In a week I will be downloading Avid Media Composer 5.0. I’ve been delaying all edits of H.264 files. I have a batch of XDCAM files ready to test. I already have a client convinced we will use Avid on the next project instead of FCP because it is being shot on a 7D and the workflow will be faster. What other new tricks will I be able to conjure up in the “old dogs” software known as Avid.
On a small shoot yesterday, a client called me in to make sure this camera crew she hired was getting all the coverage and types of shots she wanted to see during our edit. I asked them about software preferences in editorial. It’s all FCP. All HDV. That sounds just like a big headache to me. Why not move with something faster workflow wise to save time and money? You know, the opportunity cost of the workflow?
I had lunch with an agency in Salt Lake City two weeks ago. After talking about a small piece I had edited, I showed them the piece on my laptop. “Is this color corrected already? It looks great!”
I work from home about 50% of the time. I do all of that work off of a MacBook Pro. I would love to invest in a nice Mac Pro setup, but whenever I do hard core work I get brought into an office with a nice Symphony system or FCP suite. All in all, I am very excited about the new Media Composer software because it gives me a few reasons to tell clients that it would be more efficient to use Avid instead of FCP for once.