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Video Editing had become more accessible than ever, and allowed a new generation of video editors to grow up editing their own projects in their living room. Editors such as myself that grew up with the original versions of these platforms have never even been involved in an analog editing process. New competitors came to the forefront such as Sony Vegas, HitFilm, and eventually BlackMagic’s DaVinci Resolve.
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They could edit full length films, export in high quality, and started fully replacing the old guard of reel-to-reel editing.
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With no buyer in sight, they decided to use the software to create their own platform: Final Cut Pro.Īt this point, NLEs had caught up with the times.
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Apple executives recognized that editing software was starting to shift off of Apple computers and on to PC platforms, so they purchased the software in the hopes of selling it to an Apple 3rd party developer.


Unfortunately due to licensing issues, KeyGrip never got to release their software, and were only able to unveil it at the 1998 NAB conference. This led a team of developers to jump ship and begin creating their own platform that would rival Premiere and Avid Media Composer. This software had a slew of new features such as color editing, transitions, and a Quicktime media codec.Īfter Premiere had sliced off a bit of their own market share, they began shifting their focus to bring Premiere to the PC.
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In 1991, Adobe released Premiere Pro on the Macintosh to compete with Avid’s Media Composer. This led to the race of video software companies trying to create codecs that would allow full-res exporting. Only low-res projects would be able to come out of the software at the time, hindering the ability of video editors to fully edit and export a project through a computer. The only thing that held back the NLE at this stage was the exporting abilities at the time. Finally, the NLE had the ability to edit long form content.

It wasn’t until 1993 when a R&D team at Disney found a work-around utilizing external hard drives that allowed Avid Media Composer to access more than 7TB worth of footage instantly. This limited NLEs to small commercial projects and other short-form media. The modern NLE was born, but yet to be adopted.ĭue to the limitations of the Macintosh II, you could only access 50GB of storage at a time. This turned off a lot of editors from transitioning over to Avid - also due to the steep price tag for the system. It could only export in M-JPEG, which was a video quality similar to VHS. You could import your video, drag it into a timeline, and even splice in clips and effects without having to burn them into your footage. It ran on a Macintosh computer, utilizing the Macintosh II’s power.

Just weeks following the introduction of the EMC2 at the 1989 NAB conference, a familiar name came to the forefront: Avid Technology.Īvid Media Composer 1 was a revolutionary platform, and very close to what NLEs look like today. Now, editors had the ability to create full edits completely on a computer platform. The technology at the time did not allow the EMC2 to edit the original footage or even display the footage above 240p, but it did have the technology to create a timecode edit that could be used on the raw footage. This powerful invention allowed editors to pull their footage and place it onto a specialized optical disk, then edit it using the software. Thus came along the first fully-digital non linear editing system by the Editing Machines Corporation: The EMC2. After some companies such as the Montage Picture Processor came along with non linear editing technology that utilized BetaMax tapes as it’s random access memory source and popular movies such as “Full Metal Jacket” and “The Godfather Part III” put them into practice, the industry was looking for something that utilized the rising computing power of modern computers.
