We had to identify one system… Which would allow us much more flexibility all the way along the production chain.
CHARLOTTE BORG, HEAD OF STRUCTURE AND WORKFLOW, NORDISK FILM TV
The groundbreaking aspect of this broadcast was the use of dual chroma keying within the HDVG+ render engine. We were able to project the results onto the parliamentary chamber, seat by seat, automatically updating the seat colours updated as the count progressed.
PAULI SUBIRÀ, HEAD OF PRODUCTION, TV3
The complexity of Dolby Atmos production is self-evident, but it also expands the creation space from 2D to 3D. The convergence of Dolby Atmos plugins and Pro Tools made the production very smooth.
YIN JIE, SOUND DESIGNER
We can collaborate super quickly not only in Media Composer using Avid shared storage, but we work in Pro Tools and use Avid shared storage for that as well.
ROBERT STAMBLER, SOUND DESIGNER
Without these features in Media Composer, I wouldn't have been able to conduct this type of editing so easily. If someone was to ask me what is the most beneficial thing they could do to get a job when starting out in the industry, I would tell them — learn Avid!
MICHAEL FREEDMAN, FILM EDITOR
The organizational capability of Media Composer is very useful as well as all the tools, the simple visual effects and comps that we can do...It's a very versatile tool.
PIETRO SCALIA, ACADEMY-AWARD WINNING EDITOR