Avid Everywhere Success Story: DHX Media

DHX Media has adopted Avid Everywhere to provide a powerful foundation and help them expand their business and streamline their workflows. DHX produces childrens programming - shows like Caillou, Yo Gabba Gabba, Teletubbies, Inspector Gadget. With over 10K of archived programs and more new content being added every day, Content Management and DIstribuiton are key to their workflows and success.

Avid Customer Story Avid Everywhere Powers Content Management and Distribution for DHX Media The DHX library is packed with more than 11,000 archived half-hours, including multiple languages and versions. In order to access, manage, and maximize opportunities for such a massive amount of media assets, DHX recently embraced Avid Everywhere and implemented a fully integrated media asset management system built upon the Avid MediaCentral. Platform. Replacing an outdated system With the overwhelming success of digital delivery services like Netflix, Amazon, and others, old shows are finding new audiences—providing DHX with valuable opportunities for their library of content. But to best take advantage of such opportunities, DHX Media needed an efficient and scalable media management workflow. Previously, DHX used a network folder structure to manage its media. The system was adequate initially, but as the DHX Media library expanded, the need for a more efficient system became apparent. Previously, team members had to look through network folders to locate media, which became time-consuming and inefficient. And once a team member located a media clip, they couldn’t use proxies—the system required them to open the media in full resolution. This required large amounts of bandwidth and slowed down the production process. DHX Media also faced challenges with transcoding and frame rate conversion. Many older shows in the library – some dating back as far as 1967 – were originally produced for standard definition. Most of the media in the DHX library was digitized from film at 29.97fps, but media distributors require that media be uploaded in the original frame rate—24fps. Each transcode and frame rate conversion from the original master clips created new generations of files, but DHX didn’t have any way of reconciling them. read more...