Avid Announces Rapid Adoption Of New Editing Solutions

September 25, 2008

Source: Avid

Avid customers are rapidly adopting the company’s next-generation of HD editing systems, which started shipping in early June. The American Film Institute (AFI), Catalyst Post, CBS, Universal Studios, KFox Television, FOX Sports Network, No Doubt Productions, Raycom Sports, Rhythm and Hues, Telemundo, Wachovia Video Network and Vertical Interval Media are among some of the first sites to purchase and deploy new Avid Media Composer DX, NewsCutter DX and Symphony Nitris DX systems.

Darin Kerby, President of Catalyst Post, a rental and technical support facility in Burbank, Calif., purchased 25 Media Composer Nitris DX systems and immediately placed them on productions such as TLC’s 10 Years Younger, Fox’s Family Court with Judge Penny and TBS’ 10 Items or Less.

Kerby said, “Our clients are quickly appreciating a more responsive Avid system and the new features, such as a real-time visible timecode effect. Rendering and data copying are much, much faster too. Processes that used to take an hour are now done in minutes. We’re also taking advantage of the Nitris DX hardware acceleration for HD projects. This is Avid's best product release to date and sets the new standard for edit workstations."

CBS recently deployed a number of new Media Composer Nitris DX and NewsCutter Nitris DX systems for HD broadcasts of programming such as the Democratic and Republican National Conventions and The CBS Evening News with Katie Couric. Additionally, they purchased 21 Media Composer Nitris DX systems and an Avid Unity ISIS shared-storage system for production of the new season of 60 Minutes.

Digital Vortechs, (The Dark Knight, She’s Out of My League, Star Trek, LOST. Fringe) purchased 15 Avid Media Composer Nitris DX systems and two Avid Unity 5.0 storage systems, and has already installed several on LOST. CEO Jim Longeretta said, “Because the production team wanted to make the leap to HD, LOST was a perfect candidate to move over to the new Avid systems. The editors were used to working on the older systems and wanted an HD solution that would give them that same speed and reliability, but offer new bells and whistles.” LOST is currently editing with the Avid DNxHD 36 codec for the coming season. “The editors wanted to work with the best quality media possible and Avid DNxHD allows them to do that. Combine that with the performance of the new systems and you have a fantastic workflow.”

Dan Schalk, editor of the film She’s Out of My League, recently switched to Media Composer Nitris DX and says, “The new systems are very stable and responsive – I am never waiting for the machine to catch up to me. There were times when I would have to spend 45 minutes to an hour rebuilding a sequence after a crash and I don’t have to do that anymore. It really makes my time in the edit bay a lot easier.”

The American Film Institute (AFI) in Los Angeles purchased 15 Symphony Nitris DX systems and an 8 TB Avid Unity system from local reseller KeyCode Media. “At AFI, we’re dedicated to providing our students with the best foundation to succeed in the real-world of film and TV production – where Avid systems are still predominately used,” said Phil Linson, Vice Dean of Production and Post Production at AFI. “The new Symphony Nitris DX systems will enable the students to get exposure to working with things like tapeless workflows, editing real-time in HD, color correction and finishing. And, with the improved stability and performance these systems offer, our students are able to engage in the editorial process and excel at the art and craft of post production.”

51 Minds Entertainment (Surreal Life, My Fair Brady) purchased a combination of 25 Media Composer Nitris DX and Symphony Nitris DX systems for production on several of its fall shows.

“The rapid adoption of these new systems indicates just how stable, reliable and fast they really are,” said Kirk Arnold, EVP of Customers Operations, Avid Technology. “We’ve had customers tell us that they are able to get through tasks much more quickly and have already realized a significant return on their initial investment. Whether it’s a broadcaster looking to get stories to air quickly or film or TV productions looking to keep post budgets down, our new solutions are helping to meet the diverse needs of our customers.”

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