capable title tool and background save.
There’s also the looming release of Media Composer Cloud VM, which will allow you to virtualise your Media Composer seats. This means they can be stored and managed centrally, with editors in various locations accessing the necessary software and computing power remotely using any hardware they have to hand, rather than having to wait for (or find space for) a dedicated workstation.
While there is an initial outlay involved (you have to invest in a VM stack and you still need to pay for your Media Composer licences), but the resulting flexibility and long term hardware savings mean that if you need need to be able to adjust your workflow quickly, this is well worth the investment – particularly if you find yourself adapting your workflow to clients often, regularly take on freelancers to hit deadlines, or need a low cost way to give clients access to the edit if they can’t afford to rent a suite, or you don’t have one to spare.
Unlike other virtualisation solutions, Avid give you access to the full version of Media Composer, without any features cut, so working on a virtual version is no different from working on a dedicated workstation. We’re currently running proof of concept trials with our key customers, so watch this space for updates as more info becomes available!
As always, if you want to pick through how you any of this might affect your workflow or book your place on one of our accredited Avid training days, you can always get in touch with the team on the details below.
New Avid cloud offerings and certified solutions for Azure deliver on Avid’s promise to help media professionals navigate the media cloud era with unprecedented workflow efficiency and flexibility.
Avid a leading global media technology provider for the creation, distribution, and monetisation of media assets for global media organisations, enterprise users, and individual creative professionals, today announced new cloud offerings and new solutions certified to run on Microsoft Azure that will enable media production organisations and professionals to work with greater efficiency and collaboration, and prepare them for the future of the media cloud era.
“At NAB 2017, we unveiled our vision for bringing Avid into the cloud along with a comprehensive partnership with Microsoft as our preferred cloud provider,” said Dana Ruzicka, Vice President and Chief Product Officer, Avid. “Since then, the reaction from our customers has been overwhelmingly positive. This really is the beginning of the cloud era for our industry. We’re excited to help our clients successfully navigate their own journey to the cloud, with the first of many new cloud offerings from Avid launching today at IBC. Whether customers choose to deploy in the data center or the public cloud, Avid’s unique platform approach delivers unparalleled workflow efficiency and flexibility across the entire spectrum of media production.”
Avid’s new cloud-based apps and service offerings announced at IBC 2017 include:
MediaCentral | Cloud UX For teams of two to teams of thousands, the completely redesigned MediaCentral | Cloud UX (user experience) is an easy-to-use and task-oriented graphical user interface that runs on virtually any operating system or mobile device, and is available to everyone connected to the platform. Team members can easily collaborate with each other from wherever they are—in the same building, across town, or even on a different continent.
MediaCentral | Panel for Media Composer Provides an integrated MediaCentral | Cloud UX panel within the Media Composer user interface, enabling users to drag and drop content from MediaCentral directly into any Media Composer project, bin, or sequence.
Media Composer | Cloud VM Enables anyone in a facility to access Media Composer software virtually using a lightweight workstation, laptop, or tablet with a high-speed network connection. Media Composer | Cloud VM provides the full Media Composer editing experience to multiple clients from a single server on premises.
Media Composer | Cloud Remote Enables users running Media Composer on their workstation or laptop to mix local and remote content in the same timeline—no matter where they are located. Media Composer | Cloud Remote provides users the best of both worlds—access to browse and stream any content from MediaCentral into Media Composer, as well as access to media that is stored locally. Local content can be automatically uploaded to MediaCentral in the background so publishing the finished program is virtually instantaneous.
Sibelius | Cloud Sharing A groundbreaking service that enables composers to share music scores to their own personal cloud space, embed scores in a webpage, and invite anyone to flip through pages and play compositions using any computer, laptop, or mobile device. Sibelius | Cloud Sharing is ideal for previewing and reviewing musical works in the studio, in the classroom, or on a stage.
Following on the historic partnership announcement earlier in 2017, Avid and Microsoft are showcasing a series of tangible, valuable results by making the industry’s most open, tightly integrated platform for media available in the cloud with flexible licensing and deployment options:
MediaCentral Archive for Azure Now certified to run on Microsoft Azure, the MediaCentral-based media asset management system can be configured to deliver cloud based archive for news and post-production teams, managing the entire content lifecycle, with easy asset browsing and retrieval across multiple tiers of storage for reuse or repurposing.
MediaCentral Newsroom for Azure Now certified to run on Microsoft Azure, the MediaCentral-based newsroom system can be configured to deliver complete story creation and rundown management in the cloud for news teams, providing improved workflow efficiency and speed to break news across multiple broadcast and digital outlets.
Avid Cloud Collaboration for Pro Tools, Pro Tools | HD, and Pro Tools | First This innovative cloud-powered service enables artists to easily share tracks and work on projects with anyone, anywhere—and is now offered as an as-a-service offering hosted on Microsoft Azure.
Avid is demonstrating integrated Microsoft Cognitive Services at IBC 2017 (Hall 7, Booth #J20) that apply the latest machine-learning algorithms to content libraries, automatically indexing content to extract streams of time-based metadata. This integration allows for highly complex searches to be executed in seconds, enabling faster content discovery for any MediaCentral user.
We’re all of four hours into and Avid have already announced new I/O hardware, VM options for Media Composer, and the welcome return of Script Sync and Phrase Find at their Avid Connect event. Here’s a quick roundup of their post offerings so far.
Let’s talk hardware first. DNxIQ is the successor to the Artist DNxIO, and delivers extensive format support for everything from SD to 4K. Avid’s intention is to make life easier for those of you who have found yourself delivering to more and more formats, having to take on new channels and devices without reducing support for older formats.
The DNxIQ has the same features and functions of the DNxIO, but has been upgraded to Thunderbolt 3 and PCIe Gen3 host connections, and adds support for Universal Mastering. It allows you to quickly and easily ingest, monitor, and output SD, HD, 2K, UHD, and 4K media and cross-convert formats and framerates on baseband output SDI, HDMI, and analog connections with Universal Mastering (as long as you have Media Composer | Symphony Option.)
Dana Ruzicka, chief product officer at Avid, explains that “Avid Artist | DNxIQ is built to handle any project that walks through the door – SD all the way to UHD, 4K and beyond. It features the most popular connection types encountered in a professional facility, and through its real-time Universal Mastering technology, it can easily deliver final masters for virtually any format and market.”
Blackmagic Design have had a hand in the design, resulting in a sleek, sturdy unit that is ompatible with any Avid Artist Suite solution and many third-party creative tools—including Blackmagic DaVinci Resolve, Apple Final Cut Pro X, Adobe Premiere Pro CC, and more.
DNxIQ is available now. DNxIO will be discontinued on May 22nd or whenever Avid run out of stock, with support to continue until 2022.
Media Composer | First
Avid have announced that within the quarter they’ll be relaunching Media Composer | First, a free, entry-level version of the leading NLE.
With four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, colour correction presets and titling templates, users can quickly cut together layers of video, dialogue, music and sound effects to produce captivating, professional-quality video content.
Media Composer | First also allows easy sharing, with one-click publishing to popular social media channels including YouTube, Vimeo and Facebook.
Avid announced the upcoming availability of Avid Media Composer | First, a free version of the industry standard video editing system.
Media Composer | First is a brand new, fully featured video editing solution that provides aspiring creative professionals, students, and those just starting their professional careers with free access to the same creative tools used by the most successful and acclaimed filmmakers and television program creators in the world. And because it’s powered by the Avid MediaCentral Platform, First users can also easily connect and collaborate with other aspiring creative and media professionals through the Avid Artist Community. Avid will showcase Media Composer | First at the Avid booth during NAB 2017 (Booth #SU902).
“It can be really difficult for up-and-coming filmmakers, television programme creators and digital media producers to get access to the right tools to tell their stories in a compelling way. Consumer applications are fun to play with but will only take you so far,” said Dana Ruzicka, chief product officer, Avid. “With Media Composer | First, we’re giving any aspiring creative pros access to the same tools used by top industry professionals – for free! And with access to the Avid Artist Community, First users can connect with other aspiring creatives and media professionals, collaborate and get their work out there for others to see.”
Media Composer | First provides users with a comprehensive yet simple-to-use editing toolset with many of the same features and functionality that award-winning Media Composer editors rely on, in a new powerful, streamlined interface. With four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, colour correction presets and titling templates, users can quickly cut together layers of video, dialogue, music and sound effects to produce captivating, professional quality video content. Media Composer | First also allows easy sharing, with one-click publishing to popular social media channels including YouTube, Vimeo and Facebook.
“I’ve worked with other tools, but Avid’s model is the most efficient by far,” said Emmy Award-winning editor, Stuart Bass, ACE (The Office, Arrested Development, Pushing Daisies). “Learning Avid’s industry standard tools has been essential in making me the successful editor that I am today.”
Avid’s vibrant Artist Community, an online community designed to foster creative connections and professional opportunities, together with Media Composer | First and Pro Tools | First, enables emerging creative and media talent to more easily connect, fostering creative and professional growth and opportunities.
Avid Media Composer | First will be available in June 2017 as a free software download through the Avid website.
Next-generation video/audio interface offers extensive format support, including 4K monitoring and universal mastering capability, to enable video professionals to quickly and easily meet today’s varied content demands and wide-ranging delivery requirements.
Avid, a leading global media technology provider for the creation, distribution, and monetisation of media assets for global media organisations, enterprise users and individual creative professionals, today announced the availability of Avid Artist | DNxIQ, a new hardware interface that delivers extensive format support, from SD to 4K.
Part of Avid’s commitment to offering the most comprehensive set of tools and workflow solutions to create, distribute and optimize media, Avid Artist | DNxIQ enables video professionals to quickly, easily and efficiently respond to rapidly changing content demands and delivery requirements driven from an ever-expanding range of channels and devices that today’s content needs to feed. Avid will showcase Avid Artist | DNxIQ at the Avid booth during NAB 2017 (Booth #SU902).
“Video professionals today have to turn more content around faster to more devices than ever before. And the seemingly unending proliferation of video formats can make this a real challenge,” said Dana Ruzicka, chief product officer, Avid. “With this in mind, Avid Artist | DNxIQ is built to handle any project that walks through the door – SD all the way to UHD, 4K and beyond. It features the most popular connection types encountered in a professional facility, and through its real-time Universal Mastering technology, it can easily deliver final masters for virtually any format and market.”
Built in partnership with Blackmagic Design, Avid Artist | DNxIQ provides broad format support in a sleek yet sturdy configuration that enables users to work more flexibly and creatively. Thanks to the openness of the Avid MediaCentral Platform, the industry’s most open, tightly integrated and efficient platform designed for media, Avid Artist | DNxIQ is compatible with any Avid Artist Suite solution and many third-party creative tools – including Blackmagic DaVinci Resolve, Apple Final Cut Pro X, Adobe Premiere Pro CC, and more.
“Since the launch of Avid Artist | DNxIO two years ago, we’ve continued to work closely with Avid as an Alliance Partner, and are excited to launch Avid Artist | DNxIQ,” said Grant Petty, founder and CEO, Blackmagic Design. “Our companies are at the forefront of high-resolution technology, and we’re proud that together we’re able to offer video professionals these amazing integrated solutions for creating greater-than-HD media.”
Avid Artist | DNxIQ’s Universal Mastering feature perfectly complements Avid’s Media Composer| Symphony Option, providing real-time format and frame-rate conversion on output and playback. The new interface supports SD, HD, 2K, UHD and 4K ingest, monitoring and output. As well as supporting all major NLEs, it also supports Thunderbolt 3 and PCIe for Mac and PC.
The new Avid Artist | DNxIQ video interface is available now.
Media Composer v8.8 is here and ready for download! Head to the Download Centre in your Avid account to get the update now, or keep reading to see what’s been updated.
Version 8.8 has seen a raft of tweaks and new features to make your editing workflow even smoother. Here are the highlights – a more detailed breakdown is available in the Avid documentation:
– Timeline Clip Notes You can add notes to clips in the Timeline and view all the notes in the Timeline Clip Notes Window. (Used to be Adding Comments.)
– Frame Cache for Effects Editing enabling frame cache when performing colour correction.
– ScriptSync ScriptSync uses phonetic-indexing technology to analyse the audio portion of a clip and match it to lines of the script text.
– Bin sharing on non-Avid storage The editing application will notify you if your third party storage is emulating Avid NEXIS or Avid ISIS storage.
– Change to Find Window A few changes have been made to the Find Window.
– Change to the Script Window A few changes have been made to the Script Window.
As well as new features, v8.8 also brings with it a range of welcome bug fixes, including:
– Not being able to open a project if the project was named Clip.
– Not being able to successfully drag and drop audio clips above or below the TC track.
– Custom Colours not staying in the colour palette when using clip colour.
– Disabling the ‘Auto-create new tracks’ setting was ignored when using Edit While Capture clips.
– The Cutlist EndHdl timecode was short one frame.
– (List Tool) The marker values were empty in an Optical List.
– (List Tool) Markers did not display on Opticals in an Assemble List.
– When performing an Export to Device with an XDCAM device attached, you might have received a ‘Please connect XDCAM device or insert disk’ message.
– In some instances, exporting a graphic from linked XAVC Long GOP media failed with an assertion error.
– In some instances, rendering a sequence with muted clips resulted in clips being partially rendered.
– The Project Window summary might have been empty on a Mac system, or contained garbled text on a Windows system.
– When importing some .wav files, the name of the files include a / which is an illegal character that is not supported in Interplay. This is because Media Composer uses the values of Scene/Take for the file name when importing Broadcast Wave files. An additional Import Setting has been added to the Import Settings dialogue. The ‘Use Broadcast Wave Scene and Take for Clip Names’ is defaulted on. If you are importing Broadcast Wave files and you do not want them named using Scene/Take, you must deselect this option in the Import Settings:Audio dialogue box.
Limitations: There are 5 limitations and workarounds outlined in the ReadMe for Media Composer v8.8.
New Nvidia Driver: Nvidia Driver v375.86 is supported with this release.
Media Composer v8.8 is available now. If you have already installed the latest version of Media Composer, you will be notified of the availability of the v8.8 upgrade via the Application Manager v17.2. The Apps tab will also provide a link to download and install the update.
If you bought Media Composer on or after 16th February, 2017 you will receive this v8.8 update in your Avid Master Account.
If you are on a current Upgrade & Support plan you can download the Media Composer v8.8 update either from your Avid Master Account or the Avid Download Centre (login and password required). However, if you are not on a current Upgrade & Support contract, you must purchase either a new Media Composer Subscription or Perpetual licence to receive this update.
Hot on the heels of their acquisition of Nexidia’s Emmy award-winning dialogue and audio analysis tools, Avid have revealed that they’re bringing back ScriptSync and PhraseFind add-on options to Media Composer.
What’s new in ScriptSync?
ScriptSync version 2.0 will be available from February 2017, either as a new add-on to your Media Composer licence, or as an update for anyone who already owns a ScriptSync version 1.0 licence.
As with the previous version, ScriptSync version 2.0 indexes your media and links your clips to your imported script text, so you can select a line of script and instantly see the associated takes.
However, with the incorporation of Nexidia technology, version 2.0 will also include:
– An updated colour palette for richer markup.
– Native support for more frame formats, including 4×3 and 16×9.
– Undo and Redo stacks.
– User notes.
– Editable script text.
What’s new in PhraseFind?
Also available in February 2017, PhraseFind version 2.0 indexes your audio files, so you can search for media based on spoken words. Anyone with a still-active PhraseFind 1.0 licence can upgrade to PhraseFind 2.0, or it’s available as a full upgrade for anyone without a current licence.
New features in PhraseFind version 2.0 include:
– A reskinned Find window which matches the updated one in Media Composer.
– Autofill in the Search field.
– An improved, faster phonetic indexing engine.
– Support for additional languages and dialects.
– Support for shorter phoneme phrases (basically it listens better and returns more accurate results).
What are my licensing options?
There is no subscription option for these add-ons – they must be purchased outright. However, they are both available as a Floating Licence, in the same way that your Symphony and NewsCutter options are.
Education customers can purchase a discounted bundle that includes both add-ons – they are not available at discounted prices individually.
These latest versions will only work with Media Composer v8.8.
MediaCentral Platform innovations, new products and product enhancements will deliver unprecedented creativity, productivity and efficiency improvements to address the industry’s most pressing business challenges.
Avid today announced that at IBC 2016 (booth #7.J20), it will unveil several exciting MediaCentral Platform innovations, new products and product enhancements to help customers address their most pressing business challenges and stay ahead of the competition. This premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide takes place on September 9-13 in Amsterdam.
“In today’s dynamic and rapidly changing media industry, we must push the limits of technology to help our customers stay ahead of the game,” said Jeff Rosica, senior vice president and chief sales and marketing officer, Avid. “At IBC 2016, we will continue to deliver on our Avid Everywhere vision with more innovations that will help our clients transform media production and distribution through unprecedented levels of creativity, productivity and efficiency.”
At Avid’s IBC 2016 press conference on Friday, September 9, Avid Chairman, President and CEO Louis Hernandez, Jr. will unveil new solutions and technology advancements including:
MediaCentral Platform and iNEWS innovations to help news organizations create powerful, story-centric workflows, while making complex multiplatform story creation easier, more effective and efficient
New product additions and major updates for the Avid NEXIS family, the industry’s first and only software-defined storage platform specifically designed for storing and managing media
Sports solutions that support Ultra HD/4K production, and offer powerful sports enhancements and new immersive experiences for viewers
New graphics solutions to help organizations better captivate their audience and define their brand using augmented reality, unique studio enhancements and awe-inspiring 3D data-driven graphics
Innovations in sound, with more connected, more affordable live-sound solutions
Unprecedented access and choice through the MediaCentral Platform, the industry’s most open, extensible and tightly integrated solution and ecosystem that enables more streamlined and efficient workflows
Avid will also showcase recent product innovations including:
MediaCentral | UX Connector for Adobe Premiere Pro CC – Enabling Adobe Premiere Pro users to connect into Avid’s production environment through the MediaCentral Platform, MediaCentral | UX Connector for Adobe Premiere Pro CC enables Premiere Pro users to collaborate with Avid users at an unprecedented level, enabling customers to mix and match tools to fit their workflow needs and budgets.
Avid Spark – A fast-turnaround live sports enhancement tool, Avid Spark enables on-air commentators to quickly draw and add graphics to video content in real time, adding captivating visual enhancements and giving audiences better visual insight into key plays, game flow, and analysis.
Avid PlayMaker – Offering advanced slow-motion replay and media highlights editing, Avid PlayMaker enhances productivity and speeds up turnaround times. The new version of PlayMaker provides streamlined collaboration with Avid NEXIS software-defined storage. When used with Media | Director, exported clips and consolidated playlists can be automatically checked into Interplay® | Production while maintaining all keyword metadata tagging.
4Designer – Graphics authoring software 4Designer provides a complete solution for creating captivating 2D and 3D motion graphics in a wide range of resolutions, with more power, speed, and new features in a more modern interface.
Avid Maestro – A complete on-air graphics solution that enables broadcasters to quickly and easily manage and play out stunning, high-resolution graphics and animations, Avid Maestro now includes the Maestro Media Engine, supporting video ingest and playout, native user rights management, rich graphics templates, and efficient repurposing of graphic content – all from an intuitive user interface.
Great news for smaller post or production houses: Avid have announced their Media Composer Floating Licences are now available for purchase in packs of five. Even better news: they’re currently offering 15% off new licences, or a massive 50% if you convert your current Media Composer licences across the entire floating licence range.
Avid’s floating licences enable you to purchase packs of shared licences to deploy across your entire facility using a single system ID. This means multiple editors can use Media Composer simultaneously on any number of workstations when the licences are available (not actively in use).
Once you close your Media Composer application, the licence is automatically returned to the pool of available licences on the licensing server. All you need is a Windows server running Windows XP SP3 or Later, Windows Server 2003 SP1 or Later, 32 or 64-bit OS.
Why choose floating licences over standalone licences?
Going with Avid Media Composer floating licences over standalone ones has many benefits. For example, it lets you:
– Maximise your investment. Licences are only consumed when in use and returned to the server when not, so additional editors can connect when licences become available.
– Use licences outside your facility. Floating licences give you the ability to ‘check out’ licences – ideal for projects that need to be completed on the road or at home for an extended period of time.
– Save time. Save countless hours of activation, installation, and upgrade time using Avid’s Floating License Server software and your existing hardware to establish a single, centralised licensing server – just activate a pack of licences, tell Media Composer the server address, and the system will automatically request licences from the server on the internal network.
– Save money. Save money and gain more operational flexibility over purchasing individual seats of Media Composer that often go unused when a designated editor or system isn’t working.
Save up to 50% on floating licences
You can now buy new or conversion licences in packs of 5, 20 or 50 for Media Composer, NewsCutter Option, Symphony Option and Production Pack. You can buy these in any combination, with no minimum order required, and five packs can be added to your existing floating licences at any time.
Avid are currently running an offer until 30th September 2016 whereby you can trade in your current Media Composer licences for a floating licence and save 50%, or buy a new Media Composer floating licence and save 15%! You can buy new floating licences from us at the links below, but if you want to convert your current floating licences, please get in touch with the team on the details at the bottom of the page.