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When you purchase Avid Media Composer, you also get a set of other applications, whose purpose (at least to the newbie) is not immediately obvious.  So I did some investigation and produced a summary of them, as below.  I have no experience of actually using them, I just trawled ReadMe files and (mostly) the web.  Here are my (interim) conclusions:

• Avid TransferManager - Is e.g. for uploading to a Playback Server [http://blog.davidesp.com/archives/274]
• AMA - the camera-specific AMA Plugins (e.g. for Sony XDCAM) are no longer bundled with MC, you have to download and install them separately. [http://blog.davidesp.com/archives/316]
• Avid MetaSync automates the inclusion of metadata (expressed in suitable XML formats) into Avid editing systems, including synchronisation with video and audio. The metadata can be anything from subtitles / closed captioning to synchronized entertainments such as lightshows or simulator rides.   [http://blog.davidesp.com/archives/334]
• Avid MetaFuze’s primary, if not only purpose is to prep files for Media Composer use - an “outboard importer”.  Avid’s article at http://www.avid.com/US/industries/workflow/MetaFuze summarises it nicely.  Though bundled with Media Composer, it is also available free. That means for example that preprocessing work (e.g. generation of burnt-timecode proxies and online files) can be generated (e.g. in DNxHD) by anyone whether or not they have an Avid system.  Potentially then a great option for breaking up work into collaborative / parallel workflows. [http://blog.davidesp.com/archives/335]
• Sorenson Squeeze - a well-known compressor/encoder, bundled as part of Avid Media Composer (MC) but also an independent product in its own right. Avid MC5.5 specifies version v6.04 but further updates are available from Sorenson itself.  There is a free-to-Avid-users update from v6.x to v6.5.  The latest version is v7.0 (with CUDA).  Presumably these later versions are officially unsupported by Avid (but how much does that matter in practice?). [http://blog.davidesp.com/archives/337]
• Avid EDL Manager imports and exports EDL (in various flavours) - from/to a bin (e.g. thumbnails storyboard layout?) (or a Sequence or MXF file?).  It can be run stand-alone or from within Avid.  EDLs are somewhat of a hangover from the past, so it’s unlikely to be of much use in my case, but worth knowing about as an option, and as such still features in other people’s current workflows. [http://blog.davidesp.com/archives/350]
• Avid Film Scribe generates Cut Lists and Change Lists (used in transfer from video edit to film edit) in more contemporary formats than EDL, e.g. XML formats involved in VFX / DPX workflows (? I am on very unfamiliar ground here ?).  It can generate such formats from a Sequence and also it can be used to translate between some formats.[http://blog.davidesp.com/archives/352]
• Avid Log Exchange (ALE) is an Avid log file format that has become a de facto standard in the post industry. It is a text-based metadata exchange format used in applications from telecine to standalone logging applications, and is supported by many NLEs.  The ALE format is based on a Comma or Tab -delimited file format. [http://blog.davidesp.com/archives/353]
• Avid After Effects EMP is (not a disruptive elctronic weapon but) an Avid-supplied plugin for Adobe After Effects allowing that application to use a DNA family video output box such as Mojo (”ordinaire”) or Nitris to provide External Monitor Preview (EMP) on a monitor.  Helpful in order to make use of that Avid box for the Adobe After Effects application, both for convenience and consistency.  Unfortunately it does not work with the more recent DX family, such as the Mojo DX box. [http://blog.davidesp.com/archives/354]
• The Avid DNA Diags application is for diagnostics on DNA family e.g. Mojo “ordinaire” (not DX) [http://blog.davidesp.com/archives/355]
• The Avid Quicktime Codecs extend QuickTime for encoding and decoding to/from Avid codecs such as DNxHD.  Essentially they add such formats to QuickTime on your system.  The LE codecs are “Light Edition” - only needed on systems where Avid is not already installed.   [http://blog.davidesp.com/archives/356]
• Avid Media Log is a standalone app supplied with Avid systems enabling assistants on non-Avid machines to select and log raw (as opposed to RAW) footage in a manner that can easily be transferred into an Avid session/system elsewhere, where the result appears as an Avid Project.  Apparently, Media Log is much like the digitize tool on Media Composer.  But I’ve never used that either… It can output e.g. to ALE (explained below) and hence e.g to other NLEs.  [http://blog.davidesp.com/archives/357]
• Misc “Avid Downloads” (?) Looking at  my Avid Downloads page, there is a much larger list of items than I expected, and suspect that many of them are not relevant.  For example, what is Avid Deko?  It’s listed on my Avid Downloads page, though I don’t know if I would be able to activate it, or whether it would be worth the trouble.  It’s listed as Deko 2200.  So I googled and YouTubed about it…  Impression: that version (2200) is very obsolete. [http://blog.davidesp.com/archives/332]
• On my web “travels”, I discovered a great article entitled “The Avid Ecosystem” at [http://digitalfilms.wordpress.com/the-avid-ecosystem/], listing many of the resources for the Avid world: links, tutorials, filters, applications, training…
• It’s helpful to see some of the above items in the context of illustrative workflows, e.g.:
  • http://www.avid.com/static/resources/documents/solutions/REDstepbystep.pdf
  • http://www.studiodaily.com/main/minisites/avid/f/mtutorials/Streamline-Your-QuickTime-Based-Workflow-with-MetaCheater-and-Avid-Media-Composer_9547.html
  • http://pomfort.com/support/Pomfort_Metadata_workflow_AVID_Media_Composer.pdf.

I found a great simple example of a typical Avid workflow, happens to be for footage from an ARRI ALEXA camera, which can record to ProRes (amongst other things).  Once again, the workflow depends on the clunky/hacky method of taking files offline, in order to substitute others (e.g. proxies), in this case by moving them out of the MXF folder.  The full article is at http://digitalfilms.wordpress.com/2010/11/18/arri-alexa-post-part-3/.  The last time I posted on this sort of issue was http://blog.davidesp.com/archives/367.

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Free open-source pro-class NLE: http://www.lightworksbeta.com/ .  Well-received by many.  Glimmers a little bit like FCPX, but more flexible user interface, including keyboard-compatibility options with AVID and FCP7.  Register to download it (just over 40 MB).  Further links:

• http://www.lightworksbeta.com/
• http://www.advancehdtv.com/index.php/item/lightworks-a-new-nle.html
• http://forums.creativecow.net/archivethread/134/313499
• http://en.wikipedia.org/wiki/Lightworks
• http://lightworks.wikidot.com/
  • Unofficial Site to help the Lightworks (Beta) NLE community share tips/tricks and documentation.
  • Before using this Wiki, read the following:
    • Lightworks Quickstart Guide
  • Maybe also read the following (longer documents):
    • Lightworks Guide 2010
    • Install Guide
• http://community.avid.com/forums/p/96606/553421.aspx
  • Avid users discussing Lightworks etc.  Seems a reasonably good reception.
  • http://community.avid.com/forums/t/82697.aspx
    • http://www.youtube.com/watch?v=9gCDFfXUcGk
• YouTube
  • http://www.youtube.com/watch?v=9gCDFfXUcGk
  • http://www.youtube.com/watch?v=Qu9kgRLQ7n8
• http://www.interlab-net.com/docs/lightworks/Press_Releases/LWKS_PR_NTFS.pdf
  • LightWorks courses at London’s NTFS

Suppose you have multiple AVid projects on the go.  By default, all of the media from those projects will be stored in one file path: [Avid MediaFiles].  If you have more than one volume connected having this folder, then it gets more complicated - e.g. if Avid can’t find sufficient room on one such volume then it will try the next one (etc.).  Avid provides tools for media management but it can get messy when you need to keep connecting different drives to see if they contain your required media.  Instead, it is helpful to be able to store media for different projects in different “lumps”, be they volumes or folders.  From web research (below), it seems there are a number of possible, though kludg-ey, workarounds, mainly based on temporarily renaming AVid media folders/subfolders…  Nice to know, until such time as Avid provides a tidier solution to this requirement.

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These are standalone tools I have seen (on web) others using to transcode from various formats into Avid formats such as DNxHD.  Of course, that’s also achievable from within Media Composer (e.g. by its Consolidate/Transcode feature), but a stand-alone tool encourages parallel, and hence possibly collaborative, workflows in post-production.

• Metafuze - Avid’s own such program
  • Previously covered at http://blog.davidesp.com/archives/335
• TMPGEnc Xpress
  • http://www.cinematography.com/index.php?showtopic=39128
    • “Peter Moretti”, May 2009
      • It’s an excellent program for transcoding, changing frame rates, removing a pulldown, capturing from DVD’s and more. Probably the best $100 I’ve spent on editing.
      • But it’s main advantage over Cineform is that it will transcode HV-20 footage into a Quciktime file of any DNxHD format. This file can then be fast imported into Avid.
      • Read more: http://www.cinematography.com/index.php?showtopic=39128#ixzz1VeVZzElm
• MPEG StreamClip ?

Possibilities:

• My presumption (yet to be tried):
  • Edit in Avid with AMA link to Cineform files and FirstLight open (simultaneously).  Do the primary grading in FirstLight, possibly via a parallel/collaborative workflow.
  • Later, Avid-import as Avid controlled media, at which point the Cineform files get transcoded to DNxHD or whatever and the primary grading gets baked-in (but can of course still be further tweaked in Avid).  For resilience and flexibility, retain the Cineform files (or at least the ability to regenerate them) and the FirstLight project file (which stores the grading data).

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• http://techblog.cineform.com/?p=3137
  • (The original article includes dialog screen-shots, maybe these give extra info/insight)
  • 1. File->Export
  • 2. Select “Send to QT Movie” in the Export Setting dropdown at the
  • bottom of the export window.
  • 3. Select an output location and input output file name.
  • 4. Click “Options” to the right of the Export Setting dropdown
    • In the “Options” window:
      • - Export As: “QuickTime Movie”
      • - Width x Height: match your source or input desired scale size
      • - Select “601/709″ if you have NOT selected “Enable 4:4:4 encoding”. If you have, select “RGB”
      • - Display Aspect Ratio: “Native Dimensions” if you are not scaling, desired output if you are.
  • 5. Click “Format Options…”
    • - Sound: Checked, uncompressed, 48kHz, 16-bit, Stereo
  • 6. Click “Settings”
    • - Compression Type: CineForm HD/4K/3D
    • - Frame Rate: Current
    • - Depth: Millions of Colors+
    • - Quality (Set at user discretion, recommended “High” or “Best”)
  • 7. Quality Options: “Enable 4:4:4 encoding” and “Interlaced video source” are options to use at your discretion
  • 8. Click “OK” as you navigate back to the original “Export” window, and click “OK” again to start your export.
  • 9. Upon completion, go back to your project bin, right-click and select “Link to AMA File(s)…” and navigate to your new file.
  • For 3D projects, you will want to do one of these renders for each eye, then mux the outputs back together for a 3D master, as described here: http://techblog.cineform.com/?p=3071
• http://cstest.avid.com/forums/p/99404/572126.aspx
  •  Joachim Claus (Aug 2011) Re: MC 5.5.2 and CineForm Codec
    • If you need a QT-Cineform file format, I recommend o export a QT Reference and then use QT-Prof for transcoding to Cineform.
      • I have tested QT-export with Cineform Codec (GoPro-Cineform HD/4K/3D). It worked flawlessly from a HD720P50 timeline. However, the export is slow. For a 1:03 minute timeline (coded in DNxHD120), the encoding took 5:21 minute.
      • In another test, I exported a QT-Reference file from the same timeline, imported it into QT-Prof. and exported the file with Cineform Codec as above. In this case, the encoding took 2:49 minute.

Doh! I only just finished installing MC 5.5.2…  Shouldn’t take long though…  On the other hand it apparently introduces a problem with GenArts Sapphire.

• http://community.avid.com/forums/t/99771.aspx
  • This is a “maintenance release” of the Media Composer (Mac and PC) , Symphony (Mac and PC) and NewsCutter (PC) editing software.
  • Customers currently running Media Composer 5.5.x, Symphony 5.5.x or NewsCutter 9.5.x are entitled to download and install the 5.5.3 or 9.5.3 release free of charge.
  • There are well over 75 + bug fixes and enhancements in the 5.5.3/9.5.3 Maintenance release.  You should download and read the ReadMe file before installing.
  • There are both  full installers (Mac and PC)  AND patch installers (PC) provided for the v5.5.3 and v9.5.3 release.
  • For PC Users: If you are using any of the Helper Applications (Avid EDL Manager, Avid FilmScribe, Avid Log Exchange, Avid MetaSync, or Avid Media Log), you must install the patch updates for these applications. Further, if you are using Nitris DX, Mojo DX, or Avid DNA hardware, you must update the hardware drivers. Download the installer for your appropriate hardware and OS on the
  • Sony has released a new version of the AMA plug-ins for XDCAM and XDCAM EX.  Version 1.2 is now available from Sony’s website and is supported with MC 5.5.x, Symphony 5.5.x, and NewsCutter 9.5.x releases. More information can be found on the Knowledge Base here:  http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=394827
• http://community.avid.com/forums/t/99876.aspx
  • GeorgeD: AFter I installed the upgrade patch the Sapphire effects stack won’t pass through the Alpha channel. Any other effect put on top of MakeRGB does not see the Alpha channel anymore. MakeRGB by itself still works.
  • Larry Rubin: Reported to GenArts Product Support

• http://community.avid.com/forums/p/83962/471997.aspx (Posts of May 2011)
  • Douglas
    • The (free) upgrades apply only to BCC AVX bought from Boris (or a Boris dealer) at the regular price.
    • For an upgrade from BCC 6 to BCC 7 via Avid, you will have to wait until it is included in a future Productivity Pack and then buy the new pack.  Still a lot cheaper than via Boris as it also would probably include any newer versions of Squeeze etc.  The only thing you need now is patience.
  • Dean
    • I asked them about the BCC7 upgrade and they confirmed that bundled products are not eligiable.
• http://provideocoalition.com/index.php/news/story/boris_continuum_complete_7_avx_now_available/ (Article of August 2010)
  • Boris FX, the leading developer of integrated effects technology for video and film, today announced that Boris Continuum Complete 7 AVX (BCC 7 AVX) is now available. BCC 7 AVX brings over 200 filters to Avid Media Composer and Avid Symphony. The new release features lens blur effects, a video noise reduction tool, a new OpenGL particle engine, and new on-screen overlay control widgets for streamlined workflow.
  • Boris Continuum Complete 7 AVX is available immediately through the Boris FX worldwide reseller channel and direct through the Boris FX web site at http://www.borisfx.com for an MSRP of $1,995 USD. Owners of previous versions of BCC AVX may upgrade for an MSRP of $599 USD.
    • {Prices may have changed since then}
• http://www.motionmedia.com/Boris-Continuum-Complete-7-AVX-for-Avid-Media-Comp-p/borccavxmcs-dvd.htm (as of this post)
  • Boris Continuum Complete 7 AVX for Avid Media Comp Our Price: $1,895.00

• http://www.youtube.com/watch?v=wb8LqUY1q34
  • AMA and Media Management - Media Composer Cutting Edge
    • Suppose you start with a Project having a Sequence of clips from a Bin, these clips directly linked (via AMA) to original media-recordings in a camera’s native format.
    • “There are still going to be times when you want to integrate that media in your local or shared AVid storage”.
    • This can be done easily via the Consolidate and Transcode features:
      • Sequence: RightClick > Consolidate/Transcode
      • Consolidate/Transcode:
        • I THINK BUT UNSURE:
          • Select Consolidate if you just want the camera’s native format re-wrapped in MXF
          • Select Transcode if you want it transcoded e.g. into DNxHD
          • In both cases, you end up with a new sequence, of clips which are now:
            • On the Avid Media storage (MXF).  Better performance (?), better media management (by Avid) and ability to do some things that AMA can’t, such as multi-camera.
            • Only the subsets (of original footage) needed by the sequence (plus handles).  Saves disk space.
        • Settings:
          • “Video and audio on same drive”: YES
          • Select required target drive
          • Define Handle Length (e.g. two seconds’ worth of frames).
            • (Implies that Consolidate will only ingest the subsets of clips actually referenced in the Sequence)
          • “Create new sequence”: YES
          • “Delete original media files when done”: NO
          • “Skip media files already open on the target drive”: YES
            • (Thinks: what if they already exist on some other drive (that’s connected) ?)
          • “Relink selected clips to target drive before skipping”: YES
        • Click “go-button” (labelled Consolidate or Transcode).
    • If at any subsequent stage you want to re-edit:
      • Re-mount the original camera volumes (e.g. disk drive/drives).
      • Re-link your sequence to them (via AMA ?).
      • {Subsequently, presumably re- Consolidate or Transcode }
        • {Presumably if all you did was add something, the only action performed will be the Consolidate/Transcode of that very addition}
        • {What if existing clips are trimmed (up or down) in the sequence?  Will the corresponding existing Consolidate/Transcode product be appended/reduced/replaced as necessary (is AVid “clever” about all this?  Or will a new one co-exist alongside the old one (which then just wastes space) ? }
        • {Does an Avid-managed file act like an object, i.e. exists so long as something (bin or sequence) points at it, otherwise is deleted by some “garbage collection” ?}
    • ReLink is also handy for Offline-Online conversion.  Example:
      • A remote cameraman delivers (e.g. via DigiDelivery) a set of XDCAM-HD Proxies.
      • Editor receives proxies and Imports them into Avid.
        • No AMA used here.
      • Some time later the Online files arrive (e.g. by physical delivery of disks).
      • Avid’s ReLink function matches the offline proxy sequence, frame-for-frame, with the newly-avaiable HD footage.