AVID: UK POST INVESTS HEAVILY IN AVID


The main purpose of what is a groundbreaking educational partnership is to help the university deliver relevant degrees and industry ready talent. The mainly Mac-based offering will include a grading suite, two edit suites and a graphics department that will move from Sumners main HQ in Manchester city centre. Importantly, it will also include a dubbing theatre based


around Pro Tools and an Avid Euphonix MC-5 32-fader desk. This will be one of only a few consoles of its kind outside London and will provide the kind of high-end audio capabilities that are not currently available within MediaCityUK.


All Mac workstations will be configurable for either Final


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Cut Pro or Media Composer and they, along with the audio suite, will run off shared Avid ISIS storage that is being installed and supported by Avid reseller Root6. Sumners’ technical director Brian Hardman reveals that the decision to opt for ISIS was made easier with the launch of Pro Tools version 10, which includes extended RAM cache capabilities that significantly improve playback and session opening speed when using shared storage. “This is massive because suddenly Pro Tools can run on any drive set up,” says Hardman. “It allows us to truly operate it in a multi-suite environment using ISIS.” The 2x16TB setup won’t just be at the heart of all suites in the satellite facility, it will also be linked by dark fibre back to Sumners’ HQ. “It seemed very logical for us to extend our ISIS capability,” continues Hardman. “The great thing about ISIS is that it’s easy to manage and everyone here is familiar with it. It also means we don’t need a full-time engineer sat in the satellite operation, soaking up resources. With a different SAN we might have needed that. And if our storage gets filled up here in our main office in Manchester, this extra capacity at MediaCityUK and the chunky bandwidth will give us an overflow capability.” For Hardman, the relationship between Sumners and


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NICK GRIFFITHS Senior editor EVOLUTIONS


Avid reseller Root6 was another key selling point for the ISIS. “It’s very important we know we’re putting in kit that is properly supported,” he says.


Other big UK post houses have also been quick to add


London facilities on version 5.5 software running on z800 workstations so that every suite, regardless of where you edit, is at the highest possible spec: “We have clients shooting on every flavour of camera and format and Avid is the only software and hardware that can handle that,” says md Simon Kanjee. “Entertainment and factual entertainment producers in particular can arrive with footage in anything from half a dozen to a dozen different formats. Avid is very much the blue chip industry standard for the type of multi-suite, multiple format editing we do.” The Farm Group has also expanded with Avid but this time it is in LA, where the company now has a facility following a buyout of Editgods. Five Avid Symphony Nitris DX workstations have been added along with a Unity v5 and two 7.1 audio suites, creating what is reputed to be the only combined TV picture and audio post house in LA. According to md Nicky Sargent, The Farm opted for


The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.


Avid this year. Following on from a buyout of the company by its management team, Evolutions has decided to standardise all the Media Composer suites across its


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EVOLUTIONS INVESTS IN MEDIA COMPOSER


• “We have clients shooting on every flavour of camera and format, and Avid is the only software and hardware that can handle that – it’s the industry standard for the type of multi- suite, multiple format editing we do,” md Simon Kanjee


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Avid because it’s “appropriate for the fast turnaround broadcast work that we do”. “We also choose Avid for its general reliability and because there is a huge talent base of editors out there who know how to drive an Avid suite,” she adds. Credits for The Farm in LA include The X Factor USA. Prime Focus is another firm with a Soho base that has put its faith in Avid this year. With lots more visual effects heavy high-end drama work, including the new TV version of Sherlock and popular BBC show Hustle, now being done at the London facility, all of its Avid DS systems have been upgraded to version 10.5. Róisín McKeniry, broadcast operations manager, says the move has allowed the company to smoothly take any work, including effects work, through from the offline to the finishing stage. “It’s allowed our clients to spend more time on the creative finishing process,” she says. “The upgrade has added more memory and more processing power and means we can handle bigger sequences. Plus the tapeless conform process is much quicker so it has improved our speed and made us more efficient.” Like many of her peers, for McKeniry, Avid is a popular choice because of its pedigree and its support. “You get a real quality of service assurance with Avid,” she concludes. “And unlike some companies, they are constantly developing their products, which is really important for us.”


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