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It often slowed you down in the beginning stages forcing many people to work differently, and less intuitively than they were used to, as it was unforgiving if you deviated from best-practice workflows. Lately, however, it was not often a first choice for smaller projects, or for beginning editors, simply because it had an encompassing reputation as being difficult to learn. Especially in larger, enterprise sized operations, Avid has always been the natural choice because of how it facilitates collaboration and asset sharing between many editors and AEs across projects. In fact, I would say that it is direct credit to how great Adobe Premiere and DaVinci Resolve have become, that drastic changes to Media Composer became inevitable. Over the years, it became clear that Media Composer needed a refresh. Suffice it to say, Media Composer was never an especially intuitive piece of software.Īll that has changed with Media Composer 2019, as the new release is sleek and intuitive, fast and responsive, and a direct response to all challengers who dare come at the “King of NLEs”. Even ugly, when its user interface was mentioned. Unforgiving, when workflow was discussed. Steep, when describing its learning curve. Along with those superlatives, however, there were other adjectives that would often be thrown around in the same sentence as Media Composer. Media Composer has always held a deserved reputation as an incredibly powerful, absurdly deep, and efficiently collaborative NLE solution. Avid has never been as accessible as this.
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Similar to when Avid became available as a software-only option, this latest release of Media Composer will likely prove to be an introduction of sorts to great swaths of editors professionals, students, and hobbyists alike.
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None of that has changed, yet Media Composer 2019 is still easily the biggest revolution in both interface and engine that the software has undergone since it was first decoupled from expensive turn-key hardware solutions more than a decade ago.
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Why fix what isn’t broken?Īfter all, Avid has always worked, full stop, with a deserved reputation for stability, speed and power. With so many editors already relying on Avid, it seems almost a given that the changes made year-to-year would be iterative, at best – a small new feature, here, a bug fix, there. When it comes to non-linear editing programs, Avid Media Composer has always been considered “old faithful”, with unparalleled adoption in the feature film, television, and journalism fields. The release of Avid Media Composer 2019 falls undeniably into the latter camp. When it comes to software releases, the common wisdom seems to be that there are new versions that are evolutionary, and others that are revolutionary.
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By Benjamin Walsh, Annex Pro Video Post-Production Specialist