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Avid ISIS 5000 Move on Up Upgrade

Customers with older Unity MediaNetwork or LANshare shared storage systems now have an opportunity to get $7500 off the total system price by moving on up to an ISIS 5000-32TB (with one or more ISIS 5000 Engines).

Benefits/Why Upgrade

Based on Unity MediaNetwork and LANshare, the newest technology and features of ISIS 5000 provide the lowest cost per GB ever. With ISIS 5000, you get greater user storage capacity, administrative flexibility, all-Ethernet connectivity and 90 included client licenses. And of course you still get the best possible real-time integration with Avid editorial, Interplay, and Final Cut Pro workflows.

With today’s budgetary constraints and highly competitive business environment, it’s all about getting the best tools at the lowest prices. ISIS 5000 deliver more real-time performance and superior editor integration than EditShare, and much greater storage flexibility and management tools than Facilis. Compared to any other shared storage system, Avid makes collaboration faster, easier and more reliable.

Extensive storage and workflow testing enables Avid to hold its solutions to the highest standards of performance and reliability in today’s media industry. Whenever you need Avid support, we’ll always by there with people who understand and “get” your business.

You will receive a $7500 credit off the ISIS 5000 purchase price on any order of ISIS 5000 32TB or multiple ISIS 5000 Engine system.

This promotion is not offered on purchases of ISIS 5000 Direct Connect or ISIS 5000 Demo systems. This promotion requires the return of Unity MediaNetwork file Manager, storage chassis

and dongle or LANShare chassis and dongle.

Effective through June 17, 2011 or while supplies last

For more information on how to start saving today contact: sales@keycodemedia.com or 818-303-3900

NewTek to Give Away $100,000 in Prizes at NAB 2011

March 28, 2011 Leave a comment

NewTek to Give Away $100,000 in Prizes at NAB 2011

Four lucky show attendees will win a TriCaster™ HD portable live production system

 

LAS VEGAS – NAB Show – March 28, 2011NewTek, a worldwide leader in video and 3D animation products, will give away four TriCaster™ TCXD850 HD portable live production systems as part of its TriCaster-A-Day Giveaway at the National Association of Broadcasters (NAB) Show. NAB attendees can find registration postcards on the front of the Show Daily distributed on Monday, April 11, and at the NewTek smart car HD portable live production vehicle parked in front of South Hall. Registration cards will also be available at NewTek Booth SL4514. 

Drawings will be held once a day beginning Monday, April 11 through Thursday, April 14. Winners will be notified by email.

In addition to the TriCaster-A-Day Giveaway, NewTek will host their annual “Broadcast Minds” event, bringing together some of the most successful digital media strategists in the industry. Panelists will discuss how companies can capitalize on the digital market, effectively. This event will be held Tuesday, April 12 from 6-8 p.m. PT at the Renaissance Hotel Ballroom.

For more information regarding NewTek at the NAB Show, visit: www.newtek.com/nab. For up-to-the-minute NAB details, follow NewTek on Facebook and Twitter.

With TriCaster, anyone can simultaneously produce, live stream, broadcast, project and record HD and SD network-style productions. A single operator or small team can switch between multiple cameras, virtual inputs and live virtual sets, while inserting clips, titles and motion graphics with multi-channel effects. TriCaster is used by broadcasters, webcasters, sports organizations, schools, houses of worship, government agencies and others to provide a new level of extended programming and content to their audiences.

Pricing and Availability
The TriCaster family of products in NTSC is available for education in North America starting at US$4,995, and multi-standard internationally starting at US$5,995. For more information, please visit www.keycodemedia.com or call 818-303-3900.

Limited Time – NAB Special Bundle Pricing: TriCaster TCXD850 and TriCaster TCXD850 CS at US$29,995

About NewTek (NAB Show Booth: SL4514)
Benefiting producers and artists with cost-effective and groundbreaking technologies, NewTek is a worldwide leader in portable live production, video editing, 3D animation and special effects tools, including the TriCaster™ product line, 3PLAY™ and LightWave 3D®. NewTek has won numerous industry accolades, including two Emmy® Awards.

Clients include: MTV, ESPN X Games, New York Giants, Fox News, BBC, NHL, Nickelodeon, CBS Radio, ESPN Radio, Fox Sports, USA TODAY, Adam Carolla Show, TWiT.TV, St. John’s University, NBA Development League, Diggnation, Streamin’ Garage, Buzz Out Loud, Kevin Pollak’s Chat Show, Peter Himmelman’s “Furious World,” Department of Homeland Security (DHS), North American Aerospace Defense Command, National Aeronautics and Space Administration (NASA). NewTek products have been used in feature films and television shows, including “Avatar,” “TinTin,” “Repo Men,” “V,” “Fringe,” “CSI: Crime Scene Investigation,” “The Fairly OddParents” and more.

NewTek is privately owned and based in San Antonio, Texas.  For more information, please visit: www.newtek.com.

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Editors Lounge 8th Annual Pre-NAB Discussion (Key Code Media Burbank) Friday March 25, 2011

Alpha Dogs presents Editors Lounge

8th Annual Pre-NAB Discussion Panel
Our Famous Prognosticators Prognosticate… and the Sony OLED Monitor is Here!

Friday March 25, 2011

Our friends at Key Code Media are once again helping the Editors’ Lounge put on the famous (infamous?!) Pre-NAB Discussion Panel. This 8th rendition of our annual look ahead at NAB, seeks to enlighten us all with heated discussion about trends and predictions for post-production and the film/TV business for the rest of 2011 and beyond.

This year’s panel features:

Debra Kaufman (moderator) • Founder / Editor, MobilizedTV
Lucas Wilson • Director Business Development, 3ality Digital
Steve Cohen • Film+TV Editor / Blogger / Author “Avid Agility”
Mark Raudonis • VP Post Production, Bunim/Murray Prods
Michael Bravin • Technical Consultant / Founder, The Digital Picture Company
Terence Curren • Editor+Colorist / Founder, AlphaDogs

As a special treat, the Sony BVME250 OLED master monitor that was discussed at last month’s Editors’ Lounge will actually be on hand for you to oooh and aaah over.

Stay tuned for more updates as they develop!

When

Friday March 25, 2011

6:15pm-7pm Check-In, Networking

7pm-9pm Panel Discussion

As always Editors Lounge events are BYOB, this evening we’ll be providing eats from The Greasy Wiener food truck

Where

Key Code Media

270 South Flower Street

Burbank, CA 91502

(between Olive & Verdugo)

CLICK HERE FOR DIRECTIONS

WE WILL HIT CAPACITY AT THIS EVENT, EARLY REGISTRATION IS RECOMMENDED!

CLICK HERE TO REGISTER

 

Learn How to Leverage Digital Media for Your Broadcast & Media Lab Curriculum Sat March 12, 2011

Key Code Media Invites You to Attend an Exclusive Event Just For Professional Digital Media Educators

Saturday March 12, 2011

“Learn How to Leverage Digital Media
for Your Broadcast & Media Lab Curriculum”
Join us at our Burbank demonstration facility where you will have the opportunity to mix and mingle with our post workflow consultants, technical services and integration team
and network with industry peers

This kick off event was tailor made for you and will feature hands on product demonstration and discussion on

-Acquisition, Content Creation, Multi-Media, Editorial, Media Management and Distribution

-Introduction to Our Educational Partners: Avid Technology, Apple, Adobe, Avid, G-Tech and NewTek *** (this list subject to change with no notice)

-Keynote Address
“The State of the Education and How to Overcome the Hurdles and Be Successful”

Keynote Speaker
Jon Amador
College of the Canyons
(Media & Arts Department Chair)
Jon is Professor of audio and radio media in the Radio, Television & Film Department, with BFA and MFA in Music and Sound Design from California Institute of the Arts. Jon has taught at College of the Canyons for the past 9 years, and is a graduate of the Associate Program. He has been active in developing career technical education for students who seek entry into the media and entertainment industries, and has also been involved in the professional development of faculty who seek to infuse technology in their teaching practices. Recently, Jon has initiated an initiative to bring interactive audio and video to the college via podcasting technology, where he brings his influences in the study of media and technology to the broader college community.

WHEN

SATURDAY
MARCH 12, 2011

10:30-11am Check In & Coffee

11:00-12:00pm
Educational Introductions & Keynote Address

12pm-2pm
Fire Up the Grill, It’s Taco Time!
Cold Beverages, Hands on Demos & Networking

WHERE

Key Code Media
270 So Flower St Burbank, CA 91502
(located between Olive & Verdugo)

CLICK HERE TO REGISTER

Top New 5 Features of Avid Media Composer 5.5

February 15, 2011 3 comments

by Michael Kammes (Senior Applications Editor, Post Workflow Consultant: Key Code Media)

With Avid’s recent announcement of the relaease of Media Composer 5.5, we have compiled a list of some of what we consider to be the top new 5 features of Media Composer 5.5.

#1 Video I/O: AJA I/O Express.
Easily the biggest announcement. Avid has traditionally regulated baseband video input and output to Avid built hardware. We saw a glimpse last year of the move off this paradigm with the adoption of the
Matrox MXO2 Mini. This toe dipping in the 3rd party wading pool allowed users to output broadcast quality reference video through a sub $500 box. While some functions – like capture and deck control – were not available; it was an instant success for smaller setups (aside from some pesky frame rates; more on that later).

The AJA IO Express, unlike the Matrox MXO 2 Mini, is unrestricted by Avid to capture into Media Composer via HDSDI & HDMI, and output via HDSDI, Component, and HDMI. It sports an RS-422 com port for deck control – and yes, digital cuts are supported. Like the Matrox unit and the Avid branded I/O devices, it connects to your CPU via an included host (HBA) Card. As of the initial 5.5 release, Ancillary Data and LTC are not supported…yet.

AJA is an excellent company – partnering with the best in the industry is a fantastic move.

#2 AVC-Intra is a reality.

Brains & Beauty: one of the newer codecs – AVC-Intra – delivers excellent visual quality at lower data rates, and has been popping up more and more in prosumer and professional cameras. There is a downside, however: it’s extraordinarily CPU intensive. Avid now has a solution for you.

For $2495, you can purchase an AVC-Intra accelerator card for your Media Composer Nitris DX. This small hardware card is installed inside your Nitris DX box, and allows for AVC-Intra encoding during capture – as well as assisting during decoding: edit, monitoring, and processing. This hardware upgrade card is only available for the Nitris DX. Eye ballin’ a new Symphony Nitris DX? Another reason to pull the trigger: The AVC-Intra card comes included with a new purchase of a Symphony Nitris DX. Check out the Media Composer Nitris DX AVC-Intra here.

#3 Say What?

Don’t you constantly rely on the Search function of your OS? (I use my Apple + F search religiously.) Most of us would be unable to function without it. Avid has taken two steps to improve the effective of it’s search tools. First, the standard text search tool has been expanded to search across more metadata within your project: clips, sequences, script text, the timeline, and your monitors.

As if that were not enough, Media Composer now has an ability to search via phonetic matching, a new feature called PhraseFind. Media Composer automatically analyzes clips and indexes all dialog in your project’s media phonetically, so you can quickly find clips by simply typing a word or phrase—right from within your edit session. Plus, it works in the background so as not to tie up your editing bay. Bonus! Coupled with ScriptSync, this becomes a massively powerful tool to reduce the time lost to logging and assemblies and finding that illusive lost clip. PhraseFind, as well as ScriptSync, come at an additional cost ($495 & $995, respectively) or bundle both for only $1295.

#4 Hear That? Enhanced Audio Monitoring.

Avid has incorporated the ability to utilize Pro Tools hardware for monitoring of your Media Composer. Pro Tools HD hardware, as well as select flavors of the MBox family can be used for audio playback. The awesome sounding AIR plug-ins are also supported within Media Composer 5.5.

#5 AMA Enhancements.


AMA is probably the single greatest thing Avid has rolled out in recent history, and with 5.5, Avid continues down that path. The HDCAM SR Lite codec is now supported via AMA. First incarnations support only reading of the HDCAM SR Lite based files via AMA, however.

Those of you who insist on using Long GOP video files (you know who you are) will be thrilled to learn that Avid has beefed up Media Composer’s ability to play these in real time. While it is impossible to qualify every hardware and software configuration when dealing with AMA, v5.5 will handle your Long GOP files better than 5.0. Plus, Media Composer has also enabled Long GOP Quicktime reference exports (this last feature was quietly available not to long ago in 5.0.3 versions) In case you didn’t know, Media Composer uses your GPU – Graphics card – to during playback to take load off of your CPU. So, always consider beefing up your Graphics card to speed up your system…staying within the approved list of cards, of course.

You’ll also see a change in how AMA is installed on machines. AMA, as you may know, is a plug-in architecture. XDCAM, P2, Quicktime, GFCAM, etc., are all separate AMA plug-ins. As is the case with most plug-ins, development can continue on these separate of changes to the host application itself. Because of this, AMA plug-ins are now going to be hosted on Avid’s website for download. (Yes, they are free.) This ensures that the user can always get the most up to date plug-in ‘builds’. Media Composer 5.5 will come bundled with the Quicktime AMA plug-in only.

Miscellaneous notes:

 

  1. Media Composer 5.5 will be the last version that supports the Adrenaline hardware. It will also be the last 32bit build of Media Composer. Time to upgrade to the DX product line and a 64bit OS.
  2.  

  3. Unity MediaNet 4.x is no longer supported. Have you looked into the next generation of Avid Shared storage – the ISIS 5000 and ISIS 7000? Ethernet is the new Fibre. 

     

  4. 4GB of RAM is required for operation.
  5.  

  6. The Matrox MXO2 Mini is now able to output true Progressive (P) frame rates, and the h.264 MAX option is now supported to accelerate Matrox h.264 exports out of Media Composer. This means faster exports for web and mobile devices directly out of Media Composer.
  7.  

  8. The Avid (Euphonix) Artist Series (Artist Control, Artist Mix, and Artist Transport) controllers are supported within Media Composer 5.5.
  9.  

  10. Enchanced Smart tool: Adjust a transition’s timing within the Timeline without stepping into the effects palette.

 

    For more information and how to upgrade to the latest version of Avid Media Composer 5.5, call 818-303-3900.

     

Recently featured Key Code Media and the Conan Show (Conan O’Brien) Production Facilities

February 4, 2011 Leave a comment

Here’s a few tidbits floating around the web about  our integration and technical services we recently were involved in with the Conan Show

from Computer Graphics World

January 25, 2011

Grass Valley, Calif. – Getting the one-hour variety show, “CONAN” to air every week is no small feat. The program is shot in front of a live studio audience in Burbank, California, and employs a variety of AJA  products including Hi5, HA5, HD10CEA, HD10C2, and HD10DA — over 90 total AJA Mini-Converters — to keep the production flowing smoothly.

While the show is pre-recorded, it’s produced and cut as if it were live since the east coast feed is transmitted one hour after taping wraps. “AJA equipment definitely allows us to work more flexibly and more quickly,” said Chris Savage who serves as the Lead Camera Utility on “CONAN”. “The needs of the show change every day — with varying requirements for monitoring, computers, new camera feeds and sometimes even video material that guests bring onto the show. AJA’s Mini-Converters provide us with the flexibility to accommodate whatever needs arise and the reliability that our quick turnaround production cycles depend upon.”

There are 13 60-inch LCD monitors mounted above the audience in the studio seating area. The stage was initially designed to run an SD signal to those monitors, but in production the feed interfered with fluorescent lighting on stage to cause a roll in the picture. The show turned to AJA Hi5 Mini-Converters to convert the HD-SDI signal to HDMI to drive an HD feed of the program onto the monitors. The Hi5s provided a quick, easy and cost-effective solution that was plug-and-play with the existing production infrastructure.

For the show’s ‘Conan Video Blog’ segments, the AJA HA5 Mini-Converter is used to pull a video signal from a laptop used in the broadcast. AJA KONA 3 and KONA LHi capture cards are also used as part of the show’s Apple Final Cut Pro editing workflow and AJA VTR Xchange software is used for remote deck control via the KONA card’s RS-422 interface.

Savage stated that the biggest benefit of using AJA Mini-Converters is their portability, “Being able to plug and unplug, and not have to go to a rack or moreover to another building to patch and down-convert or re-clock is a huge advantage,” concluded Savage.

Key Code Media in Burbank designed and installed the edit system and server, and NEP, a national outsourced tele-production services company, designed and set up a lot of the production equipment for the show.

For the full article visit: http://www.cgw.com/Press-Center/News/2011/AJA-Mini-Converters-Power-CONAN-.aspx

From Broadcast Engineering Excellence Awards Article

In the early summer of 2010, NEP Broadcasting’s Denali division was asked to build the production facilities for the new Conan O’Brien show, “Conan.” It was an exciting project to bid on, but the location for the production had not been selected beyond the West Coast. Bids were due the middle of June, the award would be announced at the end of June, and the show would debut on TBS the first week of November. That left just 120 days to design and build the new production facilities.

Fortunately, the location decision came rather quickly: the Warner Brothers Lot, Stage 15. Unfortunately, there was no space on the soundstage for the technical facilities. The solution, conceived by the show’s project manager, David Crivelli, was to build seven custom office trailers married together to create spaces for production, audio, sound effects, graphics, edit bays, music mix, video, recording and core systems. But the next big issue was that the trailers would not be manufactured, delivered and set up until after Labor Day. This left NEP less than 45 days before rehearsals began to finish the build.

Fortunately, much of the creative and technical crew had worked on O’Brien’s previous show, so issues of workflow and preferred equipment had been resolved. Crivelli made the decision to split up the various parts among three vendors: Key Code Media would handle editing and SAN storage; Paul Sandweiss at Sound Design Corporation would tackle production audio, music, sound effects and house PA; and NEP was tasked with the remainder, which consisted of production, recording, graphics, video, communications and core systems.

NEP immediately made the decision to prebuild at its systems integration facility in Pittsburgh. This would allow construction to begin before the trailers were in place. Twenty racks of equipment, consoles and the production monitor wall were assembled and wired in Pittsburgh in late August. Just after Labor Day, two 53ft tractor-trailers made the cross-country trek to Warner Brothers.

NEP began the load-in on Friday at 6 a.m., and by the end of the day Friday, all systems were in place. Only three days later, systems were wired together and ready for testing and configuration. This included pulling in all the cables to the stage via new conduits under the road between the building and trailers.

With close coordination and teamwork, the show has a new, spacious facility to rival any installation in the Los Angeles area. Once inside, you’d never know 45 days earlier it was just an empty parking lot.

To read the full article:  http://broadcastengineering.com/excellence-awards/conan-obrien-nep-broadcasting/

February 1, 2011 1 comment

Apple, Avid and Key Code Media present

An Evening Discussion of

“The Future of Non Linear Editing”

Join us for an evening discussion at the Delancey Street Foundation Screening Room

Panelists:

Casey Richards (Avid Technology, Inc: Applications Specialist)

Steven Cohen (Motion Picture Editor, Author of “Avid Agility”)

Jim Duvardo (Hoff Productions: Chief Engineer)

Tony Welch (Beyond Pix Studios: Creative Services Director)

 Moderator: Michael Kammes (Key Code Media: Senior Applications Editor & Post Workflow Consultant)

Learn how editors and producers are dealing with Avid and Final Cut Pro hybrid workflows on their projects.

As Non Linear Editorial tools have become commoditized, the process for many is still a painstaking task. Acquiring the tools may be easy but using them in a highly technical and collaborative environment can be quite difficult.

Our panel will discuss how some of these tools and workflows are being managed in real production environments, including Avid and Final Cut workflows and in open environments where both tools are present and contributors to the final production.

WHEN

Wednesday

February 16, 2011

Cocktail Reception 5:30pm-6:30pm

Panel Discussion 6:30pm-8pm

WHERE

Delancey Street Foundation Screening Room

600 The Embarcadero

(Between Brennan Street & Embarcadero)

San Francisco, CA 94107

1st (25) registrants to arrive will receive a FREE copy of Steven Cohen’s “Avid Agility”

CLICK HERE TO REGISTER