“Current users of BorisFX, Graffiti and RED should note that their current versions are all that's required. This new integration is based on hooks coming from the Media 100 side. RED users should also note that they can have RED be the default text application, which will enable text effects that no other software on the planet can produce, not even AE.”

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July 20
First Look: Media 100 i (part 1, continued)
Since BorisFX offers opportunities for limitless creativity with DVEs, it's still available in the DVE section of the Transition suite. The difficulty for some people was wrapping their heads around how to use a transition to create a single layer filtered effect, or, worse, a multi-layered, multi-filter effect. I personally find the process no more difficult than pre-composing in After Effects, but goodness knows it's no more immediately obvious than pre-composing either.

Media 100 i couldn't make it any easier. Under the Tools menu is a command for New Composition, which opens up the Boris interface. The default is still for video tracks 1 and 2 from the Media 100 timeline to default to tracks 1 and 2 in Boris. Users still have the option of reassigning that media to other tracks, or other media to those tracks, using the familiar pop-up box, but the combination of BorisFX and Media 100 i offers something new: the ability for BorisFX to read Media 100 i clips straight from the bin.

The feature is called the Bin Browser, and it does just that: Bins open within a browser that looks and functions similar to the bin itself, in that clips can be viewed in either keyframe or list view (although the list view also includes keyframes). Simply select the desired clips, assign them to the appropriate track and go. No export by reference, no hunting for oddly named files or laborious trimming, just the Media 100 i clips, in the form that I set them in Media 100. Hit apply, and go back to Media 100. It works in much less time than it takes to explain, and does so entirely seamlessly.

BorisFX itself supports unlimited layers, but the Compositions appear on the Media 100 i timeline as a single track clip (colored blue, as a matter of fact). Once rendered, the clips behave like any others, so they can be used on either of the video tracks or the graphics track. You could conceivably have three layers of infinitely layered compositions interacting with each other, all created without exporting a thing.

The integration with Boris Graffiti is just as seamless: Create a new title, Graffiti opens; make title and hit apply, statics play in real time; and so on. Graffiti has a number of unique features, including one-button rolls and crawls, 3D text, EPS support for smoothly rasterized, scaling vector text and more. (A full version of Graffiti is included with the i/xs and i/xr models. The light version of Graffiti that ships with i/ledv and i/lx has all the basic CG power of Graffiti, including unlimited layering and keyframing of text-based effects, but lacks the 3D text.)

Current users of BorisFX, Graffiti and RED should note that their current versions are all that's required. This new integration is based on hooks coming from the Media 100 side. RED users should also note that they can have RED be the default text application, which will enable text effects that no other software on the planet can produce, not even AE. And of course, current users of BorisFX and Graffiti, as well as those receiving those applications with Media 100 i, can upgrade to RED at any time for a very attractive price.

Model Behavior
I did want to add a few words about the new models in the Media 100 i product line. My first response to seeing only four models was relief. I think it reflects the kind of clarity that increasingly becoming a hallmark of Media 100's direction. Without naming any names, I think most of us can think of a digital video company with uniformly excellent products, but whose product line is becoming more confusing over time.

I've been reading everything I can about Media 100 i, in part to see if anyone else has noticed some of the details of the new models, and there are a couple of things that I haven't noticed anyone else observing. One is that these models are being introduced at precisely the price of their predecessors, beating Apple to the punch on a similar announcement by a week or so. (I should mention, too, that Media 100 is already compatible with the new dual-processor CPUs.)

Another thing that I haven't seen reported properly is that the two lower end models are actually offering an increase in frame rate for the same money, precisely the opposite of some early reports. The i/ledv is going up from a maximum of 150 KB per frame to 200 (240 PAL); i/lx is going up from 200/240 to 300/360. This is exactly what I'd want a company to do when consolidating its product line: give me the higher version for the same price.

Bottom Line, part 1
Without even touching on any of the substantially new features, I think its clear that Media 100 i has a great deal to offer to Media 100's current user base, as well as new customers. My next article will focus on some of these new features, first as they apply to traditional editing. These include the unprecedented power that AppleScript adds to Media 100 i, the improved data management tools, real-time YUV color correction using levels and curves and more.

After that, I might eventually get around to talking about some of Media 100 i's new streaming features. I hear that Media 100 as a company is pretty interested in getting into streaming video some day. I think that this streaming thing might catch on, so good for them. Good for us, too.

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