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Avid Technology has started shipping the DS Nitris Editor - a post-production system capable of executing effects and color corrections on up to two streams of uncompressed 10-bit high-definition video in real time, an advancement Avid promises will reduce the amount of time an editor traditionally loses to computer rendering.
November 1, 2003

Avid Technology has started shipping the DS Nitris Editor – a post-production system capable of executing effects and color corrections on up to two streams of uncompressed 10-bit high-definition video in real time, an advancement Avid promises will reduce the amount of time an editor traditionally loses to computer rendering.

A branch of the DS Nitris family of products that Avid first unveiled last spring, the editor can also manage up to eight streams of uncompressed standard definition video. Because the DS Nitris system is backed by Avid’s new digital nominator accelerator (DNA) – a powerful architecture that can span multiple computers, if needed – editors are able to manipulate standard-def and high-def elements without up or down-converting video to one format or the other.

‘This system is designed to handle multiple [image] resolutions transparently, so you can incorporate SD material into HD projects, or vice versa,’ explains Matt Allard, a senior product manager for Tewksbury, U.S.-based Avid.

Whether working on a program in high definition or standard definition, the Nitris editor offers tremendous time savings, Allard continues. ‘When you’re talking about an hour-long primetime program, where you are [for instance] color-correcting the whole thing, you definitely don’t want to waste time rendering,’ he says.

The DS Nitris editor retails for approximately US$80,000 in North America.

About The Author
Barry Walsh is editor and content director for realscreen, and has served as editor of the publication since 2009. With a career in entertainment media that spans two decades, prior to realscreen, he held the associate editor post for now defunct sister publication Boards, which focused on the advertising and commercial production industries. Before Boards, he served as editor of Canadian Music Network, a weekly music industry trade, and as music editor for HMV.com. As content director, he also oversees the development of content for the brand's market-leading events, the Realscreen Summit and Realscreen West, as well as new content initiatives.

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