The edit suites that cut every major network drama, feature film and documentary share one constant: Media Composer. The bin-based workflow, the way handles and tracks are wired, the keyboard-driven trim — these aren't arbitrary choices, they're the result of four decades of professional editors shaping what the software becomes.
Feature film scenario:
├── Dozens of camera angles (ARRI · RED · Venice · C500)
├── Shared SAN storage — multiple editors, one project, live
├── ScriptSync — text search finds every take of any line
├── PhraseFind — spoken word search across all bins
├── MediaCentral — review + approve from remote location
└── Direct output to Interplay for archive and delivery
ARRI RAW / ARRIRAW · RED R3D · Sony VENICE / F55 / FX9 · Canon Cinema RAW Light · Blackmagic BRAW · Panasonic VariCam · XAVC · XDCAM · ProRes · DNxHD/HR/MXF
| Level | Capability |
|---|---|
| Local | Single editor, local storage, standard bins |
| Shared storage | Multiple editors, shared SAN/NAS, locked bins |
| MediaCentral | Full web-based review, approval and distribution |
| Interplay | Automated archive, metadata, versioning |
AAF round-trip to Pro Tools · OMF audio export · EDL export · ALE (Avid Log Exchange) · XML interchange · DCP output with third-party plugin
avid media composer · film editing software · broadcast nle · bin-based editor · professional video editing · mediaceentral · scriptsync · arri raw editor