Featured clients discussing their mission and recent installations.

Territory Post: Upgrading Video Storage For Post Production

Territory Post is a full-service post-production facility in Metro Detroit with six creative suites, two finishing rooms, a color suite, a multi-station graphics suite, and an audio recording/mixing room. Territory has created campaigns for some of the world’s largest brands, including Ford Motor Company, Aldi, Ameriprise, Blue Cross Blue Shield, and many others.

The company’s 13,000 square-foot facility is a creative haven for broadcast, digital and corporate work from a mix of industries in the Detroit area. Equally sought after by agencies and production companies in major markets, hundreds of clients call upon Territory to cut high-profile spots, videos and Internet campaigns from satellite editing suites throughout the country.


Territory Post had been hamstrung by aging shared storage, archiving and backup solution- typical of a media environment with years of content at its disposal. Territory reached out to Key Code Media, to help evaluate the current production and post-production equipment workflow and recommend and deploy a new solution.

“We were looking for something that would surpass our previous system in size, speed and workflow performance. We also needed a fully-automated archiving and backup process that would grow with us.” – <Greg Gabry>, Operations Manager for Territory Post

The workflow included multiple mac pros, an Autodesk Flame workstation, and a DaVinci Resolve color station. Each system was connected to the central storage using fiber optic cables.


Territory needed a mirrored backup of all its media, as well as faster archiving/unarchiving capabilities with its Linear Tape Open (LTO) system. LTO is an “open” format, which allows for compatible offerings from multiple vendors. It’s scalable and provides a broad range of system applications, including low-resolution, viewable archiving proxies.

“When we compared the price and performance of the Scale Logic solution to other offerings, it was obvious that Scale Logic would provide us much greater bang for our buck. If we had stayed with our old solution and merely upgraded it, it still would have been inadequate by comparison.”

The Scale Logic Genesis solution is an affordable media-optimized high-performance storage for video editing environments. An ideal choice for DPX and color finishing workflows as well as Adobe and Avid editing environments, the Genesis system can drive multiple streams of 4K at 60 FPS.

In addition to upgrading their storage and archive, a new 10G switch was installed, using existing fiber optic from the fiber channel. ATTO ThunderLink® adapters were added at each workstation to help stabilize data for real-time streaming of 4K and higher resolutions.


The Scale Logic Genesis system has helped Territory Post improve its entire workflow, with higher speeds and a more intuitive, automated process for storage and archiving. Territory has greatly reduced its capacity planning and – with its new storage infrastructure – greatly increased stream performance.

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Bethel Media: A New Hub For Content Creation

Bethel Media Delivers Church’s Message with Help from Key Code Media and Facilis Technology

Bethel Media is a full-service production company, dedicated to filming and online streaming of weekly services and major happenings at Bethel Church through Bethel.TV. With over 80 employees, and a growing audience of 300,000 followers in over 195 countries, Bethel Media’s outreach has expanded much further than its original community in Redding, California.

As an organization, Bethel Media evolved from a substantial crew of videographers and supporting staff hired to capture Sunday services and additional outside content. As video content continued to grow and became a substantial part of the ministry, a decision was made to bring resources “in house” to create a dedicated production and post production group focusing on Bethel’s events, weekend services and project-based content.

For many years, as the production team captured weekend services and other events, all media was stored on stand-alone hard drives and various NAS units. At one point, Bethel invested in a premiere storage manufacturer, but found it limited in regard to control and permissions. It also required Fibre Channel connectivity. Jake Watkins, Video Editor at Bethel Media, reached out to Key Code Media San Francisco’s Shane Scarbrough to evaluate options for central storage that could be accessed by different teams over different types of connections, wherever they would be.


Bethel Media has had a long relationship with reseller and integrator Key Code Media, having previously relied on their advice for installation and workflows of production and post production equipment.

As Bethel Media grew, their workflow expanded with it. Bethel uses Adobe Premiere Pro CC for in-house editorial, with a BMD DaVinci Resolve station for finishing. An Avid Pro Tools rigs is also used for most audio post production.

With over 80 employees, ranging from producers, web developers, editors, assistant editors, to finishing editors, Bethel Media need a way to manage permissions and collaborate on assets, as well as archive media in a more efficient manner. For that, Bethel and Key Code Media collaborated on a workflow which included CatDV for the MAM and storageDNA for LTO media archive.


While at NAB 2019, Shane Scarbrough, at Key Code Media, walked the Bethel team through the options, ultimately settling on a 256TB Facilis Hub Stack with dual 24EX servers.

“What really impressed me was the flexibility of Facilis – we didn’t need everyone on Fibre and didn’t need everyone connected at 16Gig,” said Darrell Hill, Bethel Media Network Administrator. “With the Facilis system, we could also use ethernet and even have someone on a low-bandwidth Wi-Fi connection browsing media. This gave us much more flexibility for collaboration within the whole company. Now we can have producers on the system as well as our editors with everyone being managed at an appropriate level of connection and privileges.”

With the new system, clients could now connect with a mixture of 8G Fibre Channel, 16G Fibre Channel, and 10G Ethernet connectivity. Bethel Media purposefully bought two raid chassis which can hold up to 32 drives, but they only populated 16 drives in each for a total of 256 TB currently.

“It’s good to know we have room to grow,” said Watkins.


Another feature that impressed the Bethel team was the ability and willingness by Key Code Media and Facilis staff to integrate their older storage into the Facilis Shared File system. Key Code Media’s Sr. Solution Architect Matt Flaum was able to use the Open Storage Attachment feature to connect 3rd Party storage to the Facilis Hub server and reshare that volume out through the Facilis software.

“We didn’t want to trash our older drive arrays as they still had value,” said Hill. “Facilis was able integrate this storage into the Facilis Shared File system and make it accessible to the clients alongside the new storage. This capability really cemented our decision to go with Facilis.”


Bethel Media shoots a wide range of content at differing resolutions depending on the event. Weekend services are shot on BMD URSA Mini Pro cameras and most of the content is shot at HD using the Apple ProRes 422 or HQ codec. Increasingly, more 4K work is being done, and whenever they shoot a music video, it’s done at 4K using Pro Res XQ.

“We typically have between 12-15 clients connected to the Facilis with both Bethel Media and Bethel Music using different workflows,” said Watkins. “Bethel Music’s creative team, only worked with local hard drives on their video editing systems for a long time, so working in a shared storage network is a new concept for their team which they’re very excited about. Bethel Music recently toured a new album and the creative team captured multiple performances on the road. They love having everything available online to pull from.”

Bethel Media’s focus is all about getting the highest quality content out to the world as quickly as possible, and these tools are an essential part of our weekly workflow.

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The Ocean Cleanup: Streaming MultiCam From The Bay

The Ocean Cleanup, a non-profit organization dedicated to eliminating the world’s oceans of plastic, is taking an important step forward in the fight against pollution with the deployment of its first ocean cleanup system this month. To celebrate the launch, The Ocean Cleanup hosted an ambitious live broadcast with several LiveU connected camera points, switched by a NewTek TriCaster TC-1 operator stationed miles away.

Camera Feeds Wirelessly Transmitting To A Video Switcher Located Miles Away 

This two-hour broadcast was led by veteran Executive Producer, Dan Van Der Kooy and Florent Beauverd as Creative Director.

“We knew from the start that this event had to be shown to the world in the best possible way. The organization has been supported by millions of people throughout the years. Providing them a livestream in a way to view and engage this day with the team was a tribute to all the support we received from around the world,” mentioned Florent Beauverd.

To achieve the production that The Ocean Cleanup dreamt of they needed permitted drones, locked down cameras located across multiple locations, audio controllers, field reporters- all coordinated by a production team using wireless communication systems.

“Being out on location is always difficult, cause you have so many other logistics that you have to deal with. In this case, we were dealing with being on the water, on a tiny boat, but still stream standup from our field reporter back. You cant traditionally be out on a boat like we were and have a direct link back to the control room,” commented Dan Van Der Kooy.

The master control room was placed in a nearby assembly yard. Multiple LiveU LU4000 cellular bonded receivers brought in signals from LiveU LU600 HEVC backpack connected cameras located in the field. The LiveU receivers video and audio signal were sent via NDI to a NewTek TriCaster TC-1 and master router. The TriCaster was also preloaded with premade content, motion graphic lower thirds, and other graphics that would play out during the broadcast.

“Technical Director Ron Vargas was a key asset in switching the flips and making sure we were right on time with everything in the control,” mentioned Flourent Beauverd. Dan jumped in, “The HEVC technology on these LiveU units was also unbelievable. The ability to stream from the locations we were streaming from with such a clear signal back to the control room, using such a minimal amount of equipment. You wouldn’t been able to think about doing this 10 years ago.

A Unique Workflow by Key Code Media and LiveU

While Dan and Florent were busy prepping for the live stream in Norway, they quickly realized there were a lot of unanswered questions about equipment requirements and the workflow to put on a massive event. That’s when LiveU put The Ocean Cleanup in touch with Key Code Media.

“I was put in touch with Mike Cavanagh at Key Code Media. I told him what we were looking to achieve. Key Code was interested in helping us in whatever way that they could,” Dan said ecstatically.

Mike Cavanagh setup weekly calls to help The Ocean Cleanup team navigate the equipment needs, crew, and technical details for the broadcast. The Key Code Media team researched cellular accessibility in the San Francisco Bay, and drone permitting- ensuring technical requirements would be met to pull off a successful show.

When it came to live stream, Key Code Media provided a NewTek TriCaster TC-1, Panasonic cameras, LiveU LU600 HEVC units,and technology consulting that helped make the event successful. They also used their vast network of NewTek TriCaster operators to hire Technical Director Ron Vargas to operate the switch board during the stream.

Watch the full The Ocean Cleanup System 001 Launch LIVE here.

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Boardwalk-Pictures-Cricket-Lane-Documentary-Post-Production Case Study

Boardwalk Pictures: Cricket Lane’s Future-Proof Documentary Post Production

Documentary Filmmaking is experiencing an explosion in growth. In 2017 alone, over 242 new long-form and short-form documentaries were added to Netflix. Adding to the complexity, Netflix Post Production delivery standards has reshaped documentaries, pushing filmmakers and post production companies to meet 4K Dolby Vision / HDR deliverables. Boardwalk Pictures and Cricket Lane saw an opportunity to redefine how documentaries are made.

Boardwalk Pictures is an award-winning production company that develops and produces premium and elevated series, features, and a variety of programming for digital and brand clients. Cricket Lane is Boardwalk Pictures state-of-the-art editorial and finishing company servicing a broad spectrum of documentary series. Their combined credits include some of the hottest shows on Netflix, including Chefs Table, Last Chance U, Fearless, and a variety of other projects.

“It’s a collaborative process, first Boardwalk Pictures record high-resolution content out in the field and then bringing it back to Cricket Lane for post production. We have a lot of freedom with everything under one room,” mentioned Dan Lillegard, Vice President of Boardwalk Pictures.

The Workflow

Boardwalk had some challenges at the start. 4K-high quality standards meant Boardwalk/Cricket Lane needed a facility that allowed them to do offline editorial, finishing and audio at the highest quality. Key Code Media was brought on to help design a post production workflow that would meet these standards, defining best practices and set up a pipeline to edit and have a fully 4K finish within Avid.

“Predominantly we went with Avid Media Composer. All of our staff work off Avid. We needed a workflow that was both flexible and collaborative from that perspective,“ mentioned Suzanne Greenfield, Head of Post Production at Cricket Lane.

Cricket Lane’s facility is ready for 4K high-quality standards, packing 20 Avid Media Composer systems, 2 BMD Da Vinci Resolve stations, and a full 5.1 Pro Tools audio mix room. The post facility is networked with Avid NEXIS/San storage and fibre connectivity built into each station. LTO archiving is also included to preserve projects and protect media for long-term storage.

Working With Key Code Media

In regards to working with the Key Code Media team, Dan commented,

“Key Code’s culture is very collaborative, taking a very thoughtful and holistic approach. They also house everything we need under one roof. A lot of other vendors don’t provide that. Key Code gave us everything under one shop.”

Key Code Media provided Boardwalk Pictures and Cricket Lane with workflow design and integration services, deploying a 4k-capable network of multimedia post production systems.

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Igloo Music: Pro Tools Network For Audio Post Production


Igloo Music is a state-of-the-art audio post production complex located in the Burbank Media district, focusing primarily on multi-channel film mixes, ADR, voice-over, sound design and live music production. Owner Gustavo “Gus” Borner is no stranger to success in the audio industry, personally earning 30 Grammy Nominations, winning 24 Grammys & Latin Grammys combined across his extremely talented team.

“I’m very proud of my team. The only reason we keep expanding is that we have such a talented pool of audio engineers, producers, and mixers” commented Gus Borner, Owner, and Chief Engineer of Igloo Music.


To say Igloo Music is experiencing growth would be an understatement. What started as a small audio house, expanded into a new larger facility in 2000. Expanding into four large control rooms and three audio mix rooms brought on a host of new collaboration complexities for their audio engineers.


Gus holding one of his five Grammy Awards.

“Our entire facility was running on hard drives- USB drives, firewire drives, USB sticks. As you could imagine, things like backing up and syncing drives between six audio enginners became a real problem. This was a total pain.”


Igloo Music reached out to Avid and Key Code Media to help simplify their audio production. After evaluating the facility and reviewing options, Key Code Media designed a network-attached Avid NEXIS SAN environment connected to each Pro Tools audio suite over IP- enhancing collaboration.

“Having the SAN [storage] available for us is maybe not something the client is aware of, but it helps for our own piece of mind. Also, if we’re running out of space we can just expand now. It’s pretty amazing.”


One of the four Audio Mix suites now networked through Avid NEXIS storage.

Igloo Music mixes primarily on three Avid D-Control Consoles, using Pro Tools HDX. There is also an upgraded triple-stack HDX card so they can expand to 600+ tracks for their major theatrical film projects. Each room is now connected over the Avid NEXIS storage network, completely changing their business.

“Our workflow is now a lot more efficient. For example, any of my audio engineers can instantly jump into a client session, from any Pro Tools station, and assist with the project. We’re really able to help our clients do a lot more cool stuff. It’s exciting,” concluded Gustavo.

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Columbia-College-Chicago Key Code Media Case Study

Columbia College Chicago: A New Avid Shared Network

Columbia College Chicago Cinema and Television Arts, a department in the School of Media Arts, continues to produce some of the most skilled production professionals in the industry with notable Oscar, Emmy, and Spirit Award winners. At the core of the department is Dennis Keeling, post-production manager. Dennis, along with Jeff Meyers (Director of Technology for the School of Media Arts), must decide how to retool classrooms and the facility in order to meet the ever-changing curriculum for post-production professionals.

Jeff and Dennis have both been with the school for over 20-years. Together they’ve been working on a massive network refresh, centralizing all Media Arts computers and systems into a single facility.

“When the television and cinema arts departments merged in 2017, we saw a huge opportunity to build a single ecosystem–from live production to post production to publish,” commented Jeff. Dennis jumped in, ”We’ve always tried to follow industry trends. Media Arts cannot be bleeding edge but we want to be leading edge. The school has been pretty early in the adoption of editorial storage area networks, running for 15 years using Avid shared storage.”

The Department of Cinema and Television Arts at Columbia College Chicago has over 100 faculty and 1300 students. Regardless of which focus a student takes, most receive a basic level of education on editorial and the post-production industry.

“A big goal of our curriculum is to allow our students to be prepared for the industry as a whole. There is an emphasis on giving students real world experience with professional tools such as Adobe, Avid, Da Vinci, or audio. You never know what will be the opportunity that launches these students’ careers,” said Dennis.

While a variety of editorial software tools are incorporated into the curriculum, Avid storage is leveraged as the backbone for real-time media production.

Most recently, the School of Media Arts upgraded their Avid ISIS Shared Storage to Avid NEXIS. The upgraded storage not only allows higher-resolution workflows but also preps the school for their overall goal of having one centralized systems facility.

“Our Avid storage has always needed to be in a separate facility, located closer to the post production and post audio classrooms. This limits the number of students that can access the system at one time,” commented Dennis. “Upgrading to Avid NEXIS will eventually allow us to move our post production servers into one central Media Arts network. This will be a game changer for our students and faculty–while also reducing the hassle of IT managing networks hosted in separate buildings.”

Dennis and Jeff rely on the Key Code Media Chicago team to provide installation and support for the Avid NEXIS Shared Storage.

“We’ve been working with John Connolly Jr, Kevin Bruce, and the Key Code Media Chicago team for many years–even purchasing our original Avid Unity and LAN shares. It’s important for us to have an Avid ACSR Certified Technician available. When you got 100s of students relying on Avid daily, it needs to be maintained optimally, and always available. Key Code Media moves faster and can provide a higher level of support than any manufacturers.” – Dennis Keeling

Columbia College Chicago Cinema and Television Arts Department just upgraded to a new 180TB Avid Nexis E4 system with System Director Appliance. Cheers to educating the next generation of Avid editors!

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City of Highland Park: HD Live Mobile System

Twenty-five miles north of the Chicago Loop, the City of Highland Park is nestled along beautiful Lake Michigan for nearly five miles, it is the heart of the North Shore and home to Ravinia Festival, the award-winning Rosewood Beach, numerous events and festivals and a bustling downtown. Nearly 30,000 residents and over 900 businesses are proud to call Highland Park home. One of the City’s core priorities is community vibrancy which is achieved in part through proactive and transparent communication. In 2018, the City invested in a high-definition multi-camera live streaming system to continue to provide excellent communications.


Hayley Garard, Assistant to the City Manager and project lead, stressed the importance of transparent communication within the City of Highland Park.


“The City uses a variety of communication platforms daily including the website, electronic newsletters, monthly mailed newsletters, Twitter, Facebook, and our TV channel to keep residents and businesses informed and allow them to take an active role in the community.”


Hayley comes from a telecommunication/production background, with a bachelors in telecommunications and a masters in public relations and journalism. “I like telling the City’s story, and sharing all of our amazing accomplishments through all available channels including our broadcast television.”


The City’s recent investment in their channel started with upgrading the basics. Before the transition began, the City Council broadcast room looked like a scene from a 1990’s movie- VHS tape machines for recording, vintage IBM Model M style keyboards controlling an SD playout with no titles or graphics. A lot of upgrades would need to take place to allow Highland Park to continue to live stream basic City meetings.


“As parts of the broadcast system started to break we couldn’t find the equipment to replace it. Nothing is standard definition anymore,” said Hayley.

City Video Producer, Vic Walter, worked with Key Code to build out the initial specs. Then, Key Code Media designed a broadcast system which would bring the City Council Chambers into High Definition. The design included Panasonic PTZ cameras, which gives more flexibility with shifting camera angles and zoom. A 4K-capable NewTek TriCaster TC-1 system provides the backbone switching, live streaming, recording, graphics, and social media publishing tools- a swiss-army-knife box providing the necessary tools to produce a modern broadcast. A Castus QuickCast is leveraged for scheduling and playout.


The entire system was build inside a Bigfoot Mobile case with industrial wheels, allowing the system to be rolled onsite to different locations allowing for live streaming of local festivals and events.


“The update, in general, allows us greater flexibility and adaptability. We have only had the unit a few months and are still learning, but Kevin Bruce (Key Code Media) has been incredibly responsive and continues to support the City through training and troubleshooting. We have been receiving inquiries from surrounding communities and would be more than happy to share our story,” said Hayley.


Key Code Media provided the City of Highland Park, Illinois with a full SD to HD studio upgrade, packaged in a mobile live production solution. Hardware included NewTek TC-1, Panasonic USA PTZ Cameras, AJA Video Systems Kumo Router, Castus Playout, and Bigfoot Mobile Systems Case.

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Kentucky Farm Bureau: Live Mobile Flypack w/ Upgraded Archive and Media Management

Kentucky Farm Bureau Studios received 10 Emmys Nominations last year for its show Bluegrass & Backroads, a show which highlights the culture and charm of Kentucky. Along with Bluegrass & Backroads, the Kentucky Farm Bureau Studio produces additional content which continues to deliver stories of farmers and the people of Kentucky. Behind the production is Director of KFB Studios, Matt Hilton.

The Kentucky Farm Bureau Studios began video production 15 years ago recording local meeting and events. As the voice of agriculture for Kentucky Farmers, KFB needed a way to expand their communications- leveraging video. They initially sent a DVD to all members and supporters in the community but realized a web strategy would be required to connect with a larger audience.

“In the early days our entire live event production setup was a single lock-off camera with a basic microphone and audio. There was onsite failure all the time in our live recording- sound issues, lacking backups and redundancy,” expressed Matt, “when we received a budget to build a new studio I knew the main issues that needed to be addressed.” The problem was finding the right broadcast solution and vendor.

Kentucky Farm Bureau’s Annual Conference

Kentucky Farm Bureau’s Annual Conference


Matt brought on Key Code Media to help consult and design the best workflow.

“One of the key issues is that we started ramping up all this content for the new Kentucky Farm Bureau YouTube channel. We had hard drives everywhere and it getting tough to manage. I know for a fact our team lost crucial footage because of a missing drive.” – Matt Hilton, Director of KFB Studios

Working with the Key Code Media team, KFB was able to evaluate different shared storage platforms and asset management solutions. Jon Rutherford and Brian Johnson (Key Code) walked Matt through best practices and various ideas that could leverage automation and resolve media issues.

Kentucky Farm Bureau studios ended up installing a Scale Logic Genesis UX (96TBs) and Qualstar LTO-7 tape library with Archiware P5 for all media storage and archive. A CatDV Enterprise with CatDV Pro client software provides asset management capability so teams could instantly search and access files from any production.

Director of KFB Studios, Matt Hilton with Assistant Director of KFB Studios, Austin Anderson 

Director of KFB Studios, Matt Hilton with Assistant Director of KFB Studios, Austin Anderson 


The backbone of the new Kentucky Farm Bureau Studio is a mobile broadcast flypack with a NewTek TriCaster TC-1, purposely built to speed up the production process.

“We needed more content quicker. Recording live in a studio setting was the only way we could pull it off,” mentioned Matt.

KFB is creating new online programming using the NewTek TriCaster for episodic content. The program will include a range of live discussions on a simple set with a real country comfortable feel.

With the mobile cart and multiple PTZ cameras, KFB studios can now take their production on the road. Recording all Kentucky Farm Bureau events at a much higher quality- this is especially important as KFB is gaining high profile guests speakers. The media and bloggers are eager to repurpose the online YouTube content which is instrumental to their viewer growth.


“I can’t thank Lisa, John, and Brian from Key Code Media enough. They have the knowledge of what we do, bringing substantive conversation, and show us how we can leverage technology to improve the quality and efficiencies of our production. I know I can call anyone from the Key Code team to answer any little question. We have hundreds more questions to ask and they’ll always be there for me. I won’t work with anyone else,” commented Matt. 

Key Code Media deployed all equipment, training and system integration services for the Kentucky Farm Bureau mobile system. The Kentucky Farm Bureau invested in a brand new mobile production system with multiple PTZ cameras (NDI). This is a completely flexible production system that can be used both in their new Studio as well as out in the field.

The New Live Mobile Flypack w/ Upgrade Archive and Media Management

The New Live Mobile Flypack w/ Upgrade Archive and Media Management

Kentucky Farm Bureau Live Mobile Flypack with Upgraded Archive and Media Management Hardware includes:

  • NewTek Tricaster TC-1 with three NewTek PTZ (NDI) cameras.
  • Bigfoot Mobile Systems Road case
  • Mackie audio board with mics
  • Cisco PoE+ network switch
  • Bigfoot Mobile Systems, Inc. 
  • Scale Logic Genesis UX (96TBs)
  • Qualstar LTO-7 tape library with Archiware P5
  • XRackPro2 Sound deadening enclosure
  • CatDV Enterprise with CatDV Pro client software
  • ikan studio lighting kit includes 27 grid mounted fixtures

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Max Post: Avid Interplay for Reality Post Production

Max Post is a full-service post-production facility located in Burbank, California. They primarily service reality television- end-to-end from ingest, transcode, offline/online, color, finish, and delivery. Currently, Max Post is servicing five different series for Discovery, A&E, History Channel, CNBC, and Netflix (Confession Tapes and Fire chasers).


At Max Post, the workflow starts with ingesting. A typical show’s footage is ingested through Telestream, archiving the raw camera master to tape, then sending the footage to online Avid editorial and color. Sounds simple, but Max Post is dealing with a lot of footage. A show like Deadliest Catch typically pumps in 30,000 hours of footage a season. Although, this last season the lock-off cameras alone brought in around 1.3 petabytes of media.


“At Max Post, we really value our relationship with Key Code Media. Allowing us to expand, on-demand. Keep up with the latest technology. You really get the sense that they want your business to succeed and that’s apparent throughout the entire company,” mentioned Scott Randol, Vice President of Workflow and Technology.


Max Post has relied on Avid Technology for its online workflow over the past few years. They know when they’re working with an all Avid infrastructure the show is going to be completed on time and on budget. The combination of Avid Nexis with Avid Interplay creates a lot of efficiencies.


Key Code Media supports Max Post with Post Production equipment and services.

Looking to upgrade your online editorial workflow? Let’s talk.


Key Code Media Case Study-Santa-Monica-Community-College

Santa Monica College: Center for Media and Design

Santa Monica College has over 30,000 students and is #1 transfer college to UCLA and UC system. When it came to refreshing their facilities, they wanted students to learn from the same tools that they will use in the field. SMC decided it would be necessary to build a brand new Center for Media and Design facility that includes an auditorium, a gigantic lab, hundreds of classrooms with smart technology. Key Code Media was selected at the lead integrator for the project.  The SMC project required significant project management and fulfillment logistics managing the integration and deployment of over 500 products from 300 vendors including Ross Video Carbonite, Crestron, Avid Nexis, Avid MediaComposer, touch screens and miles of cable connected across the campus.  Integration project was deployed on time and within the parameters of the bid project.  Santa Monica College’s new Center for Media and Design Campus is a true showcase for the California Community College System.


“Key Code Media has a long tradition and a long history of systems integration style projects so that when it came time for Santa Monica College to look for partners, we were a natural source for them to look,” commented Ed Locke, “I would say the most significant challenge working on the Santa Monica College project is that it was a very long design phase before the integrator was even brought to the table to start deploying technology. The first thing we did when we stepped into this project is participated in what Santa Monica College referred to as a ‘value-engineering meeting.’ We were able to refresh key aspects of the technology package to give Santa Monica College a truly a state of the art infrastructure. There’s not a single piece of equipment here that students will not touch in the real world.”


“Santa Monica College is #1 transfer college to UCLA and UC system. When you leave here, you’ll actually have a head start on your career. I find that Key Code Media is very thorough and excellent at what they do. And it was a great partnership with a lot of synergy to create this brand new awesome facility,” commented Brant Looney, IT Director, Santa Monica College.


Key Code Media provided audio, video, and digital signage system integration for Santa Monica College’s new Center for Media and Design facility.