Archive for the ‘Uncategorized’ Category

Key Code Media looking for Application Editor. [Position has been filled]

April 27, 2010 1 comment

Demo editorial and finishing Solutions:

including Avid Symphony/MediaComposer and DS, Assimilate Scratch, Autodesk Smoke and Flame, Digital Vision, CS5 and Final Cut Studio. Also will need to show other products within the Key Code Media product line once training and preparation are established.

• R&D of new products, new product research and recommendations, strategic product group monthly meetings, KCM product branding and selection group.

• Video, Audio and 3rd Party equipment inventory, maintenance, and equipment turn around for resale-this would include all office location and mobile demo systems

• Marketing events this includes events on and off site. This would include managing event set up and breakdown, working with the marketing department for all events • Pre sales consultation, work flow consultation, Client training, staff and client training, 1st time product integration

• Onsite client training, new technology training for key KCM staff and sales team

Please contact Key Code Media email your resume to:

Categories: News, Uncategorized

Avid and Sony NAB Rewind Event @ Sony Studios July 15 & July 16, 2009

Avid Sony Invite July 0709

Key Code Media Invites You To………

Please join Avid and Sony at this post-NAB event at Sony Pictures Studio in Culver City to see the most advanced end to end workflows in the post industry.

If you are post producing TV reality or scripted programming for television or motion picture, this is the place to explore our newest product releases. Avid and Sony will be demonstrating the following workflow and systems:

Sony HD camera product line (XDCAM HD and F23)

End to end XDCAM HD workflows

Avid Media Composer

Avid Interplay

Avid shared storage solutions

ICON and the latest Pro Tools 8 software

Hi-Res workflows

Stereoscopy 3D Editorial

Avid DS

Sony XDCAM dailies

Sony Mastering solutions


Choose a one hour session
July 15: 10am, 3pm, 6pm
July 16: 10am, 3pm

Sony Pictures Studios
Sound Stage 8
10202 W. Washington Blvd.
Culver City, CA 90232





Categories: Uncategorized Tags: , , , , ,

Limited Time Offer: Save up to 44% Off on Your Next Avid Meridien Trade-In

May 26, 2009 1 comment

Nitris DX JPG



You only have until June 17, 2009 to save on your next Avid Meridien Trade-In!

Move up from a Meridien- or Adrenaline-based editing system to an Avid Media Composer Nitris DX, Symphony Nitris DX, or NewsCutter Nitris DX system and receive up to 44% off the MSRP of the new system.


This offer applies to the following trade-ins and upgrades:

  • Meridien Trade-In Credit to Media Composer Nitris DX
  • Meridien Trade-In Credit to Symphony Nitris DX
  • Meridien Trade-In Credit to NewsCutter Nitris DX
  • Media Composer Adrenaline Upgrade to Media Composer Nitris DX
  • Media Composer Adrenaline or Symphony Nitris Trade-In Credit to Symphony Nitris DX
  • NewsCutter Adrenaline Upgrade to NewsCutter Nitris DX


Benefits/Why Upgrade

Get HD performance, a deep creative toolset, and seamless integration with Avid workflows.

Try Before You Buy

You can donwload the 14-day Media Composer 3.5 Trial Version to gain access to all functionality of the Avid editing applicaton. Get details at

Contact your Key Code Media sales representative on how you can save today by calling: 818-303-3900 or email:

Exclusive Apple Test Drive Promotion: Final Cut Server

February 10, 2009 Leave a comment






Purchase Final Cut Server before March 31, 2009 and receive a free consultation and workflow

by our certified integration experts


We can provide the tools to help you

free up your time, save you money, automatically manage thousands of assets and execute dozens of routine production tasks



Final Cut Server  $999.00 (10 licenses)


Final Cut Server $1776.00 (Unlimited licenses)


contact your Key Code Media sales representative for more information:


Phone: 818-303-3900



Register For HD Expo – Los Angeles!

October 22, 2008 Leave a comment

For complete details, visit To register, click here.

Categories: Uncategorized

Avid Announces RED support; releases version updates to editing solutions & other news

October 2, 2008 1 comment


This Channel Update contains information on the following subjects:


·          Avid signs R3D software developers kit licence agreement

·          Avid launches new RED portal on

·          Avid releases Media Composer v3.0.5, Avid Symphony v3.0.5 and Avid NewsCutter v7.0.5

·          Avid closes newmediareseller.avid website



Avid Announces RED support


Avid Technology, Inc. is today showing its commitment to supporting RED customers with a series of new initiatives designed to enhance its RED camera workflows. Firstly, Avid has signed an R3D Software Developer’s Kit (SDK) License agreement with the manufacturers of the RED camera. The establishment of a more formal relationship between the two companies signals Avid’s intention to build upon and to further streamline its current RED workflows to provide a better customer experience.


Secondly, Avid has created a new web destination: which will act as a portal to information on Avid RED workflows, relevant third party information and other RED resources. This information will shortly appear on Avid’s other country websites.


By working closely with RED, and incorporating the best third party tools currently available, Avid has already developed a solid offline and online solution for working with RED files and our partners should feel confident in promoting Avid’s workflow with RED files today. Many of Avid’s customers have already completed RED projects using Avid systems including Media Composer, Symphony and Avid DS and you find out more by viewing this press release.

Check for the most recent workflow information, additional workflow enhancers from Avid and third parties, and even more sales and end user tools. While visiting the web page sign up for automatic RED solution update notification on the web page.


The following sales and end user tools are currently available:


  • Avid/RED Workflow Guide (PDF): A comprehensive guide to moving RED files through post production using Media Composer® or Symphony®.
  • Workflow Benefits: Differentiators that set the Avid workflow apart from those offered with other editing systems.
  • Avid Resources Tab: A full library of templates, XSLT (XML) Transforms, and other handy tools developed by Avid.
  • Third Party Resources Tab: Enablers and enhancers supported by Avid’s open workflow.
  • Links to RED support and forums
  • Partner and customer email notification of Avid/RED-related updates.  


Competitive Statement
Final Cut Studio is perceived as being advantaged in RED ONE support due to native play back of QT-wrapped R3D files. In actuality there are serious limitations to the Final Cut workflow:


  • Final Cut Studio cannot play back R3D files reliably without dropping frames
  • No real-time effects supported (even dissolves)
  • Cannot render back to R3D format (system must now manage R3D and non-R3D formats)
  • Apple Color does not support R3D natively (transcode required)

The bottom line is that both Avid and Final Cut Studio systems require a transcode of RED files before true editorial can begin. When talking to customers and prospects, be sure to highlight Avid’s core strengths that Final Cut Studio can’t touch:


  • Availability of Avid DNxHD® 36 (requiring 2/3 less storage than ProRes)
  • More complete and flexible metadata tracking
  • Additional benefits listed on the Overview page at

New dot releases for Avid editing products


On 29th September 2008 Avid has introduced updated dot releases of its editing product range. These are:


  • Avid Media Composer v3.0.5
  • Avid Symphony v3.0.5
  • Avid NewsCutter v7.0.5

The principle benefit of these new releases is to introduce formal qualification of the XDCam 50 mbps format. These releases are not currently included in the boxed version of the product and are only available via the methods outlined below:


How to obtain the new versions

There are four ways that customers can obtain the new version releases:


1.      Customers with a valid Avid Assurance support contract can download the latest versions at no additional charge from the Avid Download Centre as software upgrades are a standard feature of Avid Assurance contracts.


2.      Customers without a valid Avid Assurance support contract are still entitled to download these releases if they have already purchased and registered a copy of the Media Composer v3.0 / 3.0.1, Symphony v3.0 or NewsCutter v7.0 products. They can do so by visiting the Avid update download page on


3.      Customers without a valid Avid Assurance support contract who are using earlier versions of the products (before version 3.0 / version 7.0) can either purchase an Avid Assurance contract, visit the Avid Web Store to purchase a Media Composer v3.0.5 software upgrade or contact their local reseller.


4.      However, upgrades to Symphony v3.0.5 and NewsCutter v7.0.5 are not available through the webstore and customers must buy these though the Avid reseller channel.

Client Success Story: Key Code Media Scratch Integration

September 24, 2008 Leave a comment

Alacrity Media Takes to the Road with the SCRATCH-RED Workflow

Alacrity Media has literally geared up for a SCRATCH-RED road trip with their newly assembled, customized Road Grader van. The Road Grader is used by the 4K Ninjas, an expert team of independent professionals skilled in the use of the RED ONE 4k camera and ASSIMILATE’s SCRATCH Digital Process Solution.

Blair Paulsen, owner and operator of Alacrity Media, founded the company to meet the 4K camera and post production needs of filmmakers, cinematographers, and creative teams that are using data acquisition to create their feature films, commercials and other imagery projects.

An early adopter of the RED ONE 4K camera — camera #19 — Paulsen firmly believes that RED is where the action is for the future. “And day I wake up as a DP is a great day for me, and the RED camera just makes it all the better,” says Paulsen. “RED uses cine lenses, offers 35mm depth of field, wide color gamut, and resolution to burn. Combine it with the SCRATCH digital post workflow and you can produce amazing imagery, no matter how large or small the budget.” To date, Paulsen has done 26 projects with the RED camera that include a Nike campaign and spots for Ford, Dr. Pepper, Diet Coke, as well as music videos.

Using SCRATCH, Paulsen has developed a highly efficient and cost-effective real-time SCRATCH-RED Data Workflow that delivers quality post-production results with a strong cost/benefit ratio for clients.

“We chose SCRATCH as our post-production software because ASSIMILATE developed a real-time SCRATCH-RED Data Workflow that efficiently supports the RED CODE native files and it offers all the DI tools we need,” says Paulsen. “SCRATCH is great at conform, construct, color grading, playback, and finishing. Clients can participate in real-time review sessions, make changes on the fly, and actually see how the film will look on the big screen.”

Paulsen takes his RED 4K camera and post-production suite on the road in a customized van, the Road Grader, which includes all the state-of-the-art hardware and software needed for digital filmmaking. Paulsen notes, “Clients have varying needs for their projects. For example, a complete post facility on location, an adjunct post suite parked outside a post facility, or shooting 4K material and playing it back in real time to ensure all the shots are right. We offer the front to back-end services a client needs to produce a high quality film in the most expeditious manner.”

The 4K Ninjas

Paulsen is also a member of the elite 4K Ninjas (, a co-op group of independent professionals skilled in the use of the RED ONE 4K camera and the SCRATCH-RED Workflow. They have teamed together to offer complete camera package rentals, with all the peripherals, and broadly experienced on-set camera technicians, as well as on-site post production services.

Along with Blair Paulsen, the 4K Ninjas team includes Steve Tammi (camera #17), Evin Grant (camera #199), Brook Willard, and Zak Sandberg, who all have similar and complementary skill sets. The Road Grader is shared by the 4K Ninjas, working independently or together, depending on the needs of a given project.

As a co-op team, the 4K Ninjas have grouped together to meet the more complex needs of high-end productions with enough manpower and cameras, as well as the Road Grader post suite on wheels. Paulsen explains, “Some filmmakers want to rent the RED ONE camera for their DP, but have concerns about post workflows. We can layoff to their tape format of choice in real time, right on set. Other times we are the entire camera department. We offer the flexibility to work in the manner that best fits the client and the project.”

When rented, our RED ONE 4K camera package comes with a Ninja to answer any questions and help keep the RED shoot on schedule. Any of the Ninja pros can interface with the DP, camera team, sound mixer, playback operator, VFX supervisor, colorist, and support on-set editorial right in the Road Grader. We always provide an on-site camera Ninja and a Ninja data manager, who handles the downloading, organizing, and verifying of all the footage. The data manager is equal parts I.T. whiz, workflow guru, and REDCINE pro.

Road Grader: Mobile Digital Workflow

At the heart of the Road Grader suite is the SCRATCH-RED Data Workflow. Once the data comes off the RED camera and into the purpose-built Road Grader van, data is copied and backed up on a proper RAID. Using ScratchCine on an over-clocked Globalstor workstation, the clips can be opened and played back in real time at 2K or 1080p from the 4K r3d masters with full quality de-bayering. Editorial can be done right in the ScratchCine interface or in FCP, and conformed via EDL.

SCRATCH is then used for the color correction with lift, gamma, and gain. The JLCooper Spectrum control surface is used for precise control and speed. The eCinema DCM-23 color evaluation monitor is in a controlled environment that permits high-accuracy color timing on location. When the final cut is approved, we can output to disk or layoff to tape in real time. Using the nVidia Quadra 5600 with HD-SDI daughtercard, the system can layoff to HDCAM-SR 9or many other tape formats) in 4:4:4 or 4:2:2 color space without rendering.

“The Road Grader is a complete DI suite on wheels that offers incredible time and cost savings,” says Paulsen. “To work with high-rez 4K footage in a real-time post process is a major breakthrough in filmmaking. Right off you eliminate the cost and time required for rendering or waiting for dailies to come back from an off-site lab. Both production and post production timelines can be reduces significantly, while achieving better results.”

Paulsen adds, “The digital cinema negative is available a few minutes after the shot. With SCRATCH, the DP can immediately see the look of the shot, and we can make color corrections on site. The DP gets a sense of how the shot will look in the final cut. For instance, if you want an intense or high-contrast look it’s a huge advantage for the DP to actually do a one-light grade to see if they’re on target before striking the set. If the schedule allows it, the DP can actually do a tough grade on set and sign off on it.

“Once all the shots are done, SCRATCH soaks in all the data and the time code is automatically there. The user has access to the all metadata. The SCRATCH-RED workflow is so efficient that we save loads of time,” says Paulsen.

“Because SCRATCH is resolution independent, we can also use the Road Grader for post production in any format. The beauty is taking the DI suite on the road and adapting to any situation—on site, parking outside a studio, rolling cases of equipment into a facility and setting up shop, providing ‘road service’ as a back-up emergency team for any production.”

Wrapping It Up

“SCRATCH is a far richer, more powerful tool set than we had ever imagined,” says Paulsen. “Along with RED, it has truly been a driving force to our business model. Real-time data post production is the way to go for us and our clients, who always have tight deadlines and need the best quality results possible. Not long ago, superior imagery and quick turnaround were polar opposites. This workflow has changed the rules of the game.”