How AVID Editing Systems Function

For professional film and television editors, nothing compares to an AVID editing system. Since 1989, AVID has led the non-linear editing industry, starting with the debut of its Media Composer software. The initial AVID setup, including software, an Apple computer, external hard drives, monitors, and a tape deck, cost between $50,000 and $80,000 [source: Funding Universe].

Nearly two decades later, AVID remains the top choice for non-linear editing systems. From Oscar-winning films to reality TV, nearly all content is edited using AVID. In 1998, AVID earned an Oscar for Scientific and Technological Achievement for the transformative impact of its Media Composer software (formerly Film Composer) on the film industry [source: Academy of Motion Picture Arts and Sciences].

In recent years, the cost of AVID software has decreased, with the latest version of Media Composer priced at $2,495, making it accessible to serious home users who can now utilize the same advanced tools as Hollywood professionals. While the AVID interface shares similarities with other high-end video editing systems like Final Cut Pro and Adobe Premiere, mastering its extensive array of specialized editing and effects tools requires significant training and practice.

Professional editors remain loyal to AVID because the company actively integrates feedback from working editors into each new iteration of its software and hardware. This results in a system that continually evolves. For instance, the newest version of Media Composer and AVID hardware now offers enhanced features for handling high-definition (HD) video, a critical need for today’s editors.

What exactly is non-linear editing? How have computerized editing systems transformed the editing profession? What components make up an AVID editing system, and what are the latest innovations driving the future of film and TV editing? Continue reading to explore these questions.

Basics of Non-Linear AVID Editing

The advent of non-linear editing using computers in the early 1990s was revolutionary. To grasp why systems like AVID are so effective, it’s essential to first understand the distinctions between non-linear and linear editing.

Linear editing involves assembling a project sequentially, from beginning to end. This method is typically used with videotape, which, unlike film, cannot be physically cut and rearranged. Instead, editors must dub or record each desired clip onto a master tape.

Imagine you have three source tapes labeled A, B, and C. In linear editing, the editor selects the order of clips, such as starting with tape C, followed by B and A. The editor cues up tape C to the desired clip, plays it, and records it onto the master tape. This process is repeated for tapes B and A.

In non-linear editing, the editor can work on any part of the project in any order. Clips can be cut, copied, and pasted freely, much like editing text in word processing software.

Interestingly, traditional film editing was inherently non-linear. Filmmakers could cut and rearrange film strips in any order they desired. However, this method was time-consuming, offered limited transitions and effects, and was prone to errors.

Modern non-linear editing is fully digital. Source material from video or film is digitized into media files stored on a hard drive. Using software like AVID Media Composer, Final Cut Pro, or Adobe Premiere, editors organize clips on a timeline, allowing them to trim frames, add transitions, edit audio, apply effects, and export the final product to tape, DVD, film, or the web.

The primary benefit of non-linear systems like AVID is their speed and flexibility. Directors can revise their decisions multiple times, and editors can implement these changes instantly without restarting the process. In linear editing, replacing a clip requires overdubbing, which risks mismatched clip lengths and degraded image quality.

AVID has long been the industry standard for professional digital video editing. Discover more about the components of an AVID system and how they streamline and enhance the creative editing process.

Layout of an AVID Editing Console

At the core of an AVID non-linear editing system is the Media Composer software. This software provides the interface for accessing tools and system features. The Media Composer interface is divided into three main sections: the bin, the monitor, and the timeline. This structure has been widely adopted by other video editing software, from professional tools like Final Cut Pro to beginner-friendly options like Apple iMovie.

The bin serves as the storage area for all project elements. It holds digitized video clips, audio files, images, and other source materials used in the final project. In the bin monitor, editors can modify properties of each element, such as trimming clips, applying effects, stabilizing shaky footage, and adjusting audio levels.

The monitor consists of two screens. The left screen displays a single source clip, while the right screen shows the full project. This dual-view setup is ideal for refining individual clips before adding them to the timeline. Once added, editors can preview how the clip integrates with the rest of the project on the right screen.

The timeline section is structured with separate video and audio tracks, resembling the process of audio editing in a multi-track digital audio workstation. Editors can create distinct video tracks for elements like credits, subtitles, animations, and transitions, while also setting up multiple audio tracks for dialogue, music, and sound effects. The timeline progresses chronologically from left to right, allowing editors to select, cut, copy, or delete segments of video or audio across multiple tracks with ease.

For home users or budget-conscious professionals, a functional AVID system can be set up using just the Media Composer software and a high-performance desktop or laptop. However, professional TV and film production setups often include additional AVID hardware and equipment for enhanced functionality.

AVID hardware enhances the performance of the Media Composer software, improving overall system efficiency. The hardware, compact and smaller than a standard PC tower, acts like an external video card, accelerating processes such as digitizing and rendering for effects and transitions. Higher-end versions support both standard definition (SD) and high definition (HD) video sources within the same project.

The hardware box also features numerous input and output connections for external digital and analog devices, serving as a central hub between the computer and media sources like cameras, tape decks, memory card readers, and DVD drives. It not only imports media but also exports completed projects to tape, DVD, memory cards, or digital file formats.

A standard AVID editing suite typically includes at least two monitors—one for the bin and another for the monitor and timeline. Professional editors often use a specialized color-coded keyboard for quick access to shortcuts. Additionally, a video playback screen, such as a large LCD display, and high-capacity external hard drives are commonly used to manage large video files.

Now, let’s explore the latest advancements in AVID hardware and software and how they are transforming the editing process.

Recent AVID Editing Developments

The newest versions of AVID’s video editing software and hardware, launched in June 2008, introduce features that simplify HD video editing. With the rise of HD broadcasting by TV networks and the growing availability of consumer HD cameras, editors require software capable of managing large HD files without sacrificing performance.

Avid has introduced a groundbreaking codec (derived from compression/decompression) that efficiently compresses HD video into smaller file sizes while maintaining exceptional sharpness and image quality. Known as DNxHD, this codec operates seamlessly within both the standalone Media Composer software and Avid's hardware systems. This innovation enables editors to work on projects in full HD resolution from start to finish, eliminating the need for offline edits in lower quality and subsequent finishing on HD equipment.

With the introduction of the Open Timeline in the previous Media Composer version, Avid revolutionized editing workflows. This feature allows the timeline to accommodate clips with vastly different specifications, such as SD and HD footage, varying resolutions, frame rates, and aspect ratios. Additionally, it supports audio files with diverse sampling rates and formats. Previously, editors had to spend hours converting files to reconcile these differences before starting their work. Now, all elements integrate seamlessly in real time, with conversions occurring only during export.

The latest Avid hardware systems, including the Mojo DX, Nitris DX, and Symphony DX, are equipped with the advanced DX effects architecture. This innovative design optimizes performance by distributing computing and processing tasks between the host computer and the hardware, ensuring smooth operation for HD and effects-intensive projects. These devices connect to the host computer via a PCIE interface, which offers data transfer speeds 20 times faster than Firewire, enabling lightning-fast workflows.

A standout feature in Media Composer, ScriptSync, has transformed the editing process for script-based productions like TV dramas such as "CSI." For each scene, multiple takes are often recorded, with several camera angles captured simultaneously. ScriptSync automates the process of aligning video clips with their corresponding script lines, significantly reducing the time editors spend searching for the right footage.

Traditionally, assistant editors would manually match script lines with video clips to prepare for editing. This step was crucial for streamlining the process, allowing editors to quickly access different takes and angles when assembling scenes. In the past, logging footage and cueing clips consumed a significant portion of the editing workload. With tools like ScriptSync, this tedious task is now automated, freeing editors to focus on crafting the best possible final product.

ScriptSync, a revolutionary tool by Avid, allows editors to upload scripts as text files, which are then broken down into phonetic components. The tool analyzes the audio waveforms of video clips to align them with the corresponding script lines. Editors simply select the desired script section, and ScriptSync instantly retrieves all associated takes and camera angles. This enables seamless toggling between takes and angles to identify the perfect shot for each dialogue line.

Remarkably, ScriptSync supports nine languages, including complex ones like Arabic and Mandarin Chinese, making it a versatile solution for global editing workflows.