Avid Media Composer v8.3 has the software editing system growing up by supporting 2K, 4K, UHD editing & DNxHR natively.
Here is just a snippet from the Media Composer Software ReadMe v8.3.
Media Composer introduces full support for larger than HD projects. These High-Resolution formats include Ultra HD and DCP (2K and 4K). You can now edit and playback UHD, 2K, and 4K sequences on your Timeline, as well as transcode, render and output high-resolution formats.
In addition to Rec. 709, Media Composer supports BT/Rec. 2020 and DCI-P3 color spaces. The source and record viewers also support these color spaces if your monitor has been calibrated for them. In addition, you can expand the color levels to show full scale video by right-clicking and selecting the Display Color Space > … [full range] option in the list.
In the Color Management settings, it is now possible to install LUTs that will either be available across projects, or private to the current project.
A new effect allows you to apply a Look-up table (LUT) on the timeline. This effect is available under Image > Color LUT > installed LUTs.
Media Composer now supports the following high frame rates for progressive media: 47.952, 48, 50, 59.94, 60.
When editing with high frame rates, you will have the choice of editing within standard editing rate boundaries. Media Composer will accommodate frame rates that are divisible by 2. For example, when editing with 50p and 60p frame rates, the editing timebase is set to 25p and 30p respectively in order to avoid artifacts when moving these projects to lower standard rates.
Note that, the timecode display will show the current editing frame rate, but playback will still be done at the project frame rate.
This safety is especially useful when working with interlaced media to ensure that you maintain your cuts on the right field.
Playback Rate in Source Settings
If a clip’s frame rate was previously converted to the project’s frame rate, you can reset the clip to the original frame rate in the clip’s source settings.
Alternatively, you may want to convert the clip’s frame rate to match the project frame rate. This can also be done through the clips’s source settings.
Introduction of DNxHR (High Resolution)
With the introduction of High-Res native editorial enhancements, Avid also solves high storage
requirements by introducing DNxHR. The new Avid codec family, DNxHR will support any
frame size to allow 4K and proxy workflows. This new codec family includes the following:
• DNxHR LB (low bandwidth)
• DNxHR SQ (standard quality)
• DNxHR HQ (high quality)
• DNxHR HQX (high quality 10-bit)
• DNxHR 444 (cinema quality)
For more: Avid.