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SkyTech Media Solutions is proud to be a reseller of Avid products

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SkyTech Media Solutions provides a complete product line to help our clients work faster and more efficiently. Whether it is Onset or in Post environments, we can offer products and workflows to assist our clients from acquisition to delivery. Contact SkyTech Media Solutions for all of your software & hardware needs.  Here is a complete list of our product line-

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Avid Professional Editing System $9995

SkyTech Media Solutions Avid Professional Editing Solution for $9995
This Turnkey Solution Includes:
Mac Pro Two 2.40GHz 6-Core Intel Xeon processors (12 cores)
Avid Media Composer 7
Logic Keyboard for Media Composer
Matrox MXO2 MAX
G-Technology GDOCK w/ Thunderbolt 2TB
2X HP 24inch Widescreen HD Monitor
NVidia Quadro 4000 Card
Includes California Post Production Tax

SkyTech Media Solutions provides a complete product line to help our clients work faster and more efficiently. Whether it is Onset or in Post environments, we can offer products and workflows to assist our clients from acquisition to delivery. Contact SkyTech Media Solutions for all of your software & hardware needs. We are committed to providing the best customer service possible and strive to exceed your expectations.

780 Roosevelt St., Irvine, CA 92620               Office (818) 533-8759              Direct (310) 922-1631
  http://www.skytech.tv       jpskytechmedia.wordpress.com  

For more information on this promotion, please call your sales representative at (310) 922-1631 or

Avid Entry Level Editing System $4299

SkyTech Media Solutions Avid Entry Level Editing Solution for $4299
This Turnkey System Includes:
Mac Mini 2.5GHz Dual-Core Intel Core i5
Avid Media Composer 7
Logic Keyboard for Media Composer
Matrox MXO2 LE w/ Thunderbolt
G-Technology GRAID w/ Thunderbolt 4TB
HP 24inch Widescreen HD Monitor
Includes California Post Production Tax

SkyTech Media Solutions provides a complete product line to help our clients work faster and more efficiently. Whether it is Onset or in Post environments, we can offer products and workflows to assist our clients from acquisition to delivery. Contact SkyTech Media Solutions for all of your software & hardware needs. We are committed to providing the best customer service possible and strive to exceed your expectations.

780 Roosevelt St., Irvine, CA 92620               Office (818) 533-8759              Direct (310) 922-1631
  http://www.skytech.tv       jpskytechmedia.wordpress.com   

For more information on this promotion, please call your sales representative at (310) 922-1631 or

Avid Mecia Composer Bundle

SkyTech Media Solutions Media Composer 7 Bundle

Bundle Includes:

Avid Media Composer 7

MXO2 Mini with Thunderbolt Adapter card

SkyTech Media Solutions provides a complete product line to help our clients work faster and more efficiently. Whether it is Onset or in Post environments, we can offer products and workflows to assist our clients from acquisition to delivery. Contact SkyTech Media Solutions for all of your software & hardware needs. We are committed to providing the best customer service possible and strive to exceed your expectations.

780 Roosevelt St., Irvine, CA 92620               Office (818) 533-8759              Direct (310) 922-1631
  http://www.skytech.tv       jpskytechmedia.wordpress.com

For more information on this promotion, please call your sales representative at (310) 922-1631 or

Avid Media Composer 7 Available at SkyTech Media Solutions

Avid Media Composer 7 Extends Real-time Production Everywhere only $999

LAS VEGAS, NV, April 7, 2013 , 2013-04-07

Industry’s preeminent nonlinear editing solution now available for $999;
New release simplifies and accelerates file-based workflows, and offers Mac support for Interplay Sphere

NAB (Booth #SU902), LAS VEGAS, NV, April 7, 2013 — Avid® (NASDAQ: AVID) today unveiled Media Composer® 7, featuring accelerated and simplified file-based workflows including optimized HD delivery from high-res source material and automated media operations. In addition, as a key component of the Avid Everywhere vision, the new release offers Interplay® Sphere for Mac support, extending real-time production everywhere. Used to edit more top-tier content than any other nonlinear editing (NLE) solution, Media Composer software is now available starting at $999 USD—bringing unprecedented value to post production editors.

“Avid has never wavered in its commitment to the professional editing community. Today’s video professionals are faced with a media landscape of new formats, fewer resources, and tighter budgets,” said Chris Gahagan, senior vice president of Products and Services at Avid. “Media Composer 7 tackles these challenges with unparalleled file-based workflows, background processing, and automation. Plus, with its new lower price point, Media Composer is now more accessible than ever to editors who previously had to compromise on quality with other tools.”

Accelerating HD delivery from high-res source

As more content is created with high-res cameras and delivered as HD, editors typically must perform time consuming transcode and resize operations before true editing can begin. Media Composer 7 eliminates this step by enabling editors to work directly in HD from the high-res source, while maintaining full creative control of image framing.

Media Composer 7 offers a wide array of key new features, including:

  • AMA media management — Media linked via Avid Media Access (AMA) now benefits from the complete suite of industry-leading media management tools formerly reserved for native Avid media.
  • Dynamic media folders Accelerates and simplifies AMA media management tasks automatically in the background.
  • FrameFlex™ tool and LUT support — Enables editors to ingest 2K, 4K, and 5K media with real-time color space conversion and deliver content directly to HD.
  • Master Audio Fader Enables editors to control overall program volume and insert plug-ins for compression, equalization, and compliance metering.
  • Clip Gain Editors can adjust gain on a specific clip, independent of track-based automation, without engaging separate audio tools.
  • Symphony Color Correction option Lets editors add advanced color correction tools previously found only in Avid Symphony.
  • Interplay Sphere for Mac — Enables creative teams to edit, share, tag, track, and sync media as it flows through the production process anywhere in the world (Media Composer Interplay Edition required).

Mark Futa, head of Post Production at The Ant Farm, said, “As we journey further into a tapeless post production world, managing a wide range of dissimilar digital media is a major challenge. What excites me about Media Composer 7 is not only its ability to speed up the ingest of both high-res and HD source media via AMA, but also the introduction of background processing so our editors can keep editing while the application handles non-creative tasks like media transcoding and consolidation.”

Media Composer software configuration options

At product availability, Avid will offer a choice of two Media Composer software configurations:

  • Media Composer provides the full Media Composer editing feature set as well as support for ISIS® workgroups.
  • Media Composer Interplay Edition includes all the features in Media Composer, plus the ability to connect to Avid Interplay.

Availability & Pricing

Media Composer 7 will be available in the online Avid Store and from Avid resellers worldwide starting in June 2013. Customers can purchase Media Composer 6.5 now and receive a free upgrade to version 7 when available. Pricing will be as follows:

  • Media Composer 7 (standard) — $999 USD
  • Media Composer 7 Interplay Edition — $1499 USD

About Avid

Avid creates the digital audio and video technology used to make the most listened to, most watched and most loved media in the world – from the most prestigious and award-winning feature films, music recordings, and television shows, to live concert tours and news broadcasts. Some of Avid’s most influential and pioneering solutions include Media Composer®, Pro Tools®, Interplay®, ISIS®, VENUE, Sibelius® and System 5. For more information about Avid solutions and services, visit www.avid.com, connect with Avid on Facebook, Twitter, YouTube, LinkedIn, SoundCloud; or subscribe to Avid Buzz.

© 2013 Avid Technology, Inc. All rights reserved. All prices are USMSRP for the U.S. and Canada only and are subject to change without notice. Contact your local Avid office or reseller for prices outside the U.S. and Canada. Avid, the Avid logo, FrameFlex, Interplay, ISIS, Media Composer, Pro Tools and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. All other trademarks are the property of their respective owners.

For more information contact SkyTech Media Solutions (310) 922-1631 or

How to Import Video into Avid Media Composer (Part Two): Data and Workflow

By Sareesh Sudhakaran

Disclosure: Links in this post may be to our affiliates; sales through affiliate links may benefit this site. Please help support wolfcrow and buy from Amazon. It won’t cost you anything extra.

In Part One we had a quick overview of the Avid landscape, and how to get help. In this part we’ll look at how Media Composer structures data and media, and the typical workflow.

AMC7 ScreenShot

How data is structured in Avid Media Composer

Here is how Avid organizes everything:

Avid Data Structure

Bin

At the core of everything is the ‘bin’, which comes from the film days where film strips, reels and spools were dumped into bins. It’s just a virtual container for your media files. When you create sequences, you will be storing them in bins.

Bins also contain your media, and anything else you can import for your work. Bins can be shared among different editors.

Objects

Anything in the bin is an object. These objects can be user-generated (sequences, effects, etc.), imported file-based codecs (AMA) or ingested/captured footage from tape devices (non-AMA).

Folders

Avid Media Composer gives you one additional tier of organization, in the form of Folders. You can organize multiple bins into folders, which is a handy feature for large projects where bins can get old and need to be archived, etc.

Attic

Avid saves your work periodically. Avid is actually saving the specific bin in which you’re working, and this is saved as a backup file in a separate folder on your hard drive, under the name ‘Avid Attic’. You could choose to write a new file or overwrite the existing backup from the settings.

Storage

Everything is stored somewhere, more specifically, hard drives. These could be:

  • Single drives attached to your computer.
  • Multiple drives attached to your computer.
  • Network storage, like a SAN or Avid ISIS
  • Storage over the Internet, via Interplay Sphere

By default Avid already knows where to store what, unless you have multiple drives or shared storage. In this case you’ll need to configure your settings to tell it where things must go.

Avid Media Access (AMA)

This is Avid’s way of telling you that it can edit files natively, similar to Adobe Premiere Pro. Unfortunately, Avid has complicated things a bit by requiring you to download and install a different plug-in for each codec. You’ll find the available plug-ins and codecs here. Once installed, restart Avid Media Composer.

To check which plug-ins are installed, go to Tools > Console. You’ll get a command-line console, where you type AMA_Listplugins and hit Enter/Return. Make sure your installed plug-ins show up here.

There are some instances where you will need to tell Media Composer which plug-in you intend to use before you work on a specific codec, like in the case of creating profiles for Dynamic Media Folders.

Dynamic Media Folders (DMF)

This is one of the coolest features of Avid Media Composer. Imagine this: You create a folder on your computer or another drive that can:

  • Copy to another folder or drive automatically.
  • Transcode automatically.
  • Consolidate* automatically.
  • Link original media or transcoded media to specific bins automatically.
  • Get Interplay to access these clips automatically.

All you have to do is drop in media directly from the media card or SSD you shot it in, and Avid does the rest in the background while you can carry on doing something else.

In short, DMF is almost an automatic Data Wrangler on set or an Assistant Editor in a post facility. To read how to get DMF working, refer to page 381 of the manual.

*Consolidate in Avid-speak means the following:

  • Copy media files from one location to another.
  • Remove unused media clips in sequences.
  • Make backups of media.

Avid MetaFuze

There are some codecs that cannot be edited natively, even via AMA. These are non-AMA workflows. I won’t be going into tape-based workflows.

For some codecs, especially RAW codecs like Arriraw or R3D, etc., or DPX or Quicktime codecs, you can transcode your media into DNxHD for editing. The free application that does this is called MetaFuze. You can download it here. Here’s a typical workflow:

MetaFuze workflow

Which brings us to DNxHD

DNxHD (stands for Digital Nonlinear Extensible High Definition) is an intermediary codec, like Prores or Cineform, that purportedly allows for easier and smoother editing.

I am not a fan of transcoding native formats into intermediary codecs to make editing easier. If I have a less-powerful system, I prefer to edit with proxies and preserve the native files until the mastering stage.

DNxHD is usually written to the MXF wrapper/container format. However, it can also be written to a MOV container. Here are the available codecs:

  • DNxHD 220 – 220 Mbps, color bit depth of 10 or 8 bits, at 30 fps (185 Mbps at 25 fps)
  • DNxHD444 440x – 440 Mbps, 10 bits, not always available
  • DNxHD 145 – 145 Mbps, 8-bit only, at 30 fps (120 Mbps at 25 fps)
  • DNxHD 45 – 45 Mbps, 8-bit only, at 30 fps (36 Mbps at 25 fps) – used for Proxies

If it has an X after it, it’s 10-bit, otherwise it’s 8-bit. Chroma sub-sampling is 4:2:2 for all of the above. To know more about DNxHD, click here.

Who is Avid Media Composer for?

Now would be a good time to assess if Media Composer is the right tool for you or not. Look at the features:

  • Avid Media Composer is built for a collaborative environment. You must define a User before you can start using Media Composer.
  • Avid supplies the necessary hardware and software to enforce this workflow.
  • Avid provides tools and plug-ins at premium prices but with maximum flexibility.
  • You can generate usage reports and statistics to know who has used it and for how long, what changes were made, etc. These can be exported for printing or record-keeping.
  • You can print images, etc., from the bins directly within Media Composer.

Which kind of workflow needs all these features at the same time? In one word: Broadcasting. Another group might be high-end visual-effects driven feature-length features, where media and data might fly in and out from all corners of the earth.

What if you’re just a single user looking to edit an indie movie, a short film, a commercial or a corporate video? You could still use Media Composer to do your work, and only you can make that decision. I would stay away.

What about if you’re a post house with grand plans? Is it too much to learn and too much to pay? Most of its data features will rarely be used, but you’re still paying for them. When you want to add features, you still have to pay more. At some point, when your post facility grows and demands a more robust architecture, the cost differential between building it with Avid components as opposed to off-the-shelf components is huge. You must be able to see that far ahead – will your business benefit from the ‘Avid’ brand name, and will it generate more revenue because of it? Look how the price of Media Composer has dropped in recent years. Against the onslaught of more nimble competitors, how much longer can Avid sustain its premium and value? Tough choices.

What I’m definitely not a fan of is the DNxHD backbone. It works well, mind you, but it’s a round-about way of doing things when applications like Adobe Premiere Pro, FCP-X and Autodesk Smoke can do it directly. However, many professionals find this method to be more ‘simplifying’ – to each his or her own.

All said and done, Avid Media Composer is a supremely capable application – it’s what others aspire to become. What it can do, it can do as well as anybody else, and then some. This respect was earned.

Typical Avid Media Composer Workflow

For all its complex features, the workflow within Media Composer is surprisingly simple:

Import your codec via:

  • AMA – if you want to edit natively.
  • MetaFuze – if you want to transcode to DNxHD prior to editing.
  • non-AMA – capture/import via the Deck Controller or MediaLog, etc., and transcode to DNxHD prior to editing.

In addition to DNxHD, you can also work in uncompressed 8-bit or 10-bit footage within Media Composer.

Once you finish editing, you can grade with tools like Baselight, Composite Suite Pro, Red Giant Looks, etc. You can add effects and filters with the many plug-in options available, or with Media Composer’s in-built effects library.

When you’re done, you can output directly from Media Composer, or you can conform to Symphony for grading and finishing in the resolution of your original media. If you want to work in another application like DaVinci Resolve, you can export an AAF. Want to make deliverables for the web or DVD, etc.? Use Sorenson Squeeze Pro.

It can be as simple or as complicated as you want it to be. That’s the defining mark of Avid Media Composer.

In Part Three we’ll look at how to configure your system and project settings for best results.

For more information about Avid Media Composer, or to purchase your copy today, call (310) 922-1631

Insights into Consumer TV Viewing Trends

New Research from Avid and Ovum Reveals Opportunity Hiding in Media Archives

How to Import Video into Avid Media Composer (Part Two): Data and Workflow

Wolfcrow by Sareesh Sudhakaran

In Part One we had a quick overview of the Avid landscape, and how to get help. In this part we’ll look at how Media Composer structures data and media, and the typical workflow.

How data is structured in Avid Media Composer

Here is how Avid organizes everything:

Bin

At the core of everything is the ‘bin’, which comes from the film days where film strips, reels and spools were dumped into bins. It’s just a virtual container for your media files. When you create sequences, you will be storing them in bins.

Bins also contain your media, and anything else you can import for your work. Bins can be shared among different editors.

Objects

Anything in the bin is an object. These objects can be user-generated (sequences, effects, etc.), imported file-based codecs (AMA) or ingested/captured footage from tape devices (non-AMA).

Folders

Avid Media Composer gives you one additional tier of organization, in the form of Folders. You can organize multiple bins into folders, which is a handy feature for large projects where bins can get old and need to be archived, etc. read more…

For more information about Avid Media Composer, or to place an order, call (310) 922-1631

Get Started Creating 2D and 3D Animated Titles with NewBlue Titler Pro

Get Started Fast with Media Composer 7

The following is a guest contribution from NewBlueFX VP of Products, Travis White. With more than 15 years in video and 3D applications experience, Travis has developed more than 30 professional video editing plug-ins for NewBlueFX. Before crossing over to product development, he worked as a Hollywood editor.

Hello, this is Travis White with NewBlue, and I’m here to show you NewBlue Titler Pro Basics inside Avid Media Composer. Be sure to scroll down to see both Parts 2 and 3 in this post. If you’d like to try for yourself anything you see in this tutorial, download both Avid’s free 30-day fully-functioning Media Composer 7 trial and our 14-day Titler Pro trial. Let’s get started with Part 1.

Now, as you know, you have had for some time a title tool in Avid Media Composer called the Avid Title Tool. What we’re going to do here is we’re going to look at some basics of the kinds of things that you have been achieving in that Avid Title Tool, and then we’re going to go beyond so you can understand how you can create 2D, 3D, animated titles inside your own timeline of Avid Media Composer.

But first things first, how do you apply Titler Pro? Well, let’s go up to the Effect Palette and find it here in the Effect Palette. And of course you would drag and drop it to a clip on your timeline. One thing that I like to do is find an edit point and use the tool in Media Composer Add Edit. And this will do a slice on a track, and I can go ahead and apply the effect right there. And now I have the default text of Titler Pro coming up.

So what I want to do is obviously go to the Effect Editor, and there’s one control in the Effect Editor and that’s “Launch the User Interface of NewBlue Titler Pro.”

So I’ll give you a bit of a survey about what our user interface is about. Right here you have your workspace in which we’ll be doing the majority of our work. Over here on the left you have a control panel for your objects orientation. Under Style will be how your characters look. Under Effects and Transitions, we’ll get in another tutorial, and finally in the Library is where you can find a number of presets. But we’re going to start from scratch in this case.

Down here on the timeline we have a timeline of ten seconds because that’s the duration of the slice on my Media Composer timeline. This blue bar represents what we call a paragraph. A paragraph is a string of characters and carriage returns and tabs and all of that which is a block of text essentially.

I want to notice the safe margins here. So we have Title Safe and we have Action Safe. Now for some of you who have to develop shows that have to be aired in 4:3 as well, we have a safe margins of 4:3 inside 16:9 option for you. Now if you’re working on a 4:3 project from the Media Composer timeline, of course you’d get the appropriate safe margins, but right here we’ll go back to our widescreen format.

So what are we going to do here? One thing is scrub the timeline, and look, we have frame-accurate motion video behind our text. So we can really see what’s happening because Titler Pro is going to be giving us animation, which we’ll get into later.

So this is a shot of a band, and this band’s name happens to be The Keplers. So we’re simply going to Control+A and type in “The Keplers.” Now how do you move in size? Well you can do that in the Attribute Panel, position X, position Y. You can check this anchor point of this lock icon for X, Y and Z to stay together for your scale and scale up and scale down. Don’t necessarily confuse scaling with Z-space, closer or further away. That will matter later on when you’re doing animation. But for now, let’s just keep things basic.

And what you can also do is do those same operations directly in your workspace. So if you grab the corner of text, you’ll be sizing it up and down and keeping its aspect ratio. If you grab the side of a paragraph, you’ll be squashing or stretching both directions. So that’s how to keep all that work in there.

Now what about justification? Well, let’s go ahead and enter another line so that we can see this working. “Down” is going to be the song that we’re going to be talking about. So right here you have justification center possibly, you have justification right, left. You also have left and right, which we get into when we’re doing rolling credits in that tutorial because of that center trough or margin that we have. But we’ll stick with justification left.

And to move, you simply grab the edge, not one of these resize handles, but simply the edge of the paragraph and move it around.

Now one thing we want to do is sometimes text is in an area that’s not so readable. So how do you change color? So let’s go to Attributes, Style, and let’s work with the color tool. You could simply use the eye dropper to pick a color out of the scene, so I’m going to say a brown or maybe a green, and maybe that green needs to be pumped up so you click the color swatch and work with the color that way.

But actually what I want to do is I just do a basic white, so we’re going to do that. Now we just did a color. What about a gradient? Well, you can do a gradient or a texture, which we’ll get into later, but let’s work with a gradient right now. The gradient has two points that you can work with, and if you check one of those circles, you can dial in another color.

Notice that we have the gradient happening on both lines. So you can have each line having its own gradient control. In fact, it’s really doing character-by-character at the moment. If we change this gradient to the side, you’ll see each character is receiving that gradient.

We’ll go ahead and go back to what we had, and there’s another way to do this too. In fact, let’s go edge-to-edge. We can check Stretch to Paragraph, and now you can see that this gradient is being controlled across the entire paragraph. That can be handy depending on the effect that you want. But what we’re going to do here is simply have it do line-by-line on its own, so we’re going to uncheck Stretch to Paragraph.

And also, you know, the text is not popping so well, so how would you add a shadow? Well, we’ve just been working on what we call a style layer. We have one style layer right now. So I’m going to add another style layer, and that is a shadow in this case. So now, “pop”, there’s your shadow. You can change the blur settings. You can change its opacity, its offset in different positions, and there you have a gradient, a blur, your text.

Read More…….

CatDV Connects with Avid

CreativeCOW presents CatDV Connects with Avid -- AVID Editorial


Santa Monica California USA©2013 CreativeCOW.net. All rights reserved.

Square Box Systems’ has just unveiled a CatDV asset management system for integration with Avid nonlinear editors. Pegasus is a premium CatDV client that is based on the CatDV Enterprise product and, in addition to integration with Avid Media Composer, also offers metadata support for RED Epic. With this addition, CatDV now offers support for Avid Media Composer, Adobe Premiere and Apple Final Cut Pro.

Square Box Systems‘ CatDV is an asset management system with production capabilities that has had a deep impact in numerous industries, including media and entertainment. “It’s aimed at people who have a large volume of digital media, which is relevant to many industries,” explains Square Box CEO Dave Clack. “It helps teams to organize and search that media and communicate among their divisions. There’s an insatiable demand for media and more and more large media, and to be able to find it offline and online is vital. So we help people to find the media and thus save money and time.”

Square Box CEO
Dave Clack

Now, Square Box has unveiled a CatDV product that integrates with Avid Media Composer. Pegasus, a premium CatDV client that builds on the foundation of CatDV Enterprise and includes built in support for MXF and archiving, now includes a new solution for integration with Avid Media Composer. Pegasus also includes metadata support for RED Epic files and can co-exist with CatDV Enterprise clients and is available as a stand-alone product.

“This now provides metadata integration between CatDV and Media Composer,” says Clack. “A producer can put together a rough cut together in CatDV and then mark up the data about what they like in the shot and communicate that directly into the editor. All the logging data is stored in CatDV and it can be shared seamlessly with the editing program. So it’s a collaboration tool between the edit team and the creative team.”

“We’re pitching CatDV Pegasus at the premium end of the market,” he continues. “We expect more sophisticated customers might have a niche environment of different editing stations to pick it up. It’s an extension to the existing customers we have, but it’s certainly a more high-end solution.”

Pegasus now enables a “round trip” workflow of media and metadata between CatDV and Avid Media Composer and a complete Avid workflow solution within CatDV. Sequences, Master Clips and Subclips can be exported to Avid Media Composer from CatDV.

The CatDV AAF Tool supports import of Avid created sequences, Master Clips and Subclips. Supported media is relinked within Avid Media Composer. CatDV Pegasus users can save time and create efficiencies by logging clips and sequences outside of the Avid edit suite and preparing shot lists with added metadata off site. Media can be ingested and transcoded using the CatDV Worker and then Pegasus can send the clips to Avid.

The workflow will allow users to export master clips, subclips and sequences created in Avid Media Composer to CatDV and import supported media and metadata to CatDV; the Avid MXF media is relinked and metadata available to all CatDV users. Clips and sequences can be simply dragged into Avid by selecting the AAF Tool icon and dropping onto any open Avid bin.


Clips and sequences can be simply dragged into Avid by selecting the AAF Tool icon and dropping onto any open Avid bin.

Clack notes how this workflow already exists for Apple Final Cut Pro and Adobe Premiere. “Our roots were the Apple side of the community and when Apple changed, we were keen to have two horses in the race,” he says. “For customers, the decision about what NLE or hardware to buy isn’t such a risky decision. With our open communication between everything in the middle, they’ll never lose data and have an expensive mistake on their hands.”

Pegasus has been in beta testing since the beginning of 2013 and is now shipping

Clack describes CatDV’s key features as “power, simplicity, flexibility, paired with reasonable cost.” He adds, “It can fit with your existing workflow and provides round-trip metadata management with a full array of assets, formats, NLEs, storage systems, database systems, operating systems and archiving systems. With CatDV, you can automate many tasks in a workflow and integrate with a wide variety of hardware and software. At the same time, the desktop interface is straightforward; the complexity of the product is hidden from the user. CatDV is also cost effective. The user can choose from a standalone and single user clients to systems that support hundreds of users.”

CatDV users include such media-rich enterprises as CNN, BBC, NBC Universal, CBS Television Networks, as well as GoPro, Intel Corporation, NFL Films, Iron Mountain and dozens of museums, worship clients, hotels and other organizations that deal with media.

Pegasus has been in beta testing since the beginning of 2013 and is now shipping.

As the creation of rich media continues to explode in the media and entertainment space, the Achilles heel is the ability to easily organize and access assets. Square Box offers solutions that now span the range of NLEs, making them more powerful than ever for professionals within our industry.

For those interested in more information and pricing, in North America, contact JB&A. Outside North America, contact Square Box directly.