Elijah Parker, CEO and founder of the popular Timelapse+ intervalometer, has just released his own take on a powerful yet easy-to-use post-processing plugin for creating time-lapse sequences. The trick with this so-called Timelapse+ STUDIO? You never have to leave Lightroom! Beautiful time-lapse sequences always seem to be an easy thing to pull off but once you tried it for yourself, you know one thing: It’s not as easy as it looks at first glance. There are numerous pitfalls and obstacles to avoid: Aperture flickering and inconsistent shutter speeds (even if the shutter speed is set to a fixed value), for starters. If you want to pull off a so-called holy grail sequence (a transition from day to night or vice versa) it gets even worse: visible (hard) changes in exposure every time you ramp the aperture to compensate for the setting or rising sun, etc. You see: It’s difficult and you need a lot of practice and solid tools. A proper –external– intervalometer for example. There are numerous options out there: You can use a cheap one and hack it (read our article here) or you can use a dedicated external intervalometer just like the Timelapse+ VIEW by Elijah Parker. Timelapse+ STUDIO The same Elijah Parker now has announced a new plugin for accompanying his own (or other) intervalometers on your chase for that perfect time-lapse sequence. Timelpase+ STUDIO is a plugin which works solely with Adobe Lightroom (ver 6.0 and up, including CC). The benefit is that you never have to leave Lightroom. Other solutions, such as LRTimelapse by Gunther Wegner, do require a round-trip workflow between both applications. Watch the video below for a quick overview of Timelapse+ Studio: Basically, the workflow from start to finish includes 5 steps: Group photos, create keyframes, edit these keyframes, blend keyframes and finally preview your sequence. That’s it, you’re done without ever leaving Lightroom. Workflow If you start the Timelapse+ STUDIO plugin for the first time you’ll need to be connected to the internet for licensing but after that, you can work offline without any problems. Just let the plugin group your Lightroom library into different collections, each containing a time-lapse sequence. After that, you want to add keyframes in order to tweak your sequence to taste. Again, the Timelpase+ STUDIO plugin does that for you and you will be presented with only a few starred keyframes to work on. Even brushes and gradients are possible, just make sure you don’t go too far with any given value. Once you’re done, the plugin will treat all the frames in between with interpolated metadata for seamless transitions. The cool thing is you could even add more keyframes if you like, the plugin just points you in the right direction but it never forces you to do anything. If you want to add a Ken Burns effect and animate the crop of your sequence you are welcome to add more keyframes to taste. Just star a few more, not a problem! If you have a so-called holy grail sequence the Timelapse+ STUDIO plugin will ease the steps caused by exposure ramping, too. You don’t have to worry about these at all. After applying all the changes to the sequence you can preview your sequence using the plugin but you’ll have to wait until Lightroom has finished updating all previews with the new parameters. After that, you can add more keyframes and start over or you can just export your finished images and render a video sequence in another app, like Adobe Premiere or whatever application you have that can handle image sequences. The whole process is pretty straightforward and simple but there are, of course, a couple of downsides. 1) since Lightroom can’t render video files, the all-in-one approach is a bit broken here since you need to import your processed photos into another application. 2) Timelapse+ STUDIO doesn’t support visual deflicker for issues like the aforementioned aperture flicker or inconsistent shutter speeds in between frames. Here’s Elijah Parker on the matter: I wrote this [plugin] to simplify support for post-processing in Lightroom so that there would be a quick and easy solution that gets great results for the common use-cases rather than a comprehensive application for every situation. Pricing If you want to have a tool that can handle each and every problem when it comes to timelapse post-processing, LRTimelapse might be the better solution for you but that comes at a price, of course. LRTimelapse does visual deflicker, it does visual preview and it renders your resulting video straight to different formats and codecs but Timelapse+ STUDIO is only $49 while LRTimelapse starts at around $12o for a private license and around $330 for a pro license. So if you want to check out the art of creating beautiful timelapses this new Timelapse+ STUDIO plugin might be a very good starting point (just add Adobe Lightroom and some kind of NLE). If you are already familiar with all the quirks and tricks of time-lapsing, maybe an LRTimelapse license might be the better choice. Either way, you can download a free trial and check it out for yourself. My only concern with all these post-processing apps is the need for Lightroom. Since probably soon this will be a subscription only app, I would like to see some alternatives in terms of timelapse post-processing, too. What about Capture One or Skylum Luminar for example? These are single-purchase apps and they are getting more and more capable. LRTimelapse has L(ight)R(oom) in its name, this new Timelapse+ STUDIO also depends on Lightroom. Maybe it’s time to move on to something without a forced subscription-based model. To be fair, LRTimelapse supports an Adobe Bridge / ACR (Adobe Camera RAW) workflow, but I think it’s clearly intended to be used with Lightroom. Links: Timelapseplus.com What do you think? Would you give this new approach a try? What is your favorite RAW image processor? Share your thoughts in the comments below!

The popular checksum-powered file transfer software Hedge acquires Postlab, an easy-to-use collaboration solution for Final Cut Pro X. So here we go: What is it, who might benefit and why Postlab might be the perfect fit for Hedge. Hedge X Postlab NAB 2019 is over and tons of new cameras, accessories, gadgets, solutions to problems I never had and lots of other stuff were announced, shown off and introduced. You can’t see everything of course and this one we missed, unfortunately: Hedge acquires Postlab. If you are a Mac user you probably know Hedge, the easy and fast file transfer and backup solution for offloading your footage (read our coverage here and here). But what’s Postlab you might ask. Well, it’s an open source app that lets you easily collaborate on Final Cut Pro X projects with version control, file sharing, and comments.. Both apps focus on simplicity, ease of use and a robust feature set without any clutter. Hedge Acquires Postlab Postlab is developed by Jasper Siegers with support from Felipe Baez, who takes care of user support and putting together tutorials. Both of them were doing this as a side project but as part of the acquisition both of them are now working full-time at Hedge developing the future of Postlab. Here’s Jasper Siegers take on the matter: For existing Postlab users this is great news. Jasper and Felipe join Hedge in order to work on their software and add more features. Such as a so-called Postlab Cloud, extended support for FCPX as well as a simplified setup. However, there’s a catch of course: The former open-source version of Postlab will become closed-source and it won’t be free to download anymore. But, and that’s a nice move, the current open-source app will remain available (but won’t get any more updates). Here’s Jasper Siegers again: Postlab was open-source because it was funded by a Dutch non-profit broadcaster, and didn’t cost them anything as you had to set up your own servers. With Postlab Cloud, this is of course very different. So you still can use Postlab for free but you have to run your own server infrastructure and the setup process is a bit tricky.. With Postlab Cloud this will be much easier and you can ditch your own servers in favor of the new Postlab Cloud. Furthermore, features like deeper Frame.io integration, support for other NLEs and DAWs, and a proxy workflow are in the making. Here’s Hedge CEO Paul Matthijs: Availability The new version of Postlab as member of the Hedge family won’t be ready until the end of April but only for selected (Beta) teams. Here’s Felipe Baez: The last couple of months, we’ve been steadily building a new platform which is going live end of April as a concierge service. Until opening the doors for everyone later this year, we’ll be taking on FCPX teams of 5+ users. For those interested, please email [email protected] The final (public) version will be available later this year. Pricing is yet to be determined. Building an easy yet efficient post production workflow is key for nowadays indie filmmakers and production companies alike. Hedge and Postlab might be a very appealing solution for daily duties such as fast and secure offloading, backups and collaboration tasks. I would like to see extended support for more NLEs such as DaVinci Resolve fo sure but for now I think this is good news for people who like straightforward solutions. Links: Blog Entry | Postlab Website  Are you a Hedge User? What about Postlab? Share your thoughts in the comments below!

Just 6 weeks ago, Blackmagic Design’s CEO Grant Petty introduced a bunch of updates to their lineup including a new generation of the popular URSA Mini Pro camera, called G2 (read: generation 2). As you can tell from its name this is not a completely new camera but an update to the existing URSA Mini Pro, which will be replaced by the URSA Mini Pro G2. Watch our interview with Blackmagic’s Craig Heffernan for all the details. Blackmagic URSA Mini Pro G2 This camera is labeled G2, so what’s new here? Well, sometimes when it’s about updating software features, the hardware needs to be upgraded as well to do justice to these improvements and that’s exactly the case with the URSA Mini Pro G2. In order to enable higher fps recording Blackmagic engineers have deployed an updated 4.6K sensor (a different build of the same sensor, as Craig Heffernan puts it). It comes with advanced processing and a streamlined image pipeline throughout the camera. This enables for higher frame rates and faster sensor read-out (less rolling shutter). Furthermore the camera now supports Blackmagic Color Science 4 and it also can handle 3D LUTs now. All the accessories of the original URSA Mini Pro will fit the G2 model, it simply replaces the original model in that respect. Same goes for pricing, the G2 comes in at exactly the same price as the original URSA Mini Pro. Improved High-Speed Recording The new high frame rates include the following modes, depending on which format you’re recording to: Frame rates in Blackmagic RAW: 120 fps in 4.6K in Blackmagic RAW 150 fps in 4K DCI in Blackmagic RAW (windowed) 150 fps in UHD 4K in Blackmagic RAW (windowed) 300 fps in HD in Blackmagic RAW (windowed) Frame rates in ProRes: 80 fps in 4.6K in ProRes 120 fps in UHD in ProRes (windowed) 240fps in HD in ProRes (windowed) There’s already some sample footage to see for yourself, hop over to our article here. Audio Enhancements Blackmagic also worked on the audio section of the camera. The URSA Mini Pro G2 now offers an enhanced audio processing and hopefully the dreaded (and audible) delay when monitoring the audio through the camera is now a thing of the past. Blackmagic RAW vs ProRes RAW Yes, the URSA Mini Pro can record straight to ProRes. But no, it can’t do ProRes RAW. That’s the way things stand at the moment. Blackmagic are quite happy with their own RAW format since it integrates seamlessly with their cameras and their post production tools, namely DaVinci Resolve 16. So there are no current plans to implement ProRes RAW but of course that could change any minute, who knows what the future holds. If you’re in the market for a new camera, this might be worth a ver close look. The URSA Mini Pro G2 is a significant update to the original camera and establishes a base for further firmware updates in the future. Link: Blackmagic Design What do you think about the URSA Mini Pro G2? Share your thoughts in the comment section below!

In order to really transform your Sony FS7 / FS7 II into a real ENG camera, you have to employ some kind of  2/3″ zoom lens which is a versatile tool to use if you happen to shoot fast-paced reality shows or news programs. The new Sony LA-EB1 B4 mount lens adapter is exactly that. When combined with the CBK-FS7BK Build-up Kit you’re up to the task. But the resulting ENG-style FS7 won’t come cheap! A Sony FS7 II paired with a Fujinon ENG zoom lens. The vital link? A brand-new Sony B4 mount. Sony LA-EB1 B4 lens mount If you want to go on the ENG journey, you might want to take closer look at the new LA-EB1 B4 mount adapter Sony has announced, alongside the CBK-FS7BK build-up kit. With it, you can use regular B4 2/3″ ENG lenses with your FS7 / FS7 II and the nice thing is that this adapter only costs you 0.6 stops of light. What is the gain, you ask? Deploy any standard 2/3″ ENG style lens to the FS7 / FS7 II and your good to go. These lenses are not exactly cheap but compared to cine zooms with equivalent zoom ranges they come as a present. Sony LA-EB1 B4 mount adapter. While a B4 adapter for this camera is not a new thing, the LA-EB1 B4 adapter stands out here because it’s able not only to communicate with the lens attached and power it directly, but it also sends lens data straight to the viewfinder of the camera hosting it. So again, think ENG here: all the mission-critical information is right in front of you – without extra cable clutter and accessories. Fs7 II with CBK-FS7BK build-up kit and LA-EB1 E/B4 mount adapter (and a 2/3″ ENG zoom lens).  Pricing and Availability The LA-EB1 B4 mount adapter will cost you US$5.600 (5.000€). That’s a pretty penny, when the FS7 II already costs around US$9.000 (8.100€). Just as with the The CBK-FS7BK called build-up kit, the new B4 mount adapter won’t be available until December 2019. Plus, and that might be vital, the according Sony CBK-FS7BK build-up kit (V-mount / audio extension, shoulder pad/plate and dedicated EVF) already costs around US$7.300 (6.500€). So the grand total is about $ 21.900 (19.521 €), which is not cheap at all. A proper XDCam will cost you about the same but without an EVF and without the battery plate.. Links: Sony LA-EB1 What do you think about using the FS7 / FS7 II as an ENG camera? Is it the future of TV? Are the days of traditional ENG camcorders over? Share your thoughts in the comments below!

At this year’s NAB, Sony has introduced a build-up kit for their popular FS7 / FS7 II line of cameras. When combined with an optional B4 mount adapter, this unit transforms the already ergonomic cameras into ENG-style camcorders. The question is: why now? Sony’s new bulid-up kit for FS7 / FS7 II at NAB 2019 The Sony FS7 and FS7 II are very popular cameras, no doubt about it. If used with the optional (and also very popular) XDCA-FS7 extension unit for mounting a regular V-mount battery, the whole kit was already pretty balanced and ergonomically usable. And if that wasn’t for you, you probably would have rigged up your kit already to taste. But what if you want both a true s35 cinematic camera and the ergonomics and versatility of a classic ENG camcorder for documentary or news work? Well, Sony have a new kind of build-up kit ready. Sony CBK-FS7BK Build-up Kit Now, there’s another option by Sony, which transforms your precious FS7 / FS7 II into a more ENG-oriented device. The device with the cryptic name Sony CBK-FS7BK looks like a bigger brother of the aforementioned XDCA-FS7 and it comes with extended features, a dedicated EVF and a new shoulder pad / plate. The popular Sony XDCA-FS7 extension unit offers timecode in/out, RAW out and accepts V-mount batteries. If you’re serious in fast-turnaround news gathering, the new CBK-FS7BK build-up kit might be for you, because it takes all the good stuff from the XDCA-FS7 but enhances its capabilities with the addition of a wireless audio receiver slot for compatibility with receivers, such as DWR series and URX series. Built-in networking enables streaming and file transfer via Wireless LAN or 4G/LTE connection. QoS Streaming with Dual Link connection (requires an optional XDCAM air subscription) improves image quality and stability via multiplexing of two cellular networks. The back of the extension unit offers the same connectivity as before, giving you timecode in/out, genlock, 12-bit RAW output (up to 240 fps) and a V-mount battery plate. A fully rigged FS7, ready for ENG use. You can also see the optional B4 mount. Furthermore, the kit includes a newly designed EVF which looks a lot more than the models found on Sonys’s big 2/3″ ENG cameras. The kit also comes with a newly designed shoulder pad, which ensures optimal weight balance when shooting without a tripod. You can actually slide the camera back and forth quite a bit, in order to find perfect balancing, depending on your setup. Pricing and Availability The CBK-FS7BK build-up kit won’t be available for purchase until December 2019, and it will cost around US$7.300 (6.500€). The LA-EB1 B4 mount adapter will cost you another US$5.600 (5.000€). That’s a pretty penny, when the FS7 II already costs around US$9.000 (8.100€). Maybe Sony’s build-up kit comes a little bit late to the party because, as I mentioned before, every FS7 /FS7 II shooter could have built their kit already… But then again, maybe this ENG-transformed FS7 might be the next big thing for broadcast productions. Personally, I have done quite a bit of broadcast shooting on a FS7 / FS7 II and it’s not always as fast as working with a classic XDCAM broadcast camera, for sure. Still, I’m not sure if the late arrival (and the price) justifies the investment. Links: Sony CBK-FS7BK What do you think? Would you like to transform your FS7 / FS7 II into an ENG device? Share your thoughts in the comments below!

First things first: There is no new camera from Blackmagic Design at this years NAB. But, if you happen to own a Pocket Cinema Camera 4K, you might be happy about this: They introduced a new BMPCC4K Battery Pack which enables shooting for 2 hours straight. This new BMPCC4K battery pack is really pretty straightforward: Remove the little battery cover from the camera, mount the battery pack to the Pocket Cinema Camera 4K, replacing the Canon LP-E6 style battery inside the camera and put two Sony L-series batteries into the pack. Wait, what? BMPCC4K Battery Pack So this device takes two Sony L-series batteries. That’s good because these hold much more power in comparison to the Canon LP-E6 style batteries you had to carry in order to power the BMPCC4K before. But Blackmagics decision to swap battery sytsems is still a bit odd, I think. Why not using L-series batteries for the camera in the first place? Plus, this battery pack will make the term Cinema Pocket Camera sound even more laughable than before. But, and that’s a good thing, you’ll be able to shoot longer with less batteries. You even can swap batteries without having to remove the camera from your tripod because the actual battery sled is accessible from the side. The L-series batteries also can be charged through the 12V DC connector build into the camera. And as a nice touch you can store the removed battery cover from the camera in the unit itself so you won’t loose it. Pricing and Availability The BMPCC4K battery pack will be available for purchase from August 2019 on and it will be $245. Link: Blackmagic Design Are you a BMPCC4K shooter? What do you think about this new battery pack? Is it good? Is it odd? Let us know in the comment section below!

Tokina entered the cinema marked with the introduction of their Vista line of fast and full frame cine prime lenses. Now, a few years later, they introduce a limited edition, called the Tokina Vista One. The Ones sport a single-coated front element, resulting in more cinematic character. There’s also a new 50-125mm T2.9 mk II cine zoom lens! While many cinematographers applauded to the optical quality of the original Vista series, some were missing a certain character. And that’s a thing in the high end cinema market: you don’t want a clinical look (sometimes you do but that’s another story). You want some soul, something that support the story at hand. That’s where the Tokina Vista One series of lenses come into picture. Tokina Vista One Prime Lenses The Tokina Vista One lenses tick all the boxes when it comes to serious cinematographic tools: full frame (even beyond that), 8K resolution, fast 1.5 T-stop, virtually no focus breathing, low chromatic aberration, 9-blade curved iris for pleasing bokeh, 300 degree focus throw, all-metal design with geared rings.. it’s all there. And still, something is missing from the original Vista primes: Less coating. The Tokina Vista One primes come with only a single-coated aspheric front element. In fact, it’s a whole new front element Tokina has developed for the limited One edition. Furthermore, the lenses now come in a dark grey finish with blue and white lens markings. The new Ones will be available in 6 focal lengths: 18mm T1.5 25mm T1.5 35mm T1.5 50mm T1.5 85mm T1.5 105mm T1.5 All 6 lenses, just as with the original Vistas, share the exact same locations for iris and focus rings and they also share 144mm front diameter and accept 122mm front filters. Adding Character The single-coated front element actually is on double duty here: When the lenses are used with off-axis lighting overall contrast will be reduced while flaring is increased. This adds to an organic look  a lot of cinematographers are after. But, and this is interesting, when used with a light source on-axis, the lens retains contrast and far less flaring is visible. Tokina Vista One 35mm T1.5 (left) and Tokina Vista 85mm T1.5 (right). This is due to the single-coated front element: Other non-coated lenses offer nice reduced contrast (or even too less) and crazy flares but they can’t control them properly. Multi-coated lenses tend to produce a, well, too clinical look. With the Tokina you retain control over your images, while still adding character. It’s really a hybrid lens design in that regard. 50-135mm T2.9 mk II Cine Zoom Lens If you want to be more flexible on set or simply don’t have any time to lose, the new 50-135mm T2.9 mk II zoom lens might be worth a closer look. Tokina engineers claim to have created a parfocal zoom with minimal focus breathing and reduced image shifting. It offers a de-clicked iris with 9 rounded blades for smooth bokeh and the minimum focus distance is only 3.3 feet which is not really great but ok given the 135mm focal length on the lenses far end. Since this lens bears mk II in its name, it’s clear that we are dealing with an upgrade of an older lens and in this case it’s the Tokina 50-135mm T3 zoom lens. The new design sports an all new metal mechanical housing featuring industry standard 0.8 MOD cinema gears, 300 degree focus throw, updated T2.9 iris, and 95mm front diameter. Tokina 50-135mm T2.9 mk II (left), original Tokina 50-135mm T3 (right) That makes the 50-135mm T2.9 mk II a perfect match for the existing Tokina Cinema 11- 20mm T2.9 zoom. Both lenses in the series feature an interchangeable mount between PL, EF, Sony E, MFT, and Nikon F mounts. Pricing and Availability The Tokina Vista One lenses are not available, yet but you can sign up over at Tokinacinemausa.com for updates on release. One thing worth mentioning: You can’t buy just one lens, you have to go all in and get the whole 6-lens kit. And I don’t think I’m wrong if I foresee a hearty price tag on these.. It’s a limited edition of the already pricey Vista series. Same goes for the 50-135mm T2.9 mk II lens, there’s no word on availability just yet. links: Tokina Have you ever worked with the Vista primes? What do you think about these new edition? Share your experiences in the comments below!

Avid has revealed its latest version of Media Composer, the long-time favorite NLE system for professional users. Media Composer 2019 has been ‘redesigned and reimagined’ from the ground up: a new customizable UI, a next generation Avid Media Engine and new finishing and delivery workflows. Let’s dive in, shall we? Avid claims the new Media Composer 2019 is both, revolutionary and evolutionary. The goal here is to satisfy longstanding users while attract new users at the same time. Not an easy task, admittedly, but from what you can see in the new version, it really looks pretty promising. Time will tell if performance, compatibility, and ease of use meet that expectation. Avid Media Composer 2019 Avid’s Media Composer is a heavy-weight in the industry and although many members of the younger generation tend to use alternatives like Adobe Premiere Pro, Blackmagic Design DaVinci Resolve or Apple Final Cut Pro X for their editing, Avid has always been around. Especially when it comes to full-length feature films. My very own problem with Avid was (and still is) the steep learning curve. You really have to devote a serious amount of time to learn the thing, master the shortcuts, get your head around the numerous oddities Media Composer has to offer. My hope –and it seems that Avid is in the same boat here– is that Media Composer 2019 will take the pain out of that learning process. Granted, you have to know your tool in order to get creative with it but Avid really demands a lot. New Interface First and foremost the new UI (user interface) will be the most noticeable new feature of Media Composer 2019. Back in the days an Avid editor would sit in front of at least two screens with dozens of tiny windows open. The totality of these windows would then form the Media Composer. While it’s nice to place each bin, effect window, preview monitor and audio level mixer in its own dedicated window, it could be pretty crowded and confusing pretty fast. Again, if you happen to be a full-time pro editor, you would sit in front of  a workspace perfect for you, because you made it perfect for you. But for the rest of us, the part-timers, the do-it-alls? It’s just confusing. With Media Composer 2019 Avid introduces a new panelled interface (which is also fully customizable, of course). No more floating windows in front of each other. Furthermore you can create task-based workspaces, so you’ll only see the tools you need right now (and hide the others). Navigating huge bins is easier and much more intuitive (read: visual). The whole thing actually looks a bit like a best-of-both-worlds approach with elements of Premiere Pro and Media Composer. New Media Engine There’s a lot more than just eye candy going on here. Under the hood, Media Composer 2019 sports a whole new Avid Media Engine which makes sure everything runs smooth and stable. Native support for MFX OP1a (Material Exchange Format Operational Pattern 1a ), a standard delivery format for most big broadcasters is aboard and effects render in the background. A new feature called distributed processing streamlines the workload of your project. This feature requires a dedicated plug-in which will be available in late spring for all variants of Media Composer 2019. No more waiting on CPU and GPU heavy tasks to be finished, distributed processing shortens turnaround times and accelerates post production by sharing the media processing load over multiple machines over the network. Regarding resolution, is 8K even a thing anymore? 16K is here, people! Well, maybe not quite but just in case you ever happen to need it, Media Composer 2019 won’t let you down. A new 32-bit full float colour pipeline helps moving your pixels through Media Composer at peak quality. HDR is on board, too plus support for ACES workflows. 16K, anybody? Furthermore, the app can handle the entire post production: Logging, editing, effects, colour, audio, finishing… it’s all there without the need to leave Media Composer. I personally like the one-stop shop approach better than endless round tripping between applications. Role-Based Toolsets In order to reduce clutter even more, Media Composer 2019 can be configured to display only the tools needed for a given role. A logger doesn’t need an extended FX library. The editor might not need to see all the tools related to delivery. Every role has its very own needs and requirements and Avid can help you with that. For this feature you’ll need the Media Composer | Enterprise edition, though. It also offers security to lock down content, reducing the chances of unauthorized leaks of sensitive media. One of the more prominent complaints about Avid always has been that it’s unintuitive and I’m happy to see all the improvements tackling this. As far as I can see Avid wants to make sure that all the flexibility is maintained while providing tools and workflows to hide unnecessary panels, windows and settings if you don’t need them. The goal is to focus on the task at hand with the tools you need right now. Pricing and Availability Media Composer 2019 will replace current offerings and will be available at the end of May. All three variants of the app, Media Composer First, Media Composer and Media Composer | Ultimate will be updated to the new 2019 version plus, as stated above, there will be a Media Composer | Enterprise edition. Pricing is not set, yet but I’m guessing nothing changes since Avid sells its Media Composer on a subscription basis. For $19.99 per month (Media Composer) / $49.99 per month (Ultimate edition) you get a license for a year. There are perpetual licenses, too but one of these cost you around $1.299. links: Avid (you can enter your email address there to be notified once Media Composer 2019 is available.) Are you an Avid user? What do you think about this major update? Share your thoughts in the comments below!