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Posts Tagged ‘Nitris DX’

It’s the end of the line for Adrenaline & Nitris (Classic) Upgrade TODAY & Save up to 60%

January 10, 2011 Leave a comment

It’s the end of the line for Adrenaline and Nitris (Classic) Move up to the Mojo DX

Upgrade to Mojo DX and Save Up to 60% (thats as little as $4000)

Upgrade old Avid video hardware and software to Avid Media Composer or NewsCutter Mojo DX v5 with a year of Avid Standard Support for a savings of almost 60% off regular pricing. Eligible products include Avid Adrenaline, Avid Nitris (classic), Liquid Chrome, and Liquid Blue. ***

With Mojo DX, you can powerful performance and dependability that won’t slow you down, as the system distributes your project’s workload to the component best suited for the job, whether that’s the CPU, GPU, or Mojo DX hardware. Get more streams, more effects, and more power through native support for thin raster video formats. You get out of processing and into editing right away, so you can spend more time shaping your story.

Mojo DX Advantages

  • Thin raster format support
  • Digital HD and SD I/O
  • Desktop or Rackmount configuration
  • Highly portable

Media Composer/NewsCutter v5 Advantages

  • AMA support for RED
  • AMA support for QuickTime (including ProRes, JVC material, Canon DSLR material)
  • AMA support for MFX
  • AMA support for Canon XF
  • AMA XDCAM proxy workflow
  • and more

Only Avid offers a completely integrated hardware and software solution. Take on more jobs, work faster and get the latest high performance Avid DX hardware with the peace of mind that Avid standard support provides.

***Eligible products include Avid Adrenaline, Avid Nitris (classic), Liquid Chrome, and Liquid Blue. avid Meridien and Mojo hardware are NOT eligible. Avid Nitris and Adrenaline hardware must be returned to Avid.

this promotion will expire on March 18, 2011

Upgrade to Nitris DX and Save More than 60% (that’s as little as $6700)

Upgrade old Avid video hardware and software to Avid Media Composer, Symphony, or NewsCutter Nitris DX v5 with a year of Avid Priority Support for a savings of over 60% off regular pricing. Eligible hardware includes Avid Adrenaline, Avid Nitris (classic), Liquid Chrome, and Liquid Blue. ***

With Nitris DX, get more streams, more effects, and more power through native support for thin raster video formats. And with onboard DNxHD endoing, you get out of processing and into editing right away, so you can  spend more time shaping your story. Use this top shelf video hardware together with the latest version of Media Composer, Symphony or NewsCutter software and you have the highest performance editing system ever, capble of taking on your most demanding projects. 

Nitris DX Advantages

  • HD-RGB I/O
  • DNxHD encoding
  • Full analog and digital HD and SD I/O
  • HDMI monitoring
  • and more

This promotion provides a new Media Composer NItris DX 5.0, a symphony Nitris DX 5.0 system, or a NewsCutter Nitris DX 5.0 system and one year Priority Support to Avid Adrenaline, Avid Nitris (classic), Liquid Chrome and Liquid Blue Customers. CPU not included. 

***Avid Meridien and Mojo hardware are NOT eligible. Avid Nitris and Adrenaline hardware must be returned to Avid.

This promotion will expire on March 18, 2011  

Stay creative and learn how you can save today,

818-303-3900 or click here for more info

Upgrade your Avid Adrenaline to the Nitris DX and Save Up to $5000.00 today!

October 20, 2009 Leave a comment

avid_reseller

 

 

 

 

Upgrade to the newest Avid technology for as little as $356.29 a month

Upgrade a Media Composer Adrenaline system to Media Composer Nitris DX and receive a free workstation

Avid Nitris DX Upgrade from Adrenaline PC Bundle:

Avid Media Composer Nitris DX

(includes new 4.x version Media Composer software)

HPZ400 Single Quad Core CPU, 2.93GHz, 6GB, 320GB, FX3800 (Workstation is FREE)

$5000 Savings

normally listed $14,995.00

Upgrade Offer only $9995.00

Monthly Payment $356.29

(excludes sales tax + 36 monthly payments)

Avid Nitris DX Upgrade from MC Adrenaline Mac Bundle:

Avid Media Composer Nitris DX

(includes new 4.x version software)

Mac Pro Dual Quad Intel Xeon 2.66 Ghz, 8GB, Mac Pro X 10.5,

640GB, NVIDIA, GeForce GT 120

$1600.00 Savings

normally listed $14,794.00

Upgrade Offer only $13,194.00

Monthly Payment $453.85

(excludes sales tax + 36 monthly payments)

 

This promotion expires December 18, 2009

contact sales@keycodemedia.com or 818-303-3900 for more information

to learn about financing contact kcmfinance@keycodemedia.com

A Working Perspective on the New Avid Symphony Nitris DX Box

June 10, 2008 Leave a comment

Interview with David Sconyers; Applications Editor with Key Code Media

 

Mike:  David, you’ve had an opportunity to get your hands on the Symphony Nitris DX Box; what’s your take on it, your overall feedback; any setbacks, good surprises, bad surprises, etc.?

 

David:  Every AVID editor will be overjoyed with what they get.

 

Mike:  Why?

 

David:  Significant speed improvements with “effects”…and, just the whole overall process…

 

Mike:  What areas of speed?

 

David:  Just the effects, that’s usually what bogs the system down-

 

Mike:  But aren’t they all driven by the CPU?

 

David:  No, its graphics and CPU, but they changed all the code with all the effects engine handles its archaic codes so now that’s new and it’s a whole different direction of how the application actually performs.

 

Mike:  So what are some examples of radical speed improvements that would make someone be overjoyed?

 

David:  Without having done benchmark testing between this system and the old version; it’s more of a feeling than anything else.  The interactive and the nature of the GUI when you’re going through everything, you open something up and snap! Its there, going through the timeline, its fine; you make an edit, its there, it just feels a lot more responsive than anything AVID has had out in the last few years.

 

Mike:  So you’re talking really about the Adrenaline?

 

David:  Yes and even the Symphony Nitris side is not the holy grail- its definitely a better system than anything that AVID has had with the exception of the DS but I don’t believe that the symphony software can take full advantage of the Nitris hardware and now with the new architecture of hardware, I think the software is blending together where it can.

 

Mike:  So the new software with the ability to leverage both the DX Box and the open GL technology is a winning combination? 

 

David:  Yes.

 

Mike:  What are some notable things you really like about using it?

 

David:  The best thing is definitely the real time sub-title tool, sub-cap; that is a DS feature; and the ability to do real-time window burns…multiple lines of information that are completely customizable so any size, any location in the frame is all real time- that alone will save most people hours of time…

 

Mike:  So where will you see clients using that?

 

David:  Once people learn about it, know that it’s there; for off-line material and laying off approval copies they’re just going to be able to drop the effect on and snap….go!  The sub-cap tool is going to be huge for international versioning, they can type a word doc or a spreadsheet and as long as it’s the right format with the correct spelling and text, time code where it should hit inside the show, that’s a time saving feature of the real-time window burn because now it’s all framed accurate.  You can sit at home with a DVD or VHS copy, type your subtitles, hand that piece of paper in and pour it into the AVID, drop it into the timeline and everything’s already there, so no more rendering.

 

Mike:  Why would someone who edits want to buy a Media Composer DX versus Final Cut with an AJA?

 

David:  The AJA architecture, Black Magic architecture with Final Cut is not bad but it doesn’t support multiple real-time streams of anything, it’s all rendering…

                                                                                                      

Mike:   So what have you experienced so far with the new Media Composer DX in just seeing multiple streams of real time?

 

David:  I haven’t really put it through the paces yet, to say that I’m definitely getting 8 streams of real time uncompressed…I haven’t benchmarked that yet.

 

Mike:  What about the ability to have multiple different codec within the timeline and how does that differ from Final Cut?

 

David:  The AVID has always been good about supporting open codex but you always flipped it into the AVID proprietary format; and so with FC they did so that you just drop something into the timeline but they don’t tell you that in the back end everything have to be transcoded.  AVID is doing that now so that you don’t have to transcode that before going out to tape.  Now, obviously nothing is perfect and there will be some limitations we haven’t discovered yet, but I think they’re taking steps in the right direction to make everything real time.

 

Mike:  What other key things have you seen from it?

 

David:  Slowly but surely they’re integrating the technology of the DS and its indexing services so they are changing how the media is indexed and it seems a lot faster and more responsive.

 

Mike:  Great.  So if you’re an AVID Meridian user and you’ve been using your machine for 8 years or 6 years, is now the time to move?

 

David:  Now is the time to move…the only thing anyone is going to complain about is, for whatever reason, AVID says that nobody wants analog audio in and out as much as they used to so if your used to eight channels of dedicated IO-analog, its all digital now.   You have it over the digital pipelines but that means your analog Mackie mixer has to go in another bay and you bring in a digital mixer…so that’s the only draw back to get that type of functionality.

 

 

Mike:  So what does the user have to do differently?  I think AVID is thinking differently or new thinking?

 

David:  New thinking is key.  They’re taking steps to make those changes, they’re outsourcing to other people to get an objective view and not just the people with a vested interest in keeping their jobs.

 

Mike:  The clients on a move-forward basis will need a digital mixer and a digital mixer can take analog sources in right?

 

David:  Yes. That is the only way to do that multiple streams, not everybody needs that, a lot of editors really don’t need that, they just grew accustomed to it. 

You really only listen in most bays to 2 stereo speakers so what is the benefit to having 8 direct out when its being listened to 2 on your sound system.  So it is just a slight change in the workflow and people will adjust.

 

 

Mike:  Thank you for your time.

 

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