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Also familiar was the Source/Record window which was seen in KEM and Steenbeck systems. The idea of organizing clips using bins was a familiar concept, so it was easy for editors to migrate from the flatbed editing world into Avid's digital interface.

Early versions focused on creating somewhat of a digital representation of the film editing process. The Avid Media Composer user interface has seen many changes and upgrades over the years.

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In July 2009, American Cinema Editors (ACE) announced that the ACE Board of Directors had recognized Avid Media Composer software with the Board's first ACE Technical Excellence Award. For continued development, Avid received an Oscar representing the 1998 Scientific and Technical Award for the concept, design, and engineering of the Avid Film Composer system for motion picture editing.įilm Composer is no longer available, since all of its specific film editing features were implemented into the 'regular' Media Composer. Six persons were recognized in that effort: Bill Warner, Eric Peters, Joe Rice, Patrick O'Connor, Tom Ohanian, and Michael Phillips.

In 1994, the Academy of Motion Picture Arts and Sciences awarded the Avid Film Composer with a plaque for Science & Technical Achievement. The system has been used by other top editors such as Walter Murch on The English Patient, the first digitally edited film to receive a Best Editing Oscar. Steven Cohen was the first editor to use Film Composer for a major motion picture, on Lost in Yonkers (1993). Film Composer was the first non-linear digital editing system to capture and edit natively at 24fps. The Avid Film Composer was introduced in August 1992. The Avid engineering team, however, managed to get 1,200 kBytes per second, which allowed them to do offline video on the Macs.

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I'm being paid by Apple to come here and port your applications from Apollo to Macintosh.' He worked for us for several weeks, and actually taught us how to program the Macs.' At the time, Macs were not considered to be fast enough for video purposes. That afternoon, a consultant knocked on our door saying, 'Hi.

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Each computer was loaded with full memory (probably 4 megs at the time), and a full complement of Apple software (pre-Claris). Also there were four large multisync monitors. They were from Apple, and they contained two of their prototype Mac II machines (so early they didn't even have cases, just open chassis). When we got back to our office (actually a converted machine shop) after the show, there was a pile of FedEx packages on our doorstep. Wrong platform!' It turned out they were evangelists for the then new Mac II (with *six* slots!).

Says Peters: 'Some Apple people saw that demo at the show and said, 'Nice demo. At some point, Avid demoed one of their products at SIGGRAPH. Media Composer can be used as standalone software, or to which the user can add specific external I/O devices, either from Avid or from specific third parties.Īccording to Eric Peters, one of the company's founders, most prototypes of 'the Avid' were built on Apollo workstations. There are 4 versions of Avid Media Composer Media Composer | First (a freeware version), Media Composer, Media Composer | Ultimate, and Media Composer | Enterprise.

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Avid NewsCutter, aimed at newsrooms, Avid Symphony, aimed at finishing, were all Avid products that were derived from Media Composer and share similar interfacing, as were Avid Xpress Pro (discontinued in 2008) and its predecessor Avid Xpress DV, which were aimed at the lower end of the market. Since the 1990s, Media Composer has been the dominant non-linear editing system in the film and television industry, first on Macintosh and later on Windows. Initially released in 1989 on Macintosh II as an offline editing system, the application has since evolved to allow for both offline and online editing, including uncompressed standard definition (SD), high definition (HD), 2K and 4K editing and finishing. Avid Media Composer is a film and video editing software application or non-linear editing system (NLE) developed by Avid Technology.