New in Media Composer v2022.10

What’s New for
Avid® Media Composer® v2022.10
New in Media Composer v2022.10
The following are new for Media Composer v2022.10:•

Working with Proxy Media in an Avid NEXIS | EDGE Environment•

Media Cache Dialog Update•

Multiplex I/O Support for Multiple Open I/O Plug-ins•

New Relink Menu and Linked Media Dialog•

New Sequence Templates and User Setting•“Choose For Me” Options Added for New Projects•

Keyboard Shortcuts to Switch Focus Between Windows and Tabs•

Bin Metadata Tooltips•

FreeType Font Support for Titler+•

Support for Two or More Ganged Groups in the Audio Mixer

Working with Proxy Media in an Avid NEXIS | EDGE
Environment
Creating proxy clips and linking them to existing master clips is easy in Media Composer | Enterprise(even without NEXIS | EDGE), and especially useful when working remotely. With a single click,you can toggle playback between high-resolution and proxy media, adapting to your performancerequirements.
Proxy media can be created by accessing the Avid NEXIS | EDGE server through a web browser orfrom within Media Composer. You can also create and playback proxies in a standalone Media
Composer. For details on a remote proxy workflow, see the section labeled Remote Proxy Workflow.
For details on creating and playing back proxy media in a standalone Media Composer, refer toCreating and Playing Proxy Media in a Standalone Media Composer.

Remote Proxy Workflow
In order to use Avid NEXIS | EDGE with media on a remote NEXIS server, proxies must be createdusing an on-premises Media Composer system or via Distributed Processing, which is accessed
remotely. Accomplishing these steps requires a few, different products. Before using a remote proxy
workflow, make sure to review the following prerequisites:
Product

VersionInstalled Where?

Refer toAvid NEXIS | EDGE

v2022.10

At the facility

Avid NEXIS | EDGE Installation
Guide

1

Working with Proxy Media in an Avid NEXIS | EDGE Environment

Product

VersionInstalled Where?

Refer toAvid NEXIS Client

v22.5 or higher

At the facility and on yourremote system

Avid NEXIS Client Manager
Installation and User’s Guide

Media Composer
must be LICENSED as“Media Composer |Enterprise”

v2022.10

On your remote system

Media Composer Install Guide

Distributed Processingv2022.10

This is configuration
dependent.

Media Composer Distributed
Processing Admin Guide.

The main part of DP gets
installed with Avid NEXIS |EDGE. There is a separate
DP installer that needs to beinstalled on a system thatwill be the “worker” system.
VPN software (notprovided by Avid)

On your remote system

Improving Network Performance of Avid NEXIS | EDGE
Many factors can affect performance of a remote editing system like Avid NEXIS | EDGE. In
particular, the bandwidth and latency of your networked environment is essential to a satisfactory
editing experience. As latency increases and bandwidth (throughput) decreases, the more time it willtake to load clips from the NEXIS server, if they aren’t already cached locally. Latency of 50ms or
less, and bandwidth of at least 3 MB/s or higher, is recommended. You can measure both from theAvid NEXIS Client Manager. At higher latency, you may notice that projects and bins take longer toopen, and functions like start of play and copying media take longer as well.
Users of Avid NEXIS | EDGE may want to consider the following guidelines to get the best
performance out of their remote system:•

Avoid Wi-Fi whenever possible, and use a wired, Ethernet connection instead•

Use only the VPN software recommended by Avid•

Do not download or upload large files while editing•

Make sure automatic updates are scheduled for times outside of working hours•

Turn off syncing for cloud apps, such as Dropbox, Google Drive, and One Drive, or set them touse minimal bandwidth•

Avoid simultaneous use of streaming apps (Netflix, Zoom, etc.) and P2P software by anyone on
your network

n If your latency is greater than 50ms, you may want to consider copying your media locally.
Connecting to Avid NEXIS | EDGE from a Remote System
Once you’ve installed the necessary components for a NEXIS | EDGE proxy workflow, andoptimized your network for lowest latency and maximum bandwidth, it’s time to get connected to
Avid NEXIS | EDGE from your remote system.

2

Working with Proxy Media in an Avid NEXIS | EDGE Environment

To get connected:

1. Connect to your facility’s VPN.
2. Open the Avid NEXIS Client Manager.
3. Mount your workspaces.
4. Click the General Preference Settings button to open the General Preferences window.

5. In the Client Type pulldown menu, select Remote Avid NEXIS.

6. Start Media Composer | Enterprise.
7. In the Media Composer “Select Project” window, enter the login credentials for the Avid NEXIS| EDGE server (NEXIS system name or IP address) and enable “Remote Avid NEXIS”.

3

Working with Proxy Media in an Avid NEXIS | EDGE Environment-

A green NEXIS | EDGE indicates the connection is successful.

-

A yellow NEXIS | EDGE indicates an attempt to connect.

-

An orange NEXIS | EDGE indicates a successful connection, but the seat quota (number ofpurchased Media Composer | Enterprise licenses) has been exceeded.

-

A red NEXIS | EDGE indicates the connection failed.

8. Select your project.
Any shared project on the NEXIS server will be accessible to remote Media Composer clients.
9. Click Open.
order to avoid problems with indexing, make sure to set your search directory to local when you
n Increatea project with “Remote Avid NEXIS” enabled, even if the Media Composer project is based onan Avid NEXIS workspace. If you opened an already existing project, verify that your search data
directory is on your local system. Open the Media Composer project, bring up the Find window(Ctrl+F [Windows], Cmd+F [macOS]) and select the Settings icon on the bottom left of the window.
Make sure the directory is set to Local.
Creating Proxy MediaMedia Composer | Enterprise allows you to create proxy media for one or more assets in a bin. The
creation of proxies can be accomplished from within Media Composer or by using a web browser.
with a sample rate of 48048 Hz (48.048 kHz), such as audio produced through a pull downn Audio
process, is not supported. All audio used in the proxy creation process must be online to avoid
creating damaged proxy files that cannot be easily deleted.
To create proxy media in Media Composer:

1. Select master clips, subclips, groups or sequences in your bin.
2. Open the Create Proxies window by doing one of the following:t

Right-click on the asset(s) and select Create Proxies.

t

Select Create Proxies from the Bin Fast Menu.

The Create Proxies window appears.
3. Select a local drive or choose an Avid NEXIS workspace to host assets and temporary files forthe job.
4. (Optional) Select the Distributed Processing option and click OK.
You can monitor the job progress through the Distributed Process Job Status app.

n The Distributed Processing option is only available after you select an Avid NEXIS workspace.
5. Click OK.
The proxy media appears in the bin with an orange clip icon.
To create proxies through a browser:

1. Connect to the Avid NEXIS | EDGE server through a supported web browser.
2. Navigate to the location of the assets for which you want to create proxy media.
3. Right click on the asset, bin, or project and select Create Proxies from the context menu.
The app displays the Create Proxies confirmation window.

4

Working with Proxy Media in an Avid NEXIS | EDGE Environment

The ability to generate proxies per workspace has been disabled for this release. Users can generaten proxies
at the Project level.
If you have a project or workspace with a large number of assets, Avid recommends that you createn proxies
during off-peak hours, since these operations may take a long time to process.
4. Click the Create button in the confirmation window to continue, or click Cancel to exit the proxycreation process.
If you click Create, the app displays another window with information about the number ofassets for which proxies will be created. If proxy media is already available for some assets,
these assets will be skipped — new or duplicate media will not be created.
5. Click Close to exit the window.
6. (Optional) Check the status of your job in the Distributed Processing Status window.
If you create proxies at the project level or higher, Distributed Processing creates one job per
Media Composer bin. Depending on the number of bins, this could result in a large number of
new jobs. If you need to cancel the entire job, you must cancel each sub-job (one per bin)individually.
Working with Proxy Media in a Bin
Proxy media is displayed in a bin with an orange clip icon. This allows you to quickly identify any
clips with proxies. If proxies have been deleted, icons will no longer be shown as orange.

5

Working with Proxy Media in an Avid NEXIS | EDGE Environment

Four additional columns have been added to display information about proxies, including Proxy
Offline status, Proxy Video format, Proxy Audio format, and Proxy Path.
•

Proxy Offline shows any video or audio media that is offline for a clip. This is similar to theoriginal Offline column.

•

Proxy Video shows the resolution of the available proxy. This column will update depending on
the options selected in the Timeline Video Quality menu. When the Timeline Video Quality is set
to Full Quality (8-bit or greater), an associated proxy will display using the H.264 format. If
Draft Quality or Best Performance is selected, the DNxHD LB format will be used.

•

Proxy Audio shows AAC if there is audio associated with the proxy.

•

Proxy Path shows the location where the proxy media resides.

the 2022.10 version of Media Composer, automatic refresh of bin lock status has been disabled forn Insharedprojects in an Avid NEXIS | EDGE proxy environment. By default, for a locked bin, the binlock icon color will appear red until you do a manual refresh, by right-clicking in the Bin Container
sidebar or using the Fast Menu and choosing the "Refresh" command, or a forced auto saveoccurs, which updates the bin status and changes the icon color to yellow if the bin has been
modified. You may avoid constant, manual refreshing by adjusting your Bin Settings to “Force AutoSave” at more frequent intervals.
Playing Proxy Media in a Remote Media Composer
Once a clip has proxy media associated with it, you can begin playback and editing of the proxy
media. The first time a clip or sequence is played you may notice a delay while the proxies arecached. Subsequent plays should not exhibit the same delay.
To playback proxy media:

1. Right-click the Play button and select Proxy Preferred.
The play button changes to orange, indicating you are in Proxy mode.

-

When “High-Resolution Only” is selected, high-resolution, local media is played.

-

When “Proxy Preferred” is selected, proxy is the preferred playback format. If the proxy is
offline or not available but the high-resolution, local media is, then the high-resolution
media will be played.

6

Working with Proxy Media in an Avid NEXIS | EDGE Environment-

When “High-Resolution Preferred” is selected, high-resolution, local media is the preferred
playback format. However, if the high-resolution media is offline or not available but theproxy is, then the proxy will be played.

2. Play the proxy media of your choice.
3. Adjust the Timeline Video Quality playback (Full Quality vs. Draft).
Working with Proxy Media in a Sequence
When working remotely with proxy media, latency and bandwidth are important considerations,along with the complexity and density of a sequence. In most cases, setting the Timeline Video
Quality to Full Quality (8-bit or greater) is recommended, when playing back media from a remote
NEXIS server. With Full Quality selected, the proxy being called is optimized for efficiency over the
network, while also providing a high quality image. However, if you experience poor performance
while playing back portions of your sequence, particularly those sections with many edits or a highnumber of streams, you may want to set the Timeline Video Quality to “Draft Quality” or “Better
Performance”. This will call for a proxy that provides better performance, once it is cached, but
reduced image quality.
Using Copy Media
Copy Media is a feature that allows you to select items within a bin and gather all the related media
across mounted storage and collect them onto a single target drive. This makes it easy to migrate
project content from one system to another. In addition to selecting items in a bin, you can also selectbins and folders within the Bin Container Sidebar. Selecting a folder is the same as selecting all itemsin the folder.
must be connected to Avid NEXIS | EDGE and have a Media Composer | Enterprise license ton You
use Copy Media.

n Copy Media copies managed media. It will not copy Linked media.
To copy media:

1. Select the items in the bin you want to copy or select the desired bin(s) in the Bin Container
Sidebar.
If you select a sequence to copy, the Copy Media workflow copies the entire media file of then original
master clip.

n If you select bins that are closed, they will be opened at the time the copy function begins.
2. Right-click and select Copy Media.
The Copy Media dialog opens.

7

Working with Proxy Media in an Avid NEXIS | EDGE Environment

soon as the Copy Media window opens, size calculation begins based on the enabled checkboxes.
n AsEnablingor disabling checkboxes changes the calculation and updates the total.
Available space for the selected directory is displayed to inform you if there is enough space toperform the operation. If there is not enough space, copying will not be allowed.
3. Choose the items you want included with the copy: Bins, Managed media, Proxy media, andRenders.
4. Choose whether to copy the media to a Drive or Folder.

8

Working with Proxy Media in an Avid NEXIS | EDGE Environment

5. If you select Folder, click “Set” to set a path to the folder where you want the items copied.
6. If you selected Bins to be copied, the “Copy Bins to” option is available. Click the “Set” button
to set the location where the Bin is copied. If Folder was selected, you can choose to Copy Bins
to the same location as the folder.
7. Click OK. The applicable items are copied to the appropriate location.
Note the following:-If you selected a root folder where an Avid MediaFiles folder already exists, the managed
media and proxy media are placed into the respective MXF folders. Managed media isplaced into a new folder within MXF and the folder is named using the next available
number.

-If no Avid MediaFiles folder or MXF folder exists at the selected location, an Avid
MediaFiles folder is created and the media is placed inside the MXF “1” folder. Proxy media
is placed in the Proxy folder based on the next available number. If no Proxy folder isavailable, a new Proxy folder is created and the media is copied to the “1” folder.

-If you selected a specific folder to copy the media to, the media appears in an “Avid Copied
Media” folder at the target location.

-

If you chose to copy bins, the bins are placed in an “Avid Copied Bins” folder at the target
location.

performing Copy Media of a Multicam Group Clip, or a sequence that contains Multicam
n WhenGroup clips, all of the sources for Group clips are copied. If you only want to copy the current
camera, flatten the Multicam sequence.
Creating and Playing Proxy Media in a Standalone Media Composer
You do not need to be a remote user to work with proxy media. A standalone Media Composer |Enterprise can create and playback proxy media.
To create proxy media in Media Composer:

1. Select the master clips, subclips, groups or sequences in your bin.
2. Open the Create Proxies window by doing one of the following:t

Right-click on the asset(s) and select Create Proxies.

t

Select Create Proxies from the Bin Fast menu.

The Create Proxies window appears.
3. Select either a local drive or choose an Avid NEXIS workspace if your standalone editor is onpremises with an Avid NEXIS Server.
4. Click OK.
The proxy media appears in the bin with an orange clip icon.

9Media Cache Dialog Update

To playback proxy media:

1. Right-click the Play button and select Proxy Preferred.

-

When “High-Resolution Only” is selected, high-resolution, local media is played.

-

When “Proxy Preferred” is selected, proxy is the preferred playback format. If the proxy is
offline or not available but the high-resolution, local media is, then the high-resolution
media will be played.

-

When “High-Resolution Preferred” is selected, high-resolution, local media is the preferred
playback format. However, if the high-resolution media is offline or not available but theproxy is, then the proxy will be played.

The play button changes to orange indicating you are in Proxy mode.
2. Play the proxy media of your choice.

Media Cache Dialog Update
New options have been added to the File Cache tab, located under Media Cache settings (Media
Composer > Preferences > Site > Media Cache > File Cache), which are useful for remote proxy
workflows with Avid NEXIS | EDGE. Options in the File Cache tab now include “Enable Disk
Cache”, “Maximum Disk Cache Usage” and the ability to "Flush Disk”, which will remove all dataand contents of the selected directory.

n These features are only relevant to users of Avid NEXIS | EDGE.
n Avid NEXIS | EDGE users should always select “Enable Disk Cache”.

10Multiplex I/O Support for Multiple Open I/O Plug-ins

File Disk Cache (for proxy media only) stores individual frames of proxy media played from theAvid NEXIS server. This allows the remote client to avoid pulling the same media over a network
connection more than once, and improves playback and editing performance. The directory for File
Disk Cache is already selected by default in the Media Cache dialog, and can be found here:•(macOS) /Users/Shared/AvidCache•(Windows) C:\Users\Public\Documents\Avid Media Composer\AvidMediaFilesLocalCache

Another cache that helps with network variability is Bin Cache. Project and bin files are stored
locally for remote clients and (over time) can add up. Bin Cache stores the files indefinitely, but users
can delete the files to clear space, and they will be re-cached the next time a project and bin are
opened. Only bins opened on the remote client, and not a complete copy of the entire shared project,are stored. Bin Cache is stored in the following locations:•(macOS) /Users/Shared/AvidMediaComposer/Avid Remote•(Windows) C:\Users\Public\Documents\Avid Media Composer\Avid Remote

Multiplex I/O Support for Multiple Open I/O Plug-ins
With this release, you can use multiple active Open I/O plug-ins at the same time. If your system has
more than one I/O hardware device attached, you can use them simultaneously as well. This feature
is accessed through the HW/SW button (“Toggle Hardware”), located in the Timeline window.
context menu on the HW/SW button has changed to reflect the ability to select multiple hardwaren The
devices.

11

Multiplex I/O Support for Multiple Open I/O Plug-ins

Right-click or Control-click on the HW/SW button to select or deselect hardware interfaces andstreaming plug-ins independently. You can turn on as many items as necessary when editing and have
hardware and software devices active concurrently. Left-click on the button to activate or deactivate
your selections.
plug-ins are always deselected when you start Media Composer, even if you had selected
n Streaming
them when you quit.
Control panels for each hardware interface or streaming plug-in can be accessed individually fromthe context menu by choosing “Configure”, which opens the Avid I/O Manager. If the control panel
for a particular device must be accessed from outside of the context menu on the HW/SW button, it
will call up control panels for those attached interfaces and streaming plug-ins.
some instances, multiple, active Open I/O and streaming plug-ins may not stay in sync. This is due
n Into thediverse nature of the various plug-ins, which may prevent perfect synchronization.
Users familiar with the HW/SW button from previous versions of Media Composer may notice thatthe button has been updated to reflect its current state. These states include corresponding icons for
Inactive, SW Selected, HW Selected, Both Selected, SW Active (flashing), HW Active, and Both
Active (SW flashing).

Known restrictions:•

When activating the Digital Cut Tool or the Capture Tool, only one hardware interface can be
active. If more than one hardware interface is active, you will be asked to select which one toremain active and the other(s) will be automatically deselected.

•

Using more than one hardware device from the same manufacturer is not currently permitted.
For example, you can use one AJA and one BMD device, but not two BMD devices or two AJA
devices.

12New Relink Menu and Linked Media Dialog•“Use Local Audio” is available only when no physical hardware interfaces are active. You can
use local audio if the only active interfaces are streaming plug-ins.

•

This feature DOES NOT add the ability to use host audio simultaneously with external hardware.

•

Capturing while streaming is not currently supported.

New Relink Menu and Linked Media Dialog
In the latest version of Media Composer, the old Relink menu has been replaced to simplify therelinking workflow and improve performance. Relinking is an important function when clips andsequences lose their connection to previously linked media files. For example, relinking might benecessary when consolidating or moving media between systems, which changes the original path tofiles on a hard drive.
The Relink menu now includes two options:•Managed Media, opens the old Relink dialog•

Linked Media, opens the new Linked Media dialog

The new Relink menu can be launched with or without an item selected in a bin. It can also belaunched from the Bin Container sidebar menu with multiple bins selected. Simply right-click on abin or selected clips, and choose Relink > Linked Media to launch the new Linked Media dialog.

In the Linked Media dialog, unlinked clips are shown in red and the highlight color for any selected
clips is white. You may select specific clips to relink or proceed directly to locating media without aselection.

13

New Relink Menu and Linked Media Dialog

The dropdown menu in the upper-left corner of the Linked Media dialog filters what is shown.
Choosing “Offline only” or “All media” will present metadata for those selected clips. Similarly, thesearch field in the upper-right corner filters by keywords.

When you are ready to relink, click the “Locate Media” button, navigate to the folder where yourmedia resides, and click “Open”. Media Composer will look for the original media within the
directory and reestablish the broken file paths.

14

New Sequence Templates and User Setting

New Sequence Templates and User Setting
Whenever a new sequence is created, a sequence template will be used to configure the number andtype of tracks, custom track names, and starting Timecode. Users of Media Composer should findthat this speeds up the process of creating sequences, as compared with earlier versions. Otherchanges include new User Settings for “Sequence Template” and a new submenu when creating a
new sequence (Timeline > New > Sequence), with options for the new Sequence Template or the
Default Template.

n The old Timeline setting section for the set up of default tracks has been removed.
Starting TC has been removed from General Settings and must now be configured in the
n Default
Sequence Template.

15

“Choose For Me” Options Added for New Projects

Right-clicking in the Timeline and choosing “Create Sequence Template” from the context menu
opens a “Create new setting” dialog box, which creates a new template based on the current sequence
settings.

“Choose For Me” Options Added for New Projects
New users of Media Composer can get started more quickly with the “Choose For Me” check box inthe “New Project” tab of the “Select Project” window.

16

“Choose For Me” Options Added for New Projects

When this check box is selected, the project will not have a final Raster or Edit Rate set by default.
Instead, when you add your first clip to the Timeline, Media Composer will prompt you with a“Project Properties” window and will automatically select settings that match your clip. You may
proceed with these settings or change them using the “Raster” and “Edit Rate” dropdown menus.

Two default bins are also added to your project and a new sequence is created. The green bin(representing the source side) is intended for clips, and the blue bin (representing the record side) isfor storing your sequences.

17

“Choose For Me” Options Added for New Projects

Users who select the “Choose for Me” option when setting up a new project will notice another,helpful addition in the latest version of Media Composer. Whenever a bin or the Timeline are empty,
the background of these windows now includes a "passive hint", or directions for what users should
do next. Bin windows contain a passive hint to "Drag from Source Browser to add clips to Project"
and the Timeline instructs users to "Drag clips here to start editing".

18

Keyboard Shortcuts to Switch Focus Between Windows and Tabs

Keyboard Shortcuts to Switch Focus Between
Windows and Tabs
New keyboard shortcuts allow you to cycle through open windows and tabs in the Media Composerinterface (for example, switching between Bin tabs). Open windows, whether floating or tabbed, andanything with a vertical title bar can be quickly selected by using these keystrokes. The direction of
cycling can be modified with additional keystrokes (by default, “focus” moves left to right, or basedon the geometry of the window layout).
•

Ctrl + Up or Down arrow (Windows) / Cmd + Up or Down arrow (macOS), switches between
windows.

•

Ctrl + Tab (Windows) / Ctrl + Tab (macOS), switches between tabs.

Bin Metadata Tooltips
Viewing information without leaving your preferred view saves time while editing. You can now
quickly access basic metadata in a tooltip when hovering over a thumbnail or label in the Bin’s Frame
View. Metadata in the tooltip includes Duration, Format, and Creation Date.

FreeType Font Support for Titler+
Titler+ has gained support for FreeType fonts, greatly expanding the variety of fonts available for use
in a project's titles, including popular formats such as OpenType fonts.

Support for Two or More Ganged Groups in the Audio
Mixer
Ganging groups in the Audio Mixer allows you to sync the sliders for multiple audio clips and adjust
their levels or panning simultaneously. This feature supports up to ten ganged groups.

19Support for Two or More Ganged Groups in the Audio Mixer

You can access the Gang menu by right-clicking on the Gang icon in the Audio Mixer.
Select one of the ten possible Gang groups, A through J.

In addition to its color, hovering over the Gang icon indicates the associated Gang group in a Tooltip.

You can apply multiple gangs by using the Grouping tool found in the Audio Mixer sidebar. Rightclick on the group, select Ganging, and choose to Move or Add a Gang.

20

Support for Two or More Ganged Groups in the Audio Mixer

Legal Notices
Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.
This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be
used in accordance with the license agreement.
This product may be protected by one or more U.S. and non-U.S patents. Details are available at www.avid.com/patents.
This document is protected under copyright law. An authorized licensee of Avid Media Composer may reproduce this publication for the
licensee’s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, forcommercial purposes, such as selling copies of this document or providing support or educational services to others. This document is
supplied as a guide for Avid Media Composer. Reasonable care has been taken in preparing the information it contains. However, thisdocument may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of
any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice.

Copyright © 2022 Avid Technology, Inc. and its licensors. All rights reserved.

The following disclaimer is required by Apple Computer, Inc.:
APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THISPRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULARPURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY
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The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:
Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby
granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software andrelated documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to
the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE,INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR
CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR
PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT
OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:This software is based in part on the work of the Independent JPEG Group.

This Software may contain components licensed under the following conditions:
Copyright (c) 1989 The Regents of the University of California. All rights reserved.
Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are
duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use
acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used toendorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS
IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIESOF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.
Copyright (C) 1989, 1991 by Jef Poskanzer.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted,
provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in
supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1995, Trinity College Computing Center. Written by David Chappell.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted,
provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in
supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1996 Daniel Dardailler.
Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above
copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation,and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific,
written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "asis" without express or implied warranty.
Modifications Copyright 1999 Matt Koss, under the same license as above.
Copyright (c) 1991 by AT&T.

21

Support for Two or More Ganged Groups in the Audio Mixer
Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice
is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting
documentation for such software.
THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER
THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY
OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.
This product includes software developed by the University of California, Berkeley and its contributors.

The following disclaimer is required by Paradigm Matrix:
Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of“Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages
resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or thesoftware; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost
profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or
patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of suchdamages.

The following disclaimer is required by Videomedia, Inc.:“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect toits merchantability or its fitness for any particular purpose.”“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia,
Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow“frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source
Code:©1993–1998 Altura Software, Inc.

The following disclaimer is required by Ultimatte Corporation:
Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject tocopyright protection.

The following disclaimer is required by 3Prong.com Inc.:
Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.

The following disclaimer is required by Interplay Entertainment Corp.:
The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products.
This product includes portions of the Alloy Look & Feel software from Incors GmbH.
This product includes software developed by the Apache Software Foundation (http://www.apache.org/).
© DevelopMentor

This product may include the JCifs library, for which the following notice applies:
JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/). See the LGPL.txt file in the Third Party
Software directory on the installation CD.
Avid Interplay contains components licensed from LavanTech. These components may only be used as part of and in connection with Avid
Interplay.

Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial
computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the
U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant
to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

Trademarks
Avid, the Avid Logo, Avid Everywhere, Avid DNXHD, Avid DNXHR, Avid NEXIS, AirSpeed, Eleven, EUCON, Interplay, iNEWS, ISIS, Mbox,
MediaCentral, Media Composer, NewsCutter, Pro Tools, ProSet and RealSet, Maestro, PlayMaker, Sibelius, Symphony, and all related
product names and logos, are registered or unregistered trademarks of Avid Technology, Inc. in the United States and/or other countries.
The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. Allother trademarks are the property of their respective owners. For a full list of Avid trademarks, see: http://www.avid.com/US/about-avid/
legal-notices/trademarks.
Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or othercountries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either aregistered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained
herein are the property of their respective owners.

What’s New for Media Composer • Created 11/8/22

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