The latest FLOW release, version 2025.1.0, delivers powerful new capabilities to media managers, streamlining workflows and making asset management more intuitive than ever. With enhanced scanning, uploading, and automation tools, EditShare One Organize simplifies complex tasks, saving time and improving efficiency. Let’s explore how these new features empower media professionals.
FLOW’s extensive range of applications often left users confused about which tools to use and how to install and maintain them. This limited user accessibility and acceptance and its why we created EditShare One. A simple browser based Interface that enables all users to access all of FLOW’s powerful tools for a variation of different workflows.
Time-consuming, manual processes are a thing of the past. FLOW Automation eliminates repetitive tasks like tagging, transcoding, and file delivery, allowing media teams to focus on creative work.
What’s New?
Right-Click Automations: Users can now trigger automation workflows directly from the Organize module, applying them to single or multiple assets with ease.
Automate across Projects or Media Spaces: Automate processes across entire projects, reducing manual steps and ensuring consistency.
Simplified Access to Templates: View only available automation workflows by asset type. Only relevant templates are displayed, keeping the interface clutter-free.
With these improvements, EditShare One is faster, easier, and more accessible—allowing teams to move media seamlessly through their production pipeline.
Keep Your Media Database Up to Date
Scan Assets Directly from EditShare One
Keeping track of media assets is crucial for efficient project management. The new scanning functionality enables users to update the FLOW database effortlessly—without leaving the Organize module.
How It Helps
On-Demand Scans: Update media metadata and add new assets to the database anytime.
Two Scan Modes:
Quick Scan – Ideal for detecting and adding newly created or modified files.
Normal Scan – Updates metadata for all new and modified files, keeping asset details current.
Direct Access in Organize: No need to navigate to FLOW Control for scans—everything is accessible where you work.
This feature ensures your database remains accurate and up to date, improving searchability and media organization.
Upload Files Faster, Smarter, and with Greater Control
Enhanced Upload Capabilities
Managing late arriving assets can be challenging, but the improved Upload function simplifies the process, giving users more control over their media.
Key Benefits
Batch Uploading: Add multiple assets at once, reducing downtime between uploads.
Advanced Metadata Options:
Prevent duplicate uploads with the Fail if asset already exists option.
Generate streaming proxies during upload.
Apply custom metadata tailored to your workflow including metadata triggers to automate workflows.
Global Ignore List: Admins can restrict unwanted file types, preventing unnecessary clutter in the system.
With these enhancements, uploading assets is more efficient and customizable than ever before.
Navigate and Manage Assets More Intuitively
Flexible layouts
Media professionals need a fast, streamlined way to organize and move assets. The new Flexible layouts in EditShare One – Organize, introduces a more intuitive layout designed for seamless asset handling
Why It Matters
Customizable Interface: Show or hide panels to tailor the workspace to your needs.
Multi-Select Dragging: Select multiple assets using keyboard shortcuts and move them together effortlessly with fewer clicks.
New Manage Viewpoint: Complimentary to the Log Viewpoint, the new Manage view stacks panels vertically providing simultaneous visibility of Media Spaces and Projects. Each view point can be utilized to maximise the layout specific to the task in hand from managing media to logging
Enhanced Searchability:
A new Results Panel categorizes assets into three tabs: Media Space, Project, and Latest Search Results.
Tabs remain visible even when navigating, eliminating redundant searches.
Breadcrumbs have been relocated for clearer navigation paths.
This update dramatically improves efficiency, making it easier to organize and access media in large-scale projects.
Performance Enhancements for Large-Scale Workflows
As more teams scale up operations, FLOW’s automation engine has been optimized for handling multiple workflows daily. A new Status View provides real-time insights into automation performance, allowing administrators to monitor system activity at a glance.
Get Started with FLOW Today
The FLOW 2025.1.0 release redefines how media professionals manage assets—offering automation, improved navigation, and more control over media workflows. Whether you’re handling high-volume uploads, triggering automated tasks, or optimizing media organization, EditShare One Organize ensures your team works smarter, not harder.
As the product manager for EditShare FLOW, I’m passionate about building tools that make your work easier today and help you stay ready for tomorrow. That’s why we’ve moved from traditional desktop apps to a more flexible web-based platform, and why we created EditShare One. It brings everything together in one place, making FLOW easier to use, more accessible, and ready to grow with you so you can spend less time worrying about tech and more time creating great content.
One of the primary motivations for this shift was improving accessibility and remote collaboration. With client applications, users were required to install and maintain software on their local machines, which created barriers for remote teams and slowed down collaboration. Traditional desktop applications struggled with RAM, CPU limitations, and the sheer number of files in a project. As projects grew, managing large datasets on machines we didn’t control made it hard to ensure consistent performance. A browser-based platform removes these limitations, allowing users to access their workflows from any device, anywhere, without the need for installations. It now means everything is powered from the FLOW Node, an environment that we can control.
Beyond accessibility, reducing IT overhead was another major factor. Client applications require frequent updates, manual deployment across different operating systems, and ongoing maintenance, which places a heavy burden on IT teams and on our development team. We are constantly testing against a new version of OS, an example is Apple’s latest OS revision which caught most by surprise.
A web-based platform eliminates these dependencies, ensuring that users always have access to the latest version without requiring complex installations or system compatibility checks. This not only streamlines internal operations but also reduces downtime and technical support costs for our customers.
Scalability was a big factor for us. Our old system was modular, but it still needed a lot of backend setup and relied heavily on the client’s machine. By moving to a web-based platform, we can now focus on building the core parts of FLOW in a way that’s much easier to scale. At NAB 2025, we’ll be showing off some of those key building blocks starting with our enhanced Organise module.
From a user experience standpoint, consolidating FLOW functionality into a single web-based UI creates a more streamlined workflow. Users will have a designated log in screen that’s tailored exclusively for them. Previously, users had to navigate between multiple FLOW applications for logging, browsing, editorial, media management and QC. Now, with a browser-based platform, we can offer a centralized, intuitive interface with a single pane of glass that integrates all essential tools in one place. This improves workflow efficiency, eliminates the steep learning curve, for different UI’s for different processes and streamlines the entire user experience.
Finally, future-proofing FLOW was a major strategic consideration. Being able to bolt on emerging technologies such as Video and Audio AI was a key win for the ecosystem, making it easier to integrate these types of future innovations.
Ultimately, this transition was driven by the need to create a more flexible, scalable, and user-friendly product that aligns with the evolving needs of the media industry. By shifting away from traditional client applications, we are enabling; better workflows, shorter learning curves, more powerful collaboration, lower operational overhead, and a future-ready technology stack that positions our users for long-term success. If you haven’t tried the new FLOW tools lately you should.
Let’s be honest, post-production used to be a nightmare.
Endless stacks of USB hard drives, painfully slow file transfers, off-line on-line workflows , relinking media and that constant sinking feeling when you can’t find the footage you need. Every editor, producer, and creative pro has been there, asking, “Where did I save that file?” or “Why is this transfer taking forever?” The whole process has been clunky, stressful, and way more work than it should be.
But here’s the good news: cloud-based storage is changing everything
Not just any cloud solution, but one that’s built specifically for media professionals. That’s where EditShare FLEX comes in. Unlike generic cloud storage, FLEX is designed to handle high-resolution media, multi-user collaboration, and even remote editing. If you’re still stuck using outdated storage methods, you’re making things harder on yourself. It’s time to upgrade your workflow and free up your creative energy
Is Your Workflow Slowing You Down? Here’s Why It Might Be Time for a Change
Moving to cloud storage isn’t just about making life easier, it’s about getting rid of the roadblocks that slow down your work. Here’s why sticking to traditional methods might be holding you back:
Searching for Files Shouldn’t Feel Like a Wild Goose Chase
When your media is scattered across multiple hard drives and local storage, finding the right file can feel like digging through a haystack. It’s frustrating, time consuming, and completely unnecessary.
With EditShare’s EFS, everything is in one place organized in mediaspaces, easy to find, and instantly accessible (subject to permissions!), whether you’re at the studio or working remotely. No more wasted time. Just stress-free editing
Waiting for transfers wastes time and money
Large file transfers have long been the bane of post-production workflows. Traditional FTP, email attachments, and even some basic cloud solutions simply aren’t designed for massive media files. EditShare FLOW automation optimizes your transfers, ensuring that large files are sent, received, and accessible.
Collaboration should be simple, not stressful
When multiple editors, VFX artists, and producers are working on the same project, versioning nightmares are all too common. Who has the latest cut? Did someone accidentally overwrite the master file? With EditShare’s cloud-enabled collaboration, everyone is working from a single, centralized source of truth, no confusion, no lost work, and no last-minute panic.
How EditShare Future-Proofs Your Workflow
With FLEX, powered by EditShare EFS and FLOW, you’re not just moving to the cloud—you’re upgrading every part of your post-production workflow. Here’s what that looks like in action:
Work from Anywhere Whether you’re in the studio, at home, or on set, your team has secure, real-time access to all media assets. No more waiting, no more limitations—just seamless collaboration.
Storage That Grows With You Forget about running out of space. FLEX cloud storage scales with your needs, so you’ll never have to scramble for extra storage again.
Collaboration FLEX integrates directly with Adobe Premiere Pro, DaVinci Resolve, and Avid Media Composer, letting you edit straight from the cloud without worrying about local storage.
Power When You Need It Spin up high-performance workstations whenever you need them and spin them down when you don’t, so you’re never paying for more than you use.
Smart, Secure, and Reliable Automatic backups, role-based permissions, and MediaSpace projects keep your files safe and accessible only to the right people.
With FLEX, you’re not just storing files, you’re streamlining your entire workflow and making post-production faster, easier, and more efficient.
The Industry is Moving Forward, Are You?
Sticking to outdated storage isn’t just frustrating, it’s slowing you down. Teams using cloud-based workflows work faster, collaborate better, and avoid unnecessary headaches.
With EditShare, you’re always ahead. No lost files, no long waits, no versioning chaos, just a smooth, efficient workflow.
The future of post-production is here. Ready to make the leap?
Alex Leafer, Director of Production for the New York Islanders, joins us to discuss how EditShare storage and FLOW asset management support their content production, pre-game presentations and social media presence. From capturing those exhilarating moments on the field to delivering compelling highlights, our hosts will guide you through innovative strategies and best practices tailored to streamline your sports video production process. This webinar will be a game-changer in maximizing efficiency and enhancing the quality of your sports content.
The variety of editing that goes on at a broadcaster would amaze you. There are promos, documentaries, news stories, specials and more. Some projects take weeks, and some projects take hours. The technical infrastructure is imposing, but it’s also mobile. Add to that a changing landscape of viewers’ tastes, outside consultants and inside pressures.
To get an inside look at the world of broadcast video editing, we interviewed Gregg Ginnell, former senior editor and post-production supervisor at the CBS affiliate Kiro 7 in Seattle, WA. He’s had a career spanning more than two decades and was keen to share his insights.
Meet a broadcast editor
“I worked in broadcast for a large number of years. I did a lot of documentaries. I did a lot of promotion. I didn’t do a lot of news,” relates Grinnell. “I did do news for a couple of years after leaving Kiro when I worked for Al Jazeera America. That was a completely different news experience.” When an interview opens with that breath of experience, you know that you are going to get some interesting insights into the world of video editing for broadcast.
Video editing for film, corporate and broadcast is all storytelling. But Gregg pointed out that there’s a vast difference between a “three-and-a-half minute story” and a “six-shot” news segment. While working at Kiro, the work got split up between team members who were good with quickly putting together a series of shots and moving on and those who spent days crafting a story.
He related a story of a colleague comparing the cutting of short segments to “making sandwiches.” That kind of edit had to be put together quickly to meet deadlines. Gregg focused on pieces that involved interviews and promotional spots for the station.
Film vs broadcast editing
I asked Gregg what the biggest difference was in the mindset of an editor working on a film vs. one working in broadcasting. His reply was, “Consultants.”
I didn’t expect that answer. He explained that every 12-18 months, a consultant would be brought into the station to give their perspective on trends in broadcast and how to gain market share. Each time, there was a different person, but they were all from the same firm. Sometimes their guidance would directly contradict each other or go back and forth between recommending a trend, advising against it, and then recommending it again.
Gregg shared that the advice of one consultant was to focus on the local news talent for their promo spots. So they went out and shot footage and tied that in with graphics to create a personal connection between the talent and the audience. Eighteen months later, another consultant from the same firm came in. This person advised that they need to drop the focus on talent and emphasize the news itself. Gregg’s team went to work on the new direction and crafted a whole new set of promos.
A year or so went by, and, you guessed it, the next consultant from the firm said to highlight the talent. At this point, Gregg’s team showed them the promo package from the prior campaign and simply asked, “Like this?”
Running decisions through the lens of outside consultants also led to feedback around everything from how many shots should be in a story to the content of the promotional packages. This dynamic leads to a balancing act for broadcast editors between their instincts on telling a story and outside feedback based on market research.
For instance, a story might go off for review, and the feedback would come back as “We love this story, but your shot count is too low.” Gregg recalled thinking, “Well, actually, it has just the right number of shots.” But at the end of the day, you do your best work and try to balance those competing interests.
This is in contrast to the work that Gregg did for the broadcaster Al-Jazeera America. In his experience, they deferred to the editor to determine the dynamics of the edit, even if it meant a piece was a few seconds longer than initially planned.
Editing three-and-a-half-minute packages that took the editor’s lead feels more like a documentary filmmaker’s approach than working in a typical newsroom.
Grinnell made an interesting comparison between documentary and news editors, saying, “I love news editors. I can’t do their job. I’m a little too frenetic. But I know news editors who became documentary editors. I don’t know any documentary editors who became news editors.”
It appears that once you’ve had a chance to tell long form stories, you just keep coming back for more.
Promo Editing
Gregg spent much of his time crafting “promos.” These spots air during commercial breaks and promote the news programming of the local station.
A lot more effort goes into editing promos than your evening news stories. This demonstrates the broad spectrum of talent that needs to be brought to the table at your local broadcaster. Some editors need to be fast. Gregg mentioned an editor who cut 62 packages in eight hours!
On the flip side, Gregg would spend half a day dialing in the color grade for a single promo spot. The message, visuals, motion graphics and sound would all be coordinated to reinforce the brand message for that season.
That difference in editing jobs perfectly illustrates Gregg’s comparison of editing a documentary vs a last-minute promo. He went on to describe it, “If I’m working on a documentary, I’m working directly with the producer, and we’re working every day together, and we are creating it from whole cloth. And that is a completely different experience than how [if] somebody comes in and drops a script down and going, [and says] ‘we got to promote this thing and we got to do it in the next two hours.’ And those are all really different, almost different jobs.”
Learning to shoot helps you edit better
As an editor, you are always looking to grow your storytelling skills. Gregg related, “I’ve always told everybody that I didn’t become a good editor until I became a better shooter. Go out and have to shoot your own stuff, and [when] you get back into the bay, there’s no one else you can blame.”
Many shooters who started off as editors develop strong skills as interviewers. “Where you’re sitting there listening and you go,” Gregg recounted, “Oh, my story’s changing now! There’s nothing I love more than editing in my head.”
You can see from Gregg’s career how the disciplines of editing, shooting and interviewing all work together in the head of the filmmaker to produce a better story. It’s a good reminder that in this age of specialization, there’s still value in combining the skills of a generalist with an area of specialization.
Working remotely
Working remotely was a shock to many industries, but post-production had already laid in place much of the infrastructure to go remote. This preparation allowed editors to remote into their AVID workstations from home and crank out edits. Google docs, Slack and Zoom provided other means for collaboration. Broadcasters all over the world also began to use advanced tools like MediaSilo.com for review/approval, tracking versions and managing assets. These tools combined to really remake the landscape of post-production.
Gregg shared about a campaign he edited for an app that focused on the footwear market. The shooters were in NYC, the graphic designer was in Utah, motion graphics were in California, and he was editing from Seattle. With the proliferation of mobile video capture and distributed teams, we’re going to see more and more of this kind of collaboration.
But along with the ability to work from anywhere comes the importance of security. MediaSilo helps broadcasters secure their assets with SafeStream technology. SafeStream enables visible watermarks and invisible forensic watermarking so that you can track any leaks back to their source.
Conclusion
Getting to know this legendary Seattle broadcast editor, Gregg Grinnell, was an honor. He has a passion for editing that is still burning strong after decades in the business.
Grinnell’s experiences remind us that being an editor is an act of service. Sometimes, you serve a client, a consultant, or a director, but you always serve the story.
It’s inspiring to see how even though consultants come and go and technology changes, the need for crafting compelling stories only increases. It causes us to ask ourselves, “How will I adapt to a shifting landscape? What core skills can I continue to develop that will remain relevant no matter what the future holds?” Those questions will help editors remain sharp and stay in demand in this ever-changing landscape.
Have more questions? You can reach out to Product Support for technical issues or our Customer Success team for more information about your specific account.
GBH is the leading multiplatform creator for public media in America. See how they securely moved their editing workflows to the cloud with EditShare and AWS.
EditShare Q4 FLOW and EFS Update – Capabilities at a Glance
FLOW High Availability FLOW’s high availability is achieved by giving its central database multiple points of redundancy to mitigate against hardware or network failures that would affect MAM client accessibility during active productions. Consistent with this, FLOW’s services are scalable and presented as multi-instance, redundant elements within the overall system.
FLOW Panel Enhancements – Adobe® Premiere® Pro and DaVinci Resolve EditShare’s NLE panel integrations bring the benefits of FLOW directly into Premiere Pro and DaVinci Resolves user interfaces, enabling users to access FLOW’s features without leaving the familiar NLE environment.
Users can now exchange FLOW sequences directly with Adobe Premiere Pro and Blackmagic Design DaVinci Resolve thanks to the new FLOW Cuts List sequence import function. Extended Metadata support lets team members add metadata information to sequences, including custom fields. This improves and enriches metadata associated with sequences. AirFLOW now shows sequence metadata in its user interface. Improved media relinking logic automatically imports and relinks Hi-Res source footage located within a project’s complex folder structure after completion of a proxy edit.
Support for Multiple Proxy Formats Per Clip In addition to standard streaming proxies, FLOW can now generate additional high quality ProRes Proxy and H.264 files. This simplifies relinking to complex clips with multichannel audio track layout in remote workflow scenarios.
Storage DNA Archive Support FLOW now fully supports the latest version of DNA Evolution by Storage DNA. Users can easily archive and restore FLOW assets from third-party LTO/LTFS and disk-based tiers.
In-App Messaging & Guides EditShare is building on the momentum of bringing better web-based user experiences to customers through the use of in-app guides and feedback messaging capabilities. As the company brings more and more features to the browser-based experience it is their aim to guide these users to the new capabilities and solicit feedback directly within EFS Control and FLOW.
EditShare Telemetry EditShare Telemetry makes it easy for administrators to share Audit and Monitor data with EditShare’s secure network operations center. Through Telemetry, EditShare can work with customers to ensure systems are running optimally through pro-active monitoring and event alerting. Please contact EditShare technical support or your account representative for more information and to participate in the trial program for this service.
EFS Control Maintenance Mode New controls allow maintenance users to manage files in certain media spaces while restricting other users to read-only access.
Active Directory Single Sign On (ADSSO) enhancements Multiple improvements to ADSSO to enhance enterprise-level user management.
EditShare Q3 FLOW and EFS Update – Capabilities at a Glance
Operating similar to a CDN, the optimized EFS multi-location data transfer capabilities leverage best in class, open software solutions to provide transparency over asset movement, enabling users to prioritize transfers across multiple locations with easy to define business rules.
Paving the way for scalable, resilient enterprise workflows, FLOW Scan Scaling Service enables distributed processing in parallel, letting users run multiple scan instances across storage tiers.
Optimized for HPE, new FLOW Production Nodes now come in Light, Standard and XL, supporting small to enterprise workflows, enabling customers to right-size configurations for their productions.
Popular open-source ELK analytics lets customers easily visualize important data to proactively maintain the health of their FLOW and EFS installations as well as ensure that all systems are running at optimal performance.
EditShare Connect is now available for Linux expanding cloud workflows and enabling every EditShare customer to have a first-class user experience.
FLOW UI and EFS Control offer users a superior navigation and seamless graphical experience with new iconography and ‘dark-mode’ color scheme.
Our Director of Business Development, Jeff Barnes, sat down with SVG’s Chief Editor, Jason Dachman, to provided an update on our EFS collaborative storage and FLOW media management solutions and to highlight some of the key partnerships that are strengthening our presence in the sports industry.
