Throughout the entire process, Media Composer and ISIS allowed us to handle a massive amount of footage with ease.
MATT TOWN, POST PRODUCTION SUPERVISOR, MAD MAX: FURY ROAD
Media Composer is vital when I edit drama. On ‘His Last Vow,’ there were many challenges and some particularly complex sequences. As an editor, working on Sherlock expanded my palette.
YAN MILES, EDITOR, SHERLOCK
Media Composer is an incredibly fast and intuitive tool. The software’s acceptance of so many differing formats and codecs played a large role, as did its organizational capabilities.
BARNEY PILLING, ACADEMY AWARD-NOMINATED EDITOR, THE GRAND BUDAPEST HOTEL
The biggest challenge on Fury was time—or a lack of it… Production would often throw us a curve ball and, thanks to Avid, we knew we could always handle it. That gave us all real peace of mind.
DODY DORN, EMMY AND ACADEMY AWARD-NOMINATED EDITOR, FURY
You’d be hard pressed to name a file format we haven’t used on The Voice over the last five seasons. Our Avid workflow allows us to manage and utilize the high volume of media that comes in daily.
ROBERT M. MALACHOWSKI JR., SUPERVISING EDITOR, THE VOICE
Media Composer is a workhorse. It has always been the most reliable and intuitive system, and it also works flawlessly with media sharing. No matter how big a project, the media is always there where it’s supposed to be.
KRISTIN MCCASEY, LEAD EDITOR, FOO FIGHTERS: SONIC HIGHWAYS