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High Noon Streamlines Post Production with Avid NEXIS

Nestled in the South Platte River Valley, just east of the Rocky Mountains, High Noon Entertainment is a full-service production company that specializes in creating unscripted, character-driven programming. They discover compelling characters, craft captivating shows around them, and tell their stories with authenticity, passion, and a hearty dose of humor.

Their credits include such hits as Cake Boss (TLC), Ayesha’s Home Kitchen (Food Network), House Hunters (HGTV), Good Bones (HGTV), Restored by the Fords (HGTV), Extreme Water Parks (Travel), Hurricane Hunters (The Weather Channel), Von Miller’s Studio 58 (Facebook), and the much loved Fixer Upper (HGTV).

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With anywhere from 10 to 20 pilots in production at any one time, High Noon tackles it all with 20 edit bays, two online bays, two audio bays, and 100 licenses of Media Composer. Paul Holden, Director of Technology, explains, “Media Composer is the cornerstone of all we do. It’s in every booth, and allows us to put our best foot forward and produce as high level as is expected.”

With so much content coming in, and as many as 95 people working on various shows, speed and flexibility are key. So is storage. Grappling with aging equipment, the team made the decision to install a single chassis of Avid NEXIS | E4 storage with the help of nationwide reseller Key Code Media. With unrivaled media performance, scalability, and reliability, High Noon quickly realized the potential of the platform and scaled their Avid NEXIS capacity to 180 terabytes. Holden is enthusiastic, “Nothing else beats the price point or the performance.”

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In a traditional post-production workflow, files are brought in from the field, transcoded down to a lower resolution, and then edited offline. When editing is complete, the files must be re-linked back to the high-res files for finishing. With the speed and power of Avid NEXIS, High Noon can edit and produce in HD at 50 megabits per second with multiple users handling the same footage at once, thereby shortening the overall turnaround time for delivering episodes. Now, they’re able to focus more attention on development, shooting, editing, and pitching new shows.

We needed to produce more and streamline. When NEXIS was introduced, we knew it made sense.

Paul holden, Director of Technology

Teryn Hoagland, Director of Operations at High Noon, agrees. “It allows us to show our networks better cuts than proxy media. We can move projects through the queue faster into finishing and delivery. With the amount of space we have, we can go straight from the off-line edit into online edit and delivery. It has worked wonders for us.”

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