Dublin, July 12, 2021 (GLOBE NEWSWIRE) -- The 'Global Audio and Video Editing Software Market 2021-2025' report has been added to ResearchAndMarkets.com's offering.
The publisher has been monitoring the audio and video editing software market and it is poised to grow by $1.97 billion during 2021-2025, progressing at a CAGR of about 9% during the forecast period. The report on audio and video editing software market provides a holistic analysis, market size and forecast, trends, growth drivers, and challenges, as well as vendor analysis covering around 25 vendors.
The report offers an up-to-date analysis regarding the current global market scenario, latest trends and drivers, and the overall market environment. The market is driven by the increase in the rate of content generation and rise of OTT platforms, strategic partnerships and collaborations between market participants, and decrease in prices of audio and video editing software.
The audio and video editing software market analysis includes end-user segment and geographic landscape.
The audio and video editing software market is segmented as below:
By End-user

Pinnacle Studio Video Editing software is used by over 13 Million people. Enjoy a faster way to capture, edit and share your video. Choose Pinnacle Studio 24 for its powerful and precise video editing tools that inspire limitless creative opportunities for advanced moviemaking. Trial is designed to deliver access to the main features of Pinnacle Studio's video editing software so that you may try it before you decide to buy it.Trial is limited in functionality (complete file support and features, disc burning and third-party effects are not available in the trial). Avid Studio Pro was comprised of sophisticated editing tools, powerful media management, unlimited timeline tracks and a lot more which made it a professional video editing software. Avid studio retained its place after Avid acquired Pinnacle Studio, a competitor software because it was meant for more professional use. Accelerate storytelling with video editing tools embraced by top movie, TV and broadcast editors. Starting at $23.99 USD. Save money when you commit to 12 months; Includes access to all new releases and Standard support throughout your subscription; Need powerful script-based editing, dialog search and professional finishing tools? Avid Media Composer. NEW VERSION 2021.6. Avid Media Composer ( replaces Avid Xpress) delivers more than 100 customizable real-time effects, professional-level color correction with waveform and vectorscope analysis, and multiple simultaneous real-time streams - all in software. $50/month or $1300. Freeware Trialware $1300. OS: File size: 2355MB.

• Commercial
• Personal

By Geography

• North America
• Europe
• APAC
• South America
• MEA

This study identifies the shift toward cloud-based delivery model as one of the prime reasons driving the audio and video editing software market growth during the next few years. Also, increased use of editing software for personal use and rise in mobile-based editing software will lead to sizable demand in the market.
The report on audio and video editing software market covers the following areas:

• Audio and video editing software market sizing
• Audio and video editing software market forecast
• Audio and video editing software market industry analysis

The publisher's robust vendor analysis is designed to help clients improve their market position, and in line with this, this report provides a detailed analysis of several leading audio and video editing software market vendors that include Acon AS, Adobe Inc., Animoto Inc., Apple Inc., Autodesk Inc., CyberLink Corp., Avid Technology Inc., Microsoft Corp., Sony Corp., and Steinberg Media Technologies GmbH. Also, the audio and video editing software market analysis report includes information on upcoming trends and challenges that will influence market growth. This is to help companies strategize and leverage all forthcoming growth opportunities.
The study was conducted using an objective combination of primary and secondary information including inputs from key participants in the industry. The report contains a comprehensive market and vendor landscape in addition to an analysis of the key vendors.
The publisher presents a detailed picture of the market by the way of study, synthesis, and summation of data from multiple sources by an analysis of key parameters such as profit, pricing, competition, and promotions. It presents various market facets by identifying the key industry influencers. The data presented is comprehensive, reliable, and a result of extensive research - both primary and secondary. The market research reports provide a complete competitive landscape and an in-depth vendor selection methodology and analysis using qualitative and quantitative research to forecast the accurate market growth.
Key Topics Covered:
1. Executive Summary

• Market Overview

2. Market Landscape

• Market ecosystem
• Value chain analysis

3. Market Sizing

• Market definition
• Market segment analysis
• Market size 2020
• Market outlook: Forecast for 2020 - 2025

4. Five Forces Analysis

• Five forces summary
• Bargaining power of buyers
• Bargaining power of suppliers
• Threat of new entrants
• Threat of substitutes
• Threat of rivalry
• Market condition

5. Market Segmentation by End-user

• Market segments
• Comparison by End user
• Commercial - Market size and forecast 2020-2025
• Personal - Market size and forecast 2020-2025
• Market opportunity by End user

6. Landscape
7. Geographic Landscape

• Geographic segmentation
• Geographic comparison
• North America - Market size and forecast 2020-2025
• Europe - Market size and forecast 2020-2025
• APAC - Market size and forecast 2020-2025
• South America - Market size and forecast 2020-2025
• MEA - Market size and forecast 2020-2025
• Key leading countries
• Market opportunity by geography
• Market drivers
• Market challenges
• Market trends

8. Vendor Landscape

• Overview
• Landscape disruption

9. Vendor Analysis

• Vendors covered
• Market positioning of vendors
• Acon AS
• Adobe Inc.
• Animoto Inc.
• Apple Inc.
• Autodesk Inc.
• Avid Technology Inc.
• CyberLink Corp.
• Microsoft Corp.
• Sony Corp.
• Steinberg Media Technologies GmbH

10. Appendix

• Scope of the report
• Currency conversion rates for US$
• Research methodology
• List of abbreviations

For more information about this report visit https://www.researchandmarkets.com/r/3wufa

Avid Media Composer is a film and video editing software application or non-linear editing system (NLE) developed by Avid Technology. Initially released in 1989 on Macintosh II as an offline editing system, the application has since evolved to allow for both offline and online editing, including uncompressed standard definition (SD), high definition (HD), 2K and 4K editing and finishing. Since the 1990s, Media Composer has been the dominant non-linear editing system in the film and television industry, first on Macintosh and later on Windows. Avid NewsCutter, aimed at newsrooms, Avid Symphony, aimed at finishing, were all Avid products that were derived from Media Composer and share similar interfacing, as were Avid Xpress Pro (discontinued in 2008) and its predecessor Avid Xpress DV, which were aimed at the lower end of the market.

There are 4 versions of Avid Media Composer;^[1] Media Composer | First (a freeware version), Media Composer, Media Composer | Ultimate, and Media Composer | Enterprise. Media Composer can be used as standalone software, or to which the user can add specific external I/O devices, either from Avid or from specific third parties.

History[edit]

According to Eric Peters, one of the company's founders, most prototypes of 'the Avid' were built on Apollo workstations. At some point, Avid demo'd one of their products at SIGGRAPH. Says Peters: 'Some Apple people saw that demo at the show and said, 'Nice demo. Wrong platform!' It turned out they were evangelists for the then new Mac II (with *six* slots!). When we got back to our office (actually a converted machine shop) after the show, there was a pile of FedEx packages on our doorstep. They were from Apple, and they contained two of their prototype Mac II machines (so early they didn't even have cases, just open chassis). Also there were four large multisync monitors. Each computer was loaded with full memory (probably 4 megs at the time), and a full complement of Apple software (pre-Claris). That afternoon, a consultant knocked on our door saying, 'Hi. I'm being paid by Apple to come here and port your applications from Apollo to Macintosh.' He worked for us for several weeks, and actually taught us how to program the Macs.' At the time, Macs were not considered to be fast enough for video purposes. The Avid engineering team, however, managed to get 1,200 kBytes per second, which allowed them to do offline video on the Macs.

The Avid Film Composer was introduced in August 1992. Film Composer was the first non-linear digital editing system to capture and edit natively at 24fps. Steven Cohen was the first editor to use Film Composer for a major motion picture, on Lost in Yonkers (1993).

The system has been used by other top editors such as Walter Murch on The English Patient, the first digitally edited film to receive a Best Editing Oscar.

In 1994, the Academy of Motion Picture Arts and Sciences awarded the Avid Film Composer with a plaque for Science & Technical Achievement. Six persons were recognized in that effort: Bill Warner, Eric Peters, Joe Rice, Patrick O'Connor, Tom Ohanian, and Michael Phillips. For continued development, Avid received an Oscar representing the 1998 Scientific and Technical Award for the concept, design, and engineering of the Avid Film Composer system for motion picture editing.

Film Composer is no longer available, since all of its specific film editing features were implemented into the 'regular' Media Composer.

In July 2009, American Cinema Editors (ACE) announced that the ACE Board of Directors had recognized Avid Media Composer software with the Board's first ACE Technical Excellence Award.^[2]

Hardware[edit]

Avid Mojo DX: a newer version of the Mojo with architecture offering faster processing and full 1920x1080 HD resolution in addition to standard definition video. This interface has SDI/HD-SDI inputs and outputs, HDMI outputs and stereo 1/4' TRS audio inputs and outputs.

Avid Nitris DX: a replacement of the Adrenaline hardware, a successor to the original Avid Nitris (used with Avid DS and Avid Symphony), with architecture offering faster processing and full 1920x1080 HD resolution (without extra cards) in addition to standard definition video. This interface also has a hardware DNxHD codec. Video connections include SDI, HD-SDI, Composite, S-Video and Component (SD or HD) inputs and outputs, it also has a HDMI output. Audio connections include XLR, AES, optical S/PDIF and ADAT inputs and outputs. It also has RCA inputs and 1/4' TRS outputs, plus LTC timecode I/O. Starting with Media Composer v5.5 an optional AVC-Intra codec module can be installed in the Nitris DX for native playback of this format. With Media Composer v6.0 is it now possible to have two DNxHD or AVC-Intra modules installed for dual stream stereoscopic capture and full resolution stereoscopic playback.

Hardware history[edit]

Media Composer as standalone software (with optional hardware) has only been available since June 2006 (version 2.5). Before that, Media Composer was only available as a turnkey system.

The 1990s[edit]

From 1991 until 1998, Media Composer 1000, 4000 and 8000 systems were Macintosh-only, and based on the NuVista videoboard by Truevision. The first-release Avids (US) supported 640x480 30i video, at resolutions and compression identified by the prefix 'AVR'. Single-field resolutions were AVR 1 through 9s; interlaced (finishing) resolutions were initially AVR 21–23, with the later improvements of AVR 24 through 27, and the later AVR 70 through 77. AVR12 was a two-field interlaced offline resolution. Additionally, Avid marketed the Media Composer 400 and 800 as offline-only editors. These systems exclusively used external fast SCSI drives (interfaced through a SCSI accelerator board) for media storage. Avid media was digitised as OMFI (Open Media Framework Interchange) format.

In the mid-nineties, versions 6 and 7 of Media Composer 1000, 8000 and 9000 were based on the Avid Broadcast Video Board (ABVB), supporting video resolutions up to AVR77. The video image was also improved to 720x480. 3D add-on boards (most notably the Pinnacle Alladin, externally, and the pinnacle genie pro board, internally, through special 100 pin bypass cable ) and 16bit 48K 4-channel and 8-channel audio I/O (Avid/DigiDesign 442 and Avid/DigiDesign 888) were optional.

The 1998 introduction of the Avid Symphony marked the transition from ABVB to the Meridien hardware, allowing for uncompressed SD editing. This introduction was also the first version of Media Composer XL available for the Windows operating system. Many users were concerned that Avid would abandon the Mac platform, which they eventually did not do. Media Composer XL versions 8 through 12.0.5 (models MC Offline XL, MC 1000 XL, MC 9000XL) were built around Meridien hardware. Compression options were expressed in ratios for the first time in the evolution of the product. Even though the video board had changed, the audio I/O was still handled by the Avid/DigiDesign 888 (16bit 48K) hardware. At this time, 16x9 aspect ratios began to be supported.

The 2000s[edit]

Avid Media Composer Meridien was released through November, 2003.

In 2003, Avid Mojo and Avid Adrenaline formed the new DNA (Digital Non-linear Accelerator) hardware line. The launch of Avid Media Composer Adrenaline brought along a software version renumbering, as it was labeled Avid Media Composer Adrenaline 1.0. At this time, Avid began using MXF (Material Exchange Format) formatting for media files. Avid products maintain compatibility with OMFI files.

Adrenaline was the first Media Composer system to support 24bit audio. It also meant the end of Film Composer and Media Composer Offline, since the Avid Media Composer Adrenaline featured most of the film options and online resolutions and features. From this point onward, Avid systems have supported media storage using SCSI, PCI-e, SATA, IEEE 1394a & b, Ethernet and fiberoptic interfaces.

In 2006, Media Composer 2.5 was the first version to be offered 'software-only', giving the user the option of purchasing and using the software without the additional cost of the external accelerators. Software-only Avid setups could use third-party breakout boxes, usually interfaced via FireWire, to acquire video from SDI and analog sources.

In 2008, the Mojo DX and Nitris DX were introduced, replacing the Adrenaline. Both are capable of handling uncompressed HD video, with the Nitris DX offering greater processing speed and input/output flexibility.

Avid designed hardware[edit]

Avid systems used to ship with Avid branded I/O boxes, like Mojo, Adrenaline and Nitris, but in recent years have ceased to produce their own hardware, and have started collaborating with companies like Blackmagic Design and AJA, releasing customised, Avid-branded I/O boxes, like DNxIO, DNxIQ and DNxIV.

Third-party supported hardware[edit]

Starting with Media Composer 6, a new Open IO API allowed third-party companies to interface their hardware into Media Composer. AJA Video Systems, Blackmagic Design, Matrox, BlueFush and MOTU are supporting this API. Avid's own DX hardware is still natively interfaced into the application which currently allows some extra features that Open IO is limited in (LTC timecode support for example). It is expected that over time some of these missing APIs will be added.

AJA IO Express: Starting with Media Composer 5.5, introduced support for the AJA IO Express interface. This interface will allow SD/HD input and output via SDI and HDMI. It also has analog video and audio outputs for monitoring. It connects to a computer via PCIe or ExpressCard/34 interface.

Matrox MXO2 Mini: Starting with Media Composer 5, Avid introduced support for the Matrox MXO2 Mini interface, as a breakout box with no additional processing. While this interface does have input connections, only output is supported by Media Composer v5.x, starting with Media Composer v6.x you can capture with this interface. The connections on the unit support analog video/audio and HDMI in both SD and HD formats. The device is connected by a cable to either a PCIe card or ExpressCard/34 interface, so this unit can be used on a desktop or laptop system.

Avid Media Composer compatible hardware is manufactured by AJA Video Systems, Blackmagic Design, BlueFish, Matrox and MOTU.

Discontinued hardware[edit]

Avid Mojo: includes Composite and S-Video with two channels of RCA audio. There is an optional component video cable that can be added to this interface. This interface only supports SD video formats.

Avid Mojo SDI: includes Composite, S-Video, Component and SDI video, with 4 channels RCA, 4 channels AES and 2 channels optical S/PDIF audio. This interface only supports SD video formats.

Avid Adrenaline: rack mountable interface which includes Composite, S-Video, Component and SDI video, 4 channels of XLR, 4 channels of AES, 2 channels of S/PDIF and 8 channels of ADAT audio. This interface also has an expansion slot for the DNxcel card which adds HD-SDI input and output as well as a DVI and HD component outputs. The DNxcel card uses Avid's DNxHD compression which is available in 8-bit color formats up to 220mb as well as a 10-bit color format at 220mb. The DNxcel card also adds real-time SD down-convert and HD cross-convert.

Avid Mojo DX : rack mountable interface with various I/O

Avid Nitris DX: : rack mountable interface with various I/O

Avid Video Editing Program 9 3

Features[edit]

Key features[edit]

• Animatte
• 3D Warp
• Paint
• Live Matte Key
• Tracker / Stabiliser
• Timewarps with motion estimation (FluidMotion)
• SpectraMatte (high quality chroma keyer)
• Color Correction toolset (with Natural Match)
• Stereoscopic editing abilities (expanded in MC v6)
• AMA - Avid Media Access, the ability to link to and edit with P2, XDCAM, R3D, QuickTime and AVCHD native material directly without capture or transcoding.
• Mix and Match - put clips of any frame rate, compression, scan mode or video format on the same timeline
• SmartTools - drag and drop style editing on timeline, can be selectively adjusted to the types of actions that the user wants to use when clicking on timeline.
• RTAS - (RealTime AudioSuite), support for realtime track-based audio plug-ins on the timeline.
• 5.1 and 7.1 Surround Sound audio mixing, compatible with Pro Tools
• PhraseFind - analyses clips and indexes all dialog phonetically allowing text search of spoken words. (reacquired as of 8.9.3)
• ScriptSync (with Nexidia phonetic indexing and sync) (reacquired as of 8.9.3)

Color correction[edit]

Avid Symphony includes Advanced/Secondary/Relational Color Correction and Universal HD Mastering. Starting with version 7, Symphony became paid option for Media Composer; with version 8, it was included with monthly and annual subscription licenses.

Software protection[edit]

Avid Video Editing Program 9 Inch

The software used to be protected by means of 'blesser' floppy, tied to the Nubus's TrueVista board (meaning that if the board is replaced, a new 'blesser' floppy comes with the board), and later with USB dongles. As of version 3.5 the dongle is optional, and existing users may choose to use software activation or keep using their dongles, while new licenses are sold exclusively with software activation. The software ships with installers for both Mac and Windows and can physically be installed on several computers, allowing the user to move the software license between systems or platforms depending on the licensing method.

Licensing options[edit]

With Media Composer 8, Avid introduced monthly and annual subscription licensing systems similar to Adobe Creative Cloud, allowing users to install and activate Avid without purchasing a perpetual license. Media Composer licenses must be confirmed either by Avid's internet servers every 30 days or by an on-site floating license server. Starting with version 8, updates and support for perpetual licenses also require annual support agreements; support is included with subscription licenses.^[3]

Installers[edit]

The installer used to include installers for:^[4]

• EDL Manager
• Avid Log Exchange (no longer in v8)
• FilmScribe
• MediaLog (no longer in v8)
• Interplay Transfer
• MetaSync Manager (no longer in v6)
• MetaSync Publisher (no longer in v6)
• MetaFuze (Windows only), a standalone application to convert files (R3D, DPX, TIFF) from film scanning, CGI systems or RED camera into MXF media files. Actually based on an import module that was taken from Avid DS.

Third-party software[edit]

Some boxed versions of Media Composer came with the following third party software:

• Avid FX - 2D & 3D compositing and titling software (aka Boris RED)
• Sorenson Squeeze - Compression software to create, Windows Media, QuickTime, MPEG 1/2, MPEG 4 or Flash video (v8 monthly/annual subscription only)
• SonicFire Pro 5 - music creation software (includes 2 CDs of music tracks)
• Avid DVD by Sonic - DVD and Blu-ray authoring software (Windows only; no longer updated as of v8)
• NewBlue Titler Pro - 2D and 3D video title software (v8 perpetual licenses bundled with v1, subscription licenses with v2)
• Boris Continuum Complete - 2D and 3D graphics and effects (v8 monthly/annual subscription only)

Revisions and features[edit]

References[edit]

1. ^'Media Composer Version FAQ 2019'. avid.secure.force.com. Retrieved 2020-07-14.
2. ^'American Cinema Editors (ACE) Board Honors Avid Media Composer' (Press release). Archived from the original on 2009-12-12. Retrieved 2009-12-23.
3. ^'Media Composer 8 FAQ'. Avid.^{[dead link]}
4. ^'Media Composer - Compare'. Avid.

External links[edit]

• Official website

Avid Video Editing Program 9 Inch