MacVideo Promo, a publishing and promotion company that offers exclusive deals on tools for Mac video editors, announces Media 100 Suite Version 2.1.7 - fast, professional, and easy-to-use video editing software for Mac OS X. The v2.1.7 release adds support for Mac OS X 10.11 (“El Capitan”) and is available for $99 USD. 'Media 100 was designed to be a professional NLE, but its ease-of-use makes it appealing to anyone who edits video,' comments Rich D’Angelo, MacVideo Promo. 'Media 100’s simple, uncluttered user interface allows editors to focus on the craft of video editing as opposed to learning a complex software application – without sacrificing professional quality.' Professional and Easy-to-Use Media 100 offers unrivaled ease-of-use, stability, and image quality. Focus on the craft of video editing instead of learning a complex application. Native QuickTime codec support includes ProRes, DVCPRO HD, and more.

Mix supported codecs without conversion or rendering. Professional Transitions and Titling Boris RED is integrated 3D titling and visual effects software that launches a user-friendly custom interface directly from the Media 100 timeline for advanced title animation and effects. Every purchase of Media 100 Suite also includes the Boris RED plug-in (a $695 value) for Adobe Premiere Pro CC-CS5 for Mac. ( ) Broad Support for 4K, 2K, HD, and SD Media 100 supports dozens of video standards in 4K, 2K, HD, and SD resolutions at frame rates from 23.98 to 60 frames per second. Acquisition interfaces for AVCHD, AVC-Intra, FireWire, Panasonic P2, and Sony XDCAM are provided as well as support for AJA video I/O interfaces. Pricing and Availability Media 100 Suite v2.1.7 is available for purchase from the Media 100 website ( ) for $99 USD.

Version 2.1.7 is a free update for Media 100 Suite v2.1.x users. Download a free 60-day trial.

Towson Maryland USA CreativeCOW.net. All rights reserved. A Brief History of Recent Media 100 Developments. Although stalled for awhile prior to being acquired by the Boris / Artel Software organization, once the Boris folks took over in 2005 the rate of Media 100 development has, if anything, been advancing exponentially. So if you're still living in the past, here's the milestones in Media 100 development you've missed.

Hi Nick, Sorry, I've been away and did not repost to clarify. I'm in agreement with you on the upgrading. My point is, if they want to regain market share or create some sort of buzz, they (the Boris Folks) will need to market the Product. It isn't on anyone's radar screen at all, unless you happen to already own a Media100 system. I'm ok with being 'the only guy in town' on Media100.

However, I bet that they can not sustain for long without selling the newly developed systems. We have all seen what happens when the development at media100 exceeds the sales. I have used Media 100 since the early '90s. I now use Media 100i version 8.3.2 which does everything I need at present. The main reason I haven't updated every time an update becomes available is that I have learnt through bitter experience to leave well alone! In the past I have spent days and torn my hair out trying to sort out compatibility problems that occurred after an upgrade.

However, I need to think about HD and I am very interested in using the Sony Z7 in tapeless mode (I use Canon XL2 at present). I am interested to know how well this camera integrates with the latest Media 100 system. Any information would be most welcome. Chris Pettit 'I have spent days and torn my hair out trying to sort out compatibility problems that occurred after an upgrade.' Chris- As Bill Clinton said, 'I feel your pain.' However there is less pain, in fact MUCH less pain (usually) when going up a single version rather than attempting to jump a decade.

This is not just true of Media 100, but almost all software. Media 100 Suite requires the Leopard OS so you'll need a machine able to run it. We recently upgraded to Adobe's Creative Suite 5 and it wasn't until the box arrived that I saw it required the Intel chip set. That forced a scramble to switch out the final PowerPC machine for our Intel Octocore. The good news was that M100 Suite 1.5 has both a PPC and Intel version so we were able to easily keep both seats operating.

This is not the case with the CS5 products and especially not the case with Final Cut Studio. If you don't have an Intel machine you're not moving past CS4 and FCS 2. Chris, you've gotten a good long life out of your Media 100 system and it's time to bite the bullet and get a new Mac and upgrade to Suite 1.5 - you will be pleased with the many, many improvements. But make the change safely by keeping the old one around until you're fully debugged and running without problems. Fact of the matter is an old Mac isn't worth very much so why NOT keep it around for a while? As to going HD, you will be pleasantly surprised how simple that is.

The biggest obstacle will be the need for a fat and fast RAID. We bought CalDigit and have been quite satisfied. I understand that their latest generation is stupifyingly faster.

(See David Weiss review here on the COW.) As to: Chris Pettit 'I am very interested in using the Sony Z7 in tapeless mode' This question will be lost buried this far down in a thread. Re-submit it as the start of a new thread and you're likely to get some answers. What are you saying, Matty?

Media 100 Nle Suite For Mac

One of the premises of my piece is that there are many people here on the Media 100 COW who are asking questions / having problems with versions that are MANY years old. I simply don't get how anyone can NOT stay current with the software that they use to earn their living when it is comparatively sooo inexpensive to do so. I have to assume it's because they don't realize what features/capabilities are in the current versions. Does M100 have the same market share / buzz as FCP? Not even close and not even by a long, long shot. But that doesn't make it dead. There are any number of people out there making a living using Media 100, including me and now that it's in the hands of the Boris organization it's being updated at a much faster rate than are most products serving this market.

Hardly seems dead in that regard. Why did I come back to Media 100 from FCP? Because Media 100 is much quicker to use for so many tasks and many types/styles of editing. For me it's the better product, IMHO. In this new video tutorial, Floh Peters of Magic Eye takes a look at Media 100 Suite's new MultiClip Editing feature. Ideal for music videos, studio and on-location television, concerts, and live events, MultiClip Editing facilitates real-time editing of multiple video and audio sources in a familiar, easy-to-use interface. A camera can be added to an existing MultiClip as its source media becomes available, allowing you to begin cutting a multicam shoot faster than ever before.

Media 100 Nle Suite For Mac Free

Cameras can be synced via timecode, sync marks, or in-points. When syncing via timecode, additional footage can even be assigned to an existing camera - extremely helpful in situations where a camera has been stopped to change tapes or batteries.

Tutorial, Video Tutorial. Reg Harris, longtime contributor and co-founder of the WWUG, explores the future of Media 100 and compares it to the stories told by other businesses - both successes and failures. He looks at some of the principles involved in the struggle Media 100 faces and explores some of the delimmas faced by all businesses who work to redefine themselves in the face of changing markets. If you are wondering whether or not you want to but that next upgrade, he has some things for you to consider as you make your own decision. With Media 100's recent announcement and unveiling of its 'lossless' compression protocol, many users have expressed a lot of dismay and frustration at the news. Some have expressed support. What are the facts and why is this a good thing for some and a frustrating bit of news for others?

Who is right and what lies at the heart of this latest bit of news from Marlboro, Massachusetts? In this article, Ron Lindeboom digs through the aftermath of the NAB news and with help from Philip Hodgetts and other noted industry leaders, gives this summery for those interested. Editorial, Feature Recent Articles / Tutorials. Wild Wild Country premiered at the 2018 Sundance Film Festival to great acclaim, and when it hit Netflix a few months later, it quickly became a phenomenon, going on to win the Emmy for Outstanding Documentary of Nonfiction Series and netting editor Neil Meiklejohn an Emmy nomination for Outstanding Picture Editing for Nonfiction Programming. Creative COW's Matt Latham spoke with Neil about managing a project of this scope, treating the eight parts as a single film rather than episodes, his use of Adobe Premiere Pro, workflows with visual effects and music, and much more, including career advice for aspiring editors. Feature, People / Interview.