Our current recommendation is to move all media management processes to Davinci Resolve, but if you are still ingesting any media these days with Avid Media Composer you should move to the DNxHR codecs. The beauty of this is that you can bring any frame rate in to any project and work natively throughout. We can then manage the mixed frame rate media appropriately for you in final post.

This is a basic guide on how to get your Avid Media Composer Project over to us for Final Post.

This is a basic guide on how to get your FCPX Project over to us for Final Post

This is a basic guide on how to get your Premiere Project over to us for Final Post.

If you missed part 1 about October Films using FLiP to enable cloud editorial catch up here. Jon Hagan the Edit Supervisor for Spring Cleaning Watch (w/t) said we can share his thoughts two weeks in to using FLiP:

October Films have embraced our cloud Post Production service FLiP for Spring Cleaning Watch (w/t) which they are producing for Channel 4.

The demo video below is of us using BTSync with Shared Storage and Avid Media Composer working across multiple locations including a laptop, FLiP (cloud based media composer) and our HQ.

This is just a quick video tutorial for a cool way to keep your media more organised in Avid Media Composer when working locally off a drive.

I just wanted to share this tip for fixing drone footage that has heavy aliasing, it can actually be used for any Aliasing/Moire but we get a lot off the drone cameras. It’s something I have struggled with for a while and haven’t found an easy direct fix within avid, if you find one let me know! I tried replicating this process in Media Composer but it didn’t work so this is my best fix for now and does a pretty much perfect job with every shot I have put through so far.

Final Post: Warner Bros. Television Post Production UK Client: Wall to Wall Talent: Grade and Online by Steve Alexander Brief: Grade and Online 3 x 60′ episodes for BBC2