File-based media, 2K, 4K, 5K footage, analog and digital tape, stereoscopic 3D material, film—bring it on. Media Composer offers ACE-certified editing tools and a wide range of features, workflows, and options that enable you to work with everything, from old-school media to the latest camera technologies. Plus, you can work in HD from a high-res source without having to transcode or resize files.
Many of the new tools and features in Media Composer 7 have been designed to accelerate and automate file-based workflows. This makes it easier than ever to work with the growing number of projects that incorporate high-res source media.
High-Res files and volumes are linked directly into your project through Media Composer 7’s new unified AMA window. AMA is a plug-in architecture that enables source media from RED, Arri, Sony, Panasonic, Canon and more to play back inside Media Composer.
Creating the HD masters commonly required from projects that use high-res source media presents two primary challenges. The first is how to manage the differences in resolution. Media Composer’s new FrameFlex tool offers an intuitive yet powerful way of maintaining the resolution of your source media while providing complete creative control of the HD extraction. Whether it’s a single clip or an entire volume of media, FrameFlex makes quick work of reframing high-res sources.
This is a non-destructive process that can be changed at any time. In fact, during editorial it may be necessary to make additional changes to the framing of certain clips for either creative or corrective reasons. Using Media Composer’s Effect Editor, you can keyframe and animate the HD extraction of your high-res clips, all the while maintaining the full resolution available from the “greater than HD” source media.
The second challenge present in delivering HD from high-res, is the differences in color space between the two. High-res media is often shot as RAW or LogC, both of which are flat and unappealing when viewed natively in the Rec 709 color space. Media Composer 7 overcomes this problem with the addition of 1D and 3D lut support. Just as with FrameFlex, corrections can be made to a single file, or many files all at once. Since this is a non-destructive process, it’s especially useful for color correction, where it’s usually desirable to correct the native color space, without a LUT in place. A sequence that has LUTs applied can be duplicated for the color correction pass, and then have the LUT’s removed from its source clips. A simple refresh of the sequence is all that’s required to do this.