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?
Collaboration with EditShare, Octopus Newsroom and Imagine Communications delivers a modernized, scalable newsroom environment
Boston, MA, 14 March2025 — EditShare, the technology leader that enables storytellers to create and manage collaborative workflows at every stage from storyboard to screen, today announced its role in revolutionizing Media Prima’s newsroom with an integrated workflow solution designed to enhance speed, efficiency, and scalability.
Media Prima, Malaysia’s largest integrated media company, operates multiple television networks, digital platforms, and print publications, serving millions of viewers and readers daily. This transformative project, delivered in collaboration with Octopus Newsroom and Imagine Communications, was spearheaded by systems integrator ACE Identity, resulting in a state-of-the-art newsroom workflow that supports the demands of modern news production.
At the core of the upgrade is EditShare’s EFS 450 High Availability storage system, providing scalable, high-performance shared storage that supports Media Prima’s demanding workflows. This is complemented by EditShare FLOW, a powerful asset management platform that organizes and facilitates content access across teams, acting as the backbone for collaboration and integration.
Imagine Communications ensures smooth and reliable playout, delivering high-quality content to audiences. Meanwhile, Octopus Newsroom enhances editorial planning and story management with an intuitive, journalist-centric approach. Together, these solutions empower Media Prima to deliver breaking news faster than ever, with streamlined workflows from content acquisition to final broadcast.
The new newsroom operates in full HD, supporting both file-based ingest from multiple camera vendors and baseband ingest for maximum content acquisition flexibility. Journalists can initiate story editing directly within the Octopus Newsroom interface using EditShare’s sequence-based editing tools, then finalize content in Adobe Premiere Pro through EditShare FLOW’s integrated Adobe panels. Files are then exported back to EditShare EFS, where Imagine Communications’ broadcast infrastructure takes control of newsroom rundowns for on-air delivery.
The newsroom transformation was spearheaded by ACE Identity, a trusted systems integrator specializing in broadcast solutions. Their expertise brought together the capabilities of EditShare, Imagine Communications, and Octopus Newsroom into a tailored solution that meets Media Prima’s requirements for speed, efficiency, and scalability.
“This project is a perfect example of EditShare’s open approach to media workflows,” said Tara Montford, Co-Founder and EVP Sales at EditShare. “We are proud to work alongside best-of-breed technology providers such as Octopus Newsroom and Imagine Communications to deliver a solution that meets the unique needs of Media Prima. By collaborating openly with industry leaders, we ensure our customers benefit from the most flexible, efficient, and scalable workflows possible.”.
EditShare is an Emmy Award-winning technology leader, supporting storytellers through collaborative media workflows across on-premise, cloud and hybrid architectures. It offers scalable storage and collaboration for media businesses and at every stage of the video production process from storyboarding to screening.
The software is inherently open, encouraging workflow collaboration, third-party integrations and content sharing across the entire production chain. Where required, the software is backed by high performance, high availability designed specifically for the demands of media storage, management and delivery. The comprehensive offering covers multi-level content storage for production and post, along with innovative asset and workflow management software, plus specialized and highly valued tools for content review and distribution, the creation of customized and branded pitch reels, and secure preview of high-value pre-release content.
Press Contact Katharine Guy katharine.guy@editshare.com
From ultra-fast storage to AI-powered media management, EditShare’s latest advancements set new standards for workflow efficiency
Boston, March 11, 2025 – EditShare, the leading name in collaborative media workflows, is set to make waves at NAB 2025 (booth SL4216, Las Vegas Convention Center, 6 – 9 April) with exciting new innovations that will redefine media storage, workflow efficiency, and AI-driven content management.
Following on from the Ultimate series well-received debut at IBC 2024, EditShare’s latest advancements will now make their U.S. premiere in Las Vegas. Attendees can expect a firsthand look at the next generation of media storage solutions, offering remarkable speed and scalability to support a variety of production environments. Whether it’s boutique post-production studios or major broadcast networks, EditShare’s latest solutions are designed to empower creative teams with unparalleled performance and workflow efficiency, backed by powerful security features.
Beyond storage, EditShare is rolling out significant upgrades to its intelligent media management tools. These enhancements will streamline how media professionals handle, process, and locate their assets making workflows faster, smarter, and more intuitive.
Clients will see noticeable gains in speed and performance across the entire product line, alongside major OS upgrades that improve reliability and ease of use. And with new, competitive pricing, EditShare is making high-end media solutions more accessible than ever before.
One of the must-see demonstrations at NAB 2025 will showcase the direct integration of EditShare’s high-performance NVMe storage with cutting-edge film scanning technology from Lasergraphics. This live presentation will highlight the system’s ability to handle high-resolution media, reinforcing EditShare’s commitment to pushing the boundaries of what’s possible.
“Our goal has always been to give media professionals the tools they need to create, collaborate, and deliver with ease,” said Brad Turner, Chief Executive Officer of EditShare. “The advancements we’re bringing to NAB 2025 demonstrate our dedication to helping our customers stay ahead of the curve. With faster speeds, smarter workflows, and better value, we’re changing the game.”
Visitors to NAB 2025 are encouraged to stop by EditShare’s booth for live demonstrations and an exclusive look at the future of media workflows.
For more information on EditShare solutions, please click here to get in touch. Or book a meeting with us at the show here.
About EditShare
EditShare is an Emmy Award-winning technology leader empowering storytellers with collaborative media workflows designed for on-premise, cloud, and hybrid environments. Its scalable storage and collaboration solutions support media businesses at every stage of video production, from storyboard to screen.
With an open architecture, EditShare fosters workflow collaboration, third-party integrations, and content sharing across the entire production chain. Its high-performance, high-availability design meets the rigorous demands of media storage, management, and delivery. The comprehensive suite includes multi-tiered content storage for production and post-production, innovative asset and workflow management tools, and specialized features for content review, secure preview of pre-release materials, and the creation of customized branded pitch reels, ensuring a seamless and secure media production process.
Press Contact Katharine Guy katharine.guy@editshare.com
Ensuring Your Pre-Release Content Gets Reviewed on Time
Building a Better Reviewer Experience
At Screeners.com, we believe that great content deserves timely coverage. Yet, for many creators, studios, and networks, one question consistently comes up:
“How can I be sure that the press actually watches and reviews my pre-release content on time?”
The truth is, getting the content into reviewers’ hands is only half the battle. The other half is making sure it stands out in a crowded queue of screeners, stays top-of-mind, and is easy to access and review before those crucial deadlines pass.
What We Heard: The Challenges Reviewers Face
As we dug into the challenges press reviewers face, three key pain points came up again and again:
1. “Sometimes I forget what’s expiring—I miss it, and that’s it.”
Challenge: Reviewers juggle multiple deadlines, often losing track of what’s expiring soon.
Impact: Missing the expiration window means missing coverage opportunities, undermining release strategies.
2. “I’m swamped. It’s hard to stay on top of what I’ve watched and what I haven’t.”
Challenge: With numerous screeners coming in, reviewers struggle to track progress and prioritize effectively.
Impact: Content gets lost in the shuffle, delaying or preventing reviews altogether.
3. “Some platforms are just clunky. If it’s hard to use, I’ll skip it.”
Challenge: Reviewers want to focus on content, not wrestle with a frustrating UI.
Impact: Clunky navigation reduces engagement and increases the chance content won’t get reviewed.
What We Built: Unveiling the Press Reviewer Dashboard
A successful screening experience starts with eliminating the obstacles that slow reviewers down. Instead of wasting time navigating clunky platforms or hunting for content, reviewers should be able to focus on what really matters—watching and critiquing films and shows. That’s why we created the Press Reviewer Dashboard, a re-designed review interface that simplifies the screening process from start to finish.
The new dashboard organizes content dynamically, surfacing what’s most relevant to each reviewer—whether it’s new screeners, in-progress titles, or expiring content that needs urgent attention. With an interface that feels familiar to industry-leading OTT platforms, the new dashboard ensures a smooth, intuitive experience. A streamlined navigation system makes it easy to find content without unnecessary clicks, while personalized watchlist functionality allows reviewers to effortlessly organize their workflows by saving the screeners they plan to watch to one place.
By eliminating the guesswork of what to watch next and making it effortless to keep up with deadlines, the Press Reviewer Dashboard transforms the pre-release screening process into a seamless experience. Below, we break down exactly how each challenge has been addressed and what makes this new experience different from the status quo.
The Ask
How it Shows Up Today
What We Built
I waste too much time searching for the content I have to review.
Reviewers spend valuable time navigating a fragmented landscape of screening links, emails, and various tools, making it difficult to efficiently surface and prioritize the content they need to review.
Personalized Dashboard:A redesigned reviewer interface familiar to industry-leading OTT platforms, surfacing relevant content faster reducing friction in the review process.
I keep losing track of my watch progress.
Reviewers rely on manual tracking methods (spreadsheets, notes) to keep track of what they’ve watched, increasing the risk of missed deadlines.
A Continue Watching section that allows reviewers to pick up where they left off and track their viewing history effortlessly, plus clear indication in the UI helps reviewers determine at-a-glance what they’ve started versus what needs to be reviewed.
I need to know when content’s expiring before it’s too late.
Reviewers often lose track of content expiration windows, leading to missed opportunities for timely coverage.
Ability to browse content by an Expiring Soon category that highlights content approaching its expiration date, helping reviewers manage their time effectively.
There’s no easy way to organize the content I need to watch.
Many platforms don’t allow reviewers to bookmark content, forcing them to search for titles repeatedly or rely on external tracking methods.
Add to Watchlist functionality allows reviewers to bookmark content for later, empowering them to organize their workflows efficiently.
Reviewing isn’t just watching—it’s choosing what matters, hitting deadlines, and keeping track of what’s next. The Press Reviewer Dashboard clears the path. See what’s expiring soon. Pick up where you left off. Save what you plan to watch—all in one place. No digging. No second-guessing. Just a faster way to get through what matters. The dashboard’s live: check it out.
Storage systems don’t fail overnight. They wear down, slow down, and eventually, they stop keeping up with your workflow. The tricky part is recognizing when that tipping point is near.
Maybe you’re noticing that issues are becoming more frequent. Maybe your team doesn’t trust the system enough to work at full speed. Or maybe you’re just hoping that nothing critical fails before you can budget for an upgrade.
The challenge isn’t just dealing with aging hardware—it’s knowing when “good enough” isn’t actually good enough anymore. So, how do you know it’s time for a refresh?
Regardless of which shared storage solution you use (EditShare’s or someone else’s), this is our take on the key signs to watch for, the questions you should be asking, and how to think about when it’s time to refresh your system.
What Happens to a Storage System After 5-7 Years?
It’s not just about age—it’s about workload. A production storage system isn’t just sitting there. It’s constantly reading, writing, rewriting, fragmenting, and filling up with massive files. And after 5-7 years, a few things start happening:
1. The Hardware Wears Down (And Becomes a Bigger Risk)
Storage systems aren’t built to last forever. Drives spin millions of times, SSDs wear out, and cooling fans run 24/7. Eventually:
Drives start failing. Even enterprise-grade HDDs have a finite lifespan, and after years of non-stop use, failure rates start to climb. The real risk isn’t just one drive failing—it’s multiple failures happening too close together, putting your media at risk.
RAID protection isn’t bulletproof. Most systems ship with RAID 6, which can tolerate two failed drives. But when a drive fails, it takes time to rebuild, and during that time, the system is vulnerable. If another drive fails mid-rebuild, data loss is a real possibility.
Rebuilds stress the system. The very process of recovering from a failed drive puts extra strain on the remaining disks, making cascading failures even more likely.
Think about it like a car that’s been idling for years without ever turning off. At some point, parts start wearing out. And the older it gets, the harder it is to find replacements. That brings us to the next issue…
2. Performance can potentially drop (Even If You Haven’t Noticed Yet)
At first, the slowdown is subtle. Then one day, you realize renders are taking twice as long. Here’s why:
File fragmentation increases. Video files aren’t small. Over time, data gets scattered across drives, making read/write speeds slower.
Capacity gets tighter. Running at 80-90% storage usage? That alone can slow performance by 50% or more.
New formats push old systems past their limits. Your storage was built for yesterday’s workflows. Today, it’s handling higher resolutions, heavier codecs, and larger files than it was ever designed for.
Software moves faster than hardware. Your system may technically still run, but much like a 7-year-old phone trying to run the latest OS, performance drops as software evolves beyond what your hardware was built to handle.
Bottom line: If your team is fighting dropped frames, sluggish exports, and unexpected slowdowns, your system isn’t keeping up.
3. You’re Probably Out of Support (And That’s a Risk You Don’t Want to Take)
Most storage systems have a support lifecycle. Once you’re past that window:
No more firmware updates. Security vulnerabilities pile up.
No guaranteed replacement parts. Older systems rely on components that may no longer be available.
No vendor support if things go sideways. At some point, you’re on your own.
And even if your system technically can run the latest software, newer features and updates are designed to perform best on newer hardware. The result? A system that once felt “screaming fast” starts feeling sluggish and outdated.
So How Do You Know It’s Time to Refresh?
It’s usually not one big thing—it’s a series of little frustrations that add up. Here’s what to watch for:
1. The Work Feels Slower
Video production isn’t just about skill – it’s about momentum. The best teams move fast – ideas flow, cuts come together, the energy is high. But old, slowing systems can easily kill momentum.
Like any form of electronic storage, media spaces can become overloaded, especially when they become a “dumping ground.” Millions of objects relegated to a project can make bootup, searching, and waiting for screens to load slower and more frustrating.
If your colorist spends more time fighting dropped frames than actually grading, your system is slowing you down.
If your render queue has turned into an overnight hostage situation, your system is slowing you down.
Unfortunately, this situation rarely improves on its own. Cameras aren’t getting less powerful. Files aren’t getting smaller. If your system is already limping, it’s not going to miraculously keep up with next year’s workflows.
2. When Downtime Becomes “Normal” (And the Bigger Problems You Don’t See)
Every production team has dealt with a crash at the worst possible moment. It happens. But when slowdowns, dropped frames, and storage bottlenecks stop being a rare annoyance and start feeling like part of the job, that’s when you have a real problem.
When your team saves after every small change because they don’t trust the system to hold up.
When “try restarting it” is the first response to any hiccup.
When a simple export means crossing fingers and hoping for the best.
3. When Your System Stops Fitting the Way You Work
It’s easy to think of a system refresh as a “nice to have”—until one day you realize your setup is actively making things harder instead of easier.
Your storage architecture was built for on-prem workflows, but half of your team is remote now.
Your editors keep running out of space because the system wasn’t designed for today’s file sizes.
Your infrastructure was optimized for HD, but you’re working in 4K and beyond—and it’s showing.
The Risk No One Talks About: Team Morale is Built on What You Tolerate
Nobody’s walking out the door just because you stretched your storage system another year. But every decision you make about your tech stack sends a message—whether you mean it to or not.
If the system is slow, unreliable, and frustrating—and everyone knows it—what does it say when leadership shrugs and moves on?
At the end of the day, you encourage what you tolerate.
Keep tolerating lag, breakdowns, and workarounds, and you’ll get more of them.
The only question is: How much longer are you willing to put up with it?
Evolution of remote workflows, asset management and approvals
Boston, MA, 2 September 2024 — EditShare, the technology leader that enables storytellers to create and manage collaborative workflows at every stage from storyboard to screening, will show valuable gains in practical productivity thanks to significant new hardware developments and software releases at IBC2024. The enhancements are all driven by the practical experiences of users worldwide, seeking to make their operations even more swift and secure.
Our next-generation EFS storage nodes, powered by the latest HPE Gen11 servers and our advanced NVMe node, set a new standard in performance and efficiency. With over 18GB/s aggregate throughput, this system delivers unmatched performance with unrivalled scalability. Combined with our powerful FLOW workflow engines, it provides creative teams with an efficient platform for UHD editorial and finishing, complex workflows, and multi-site collaboration, ensuring better results and enhanced productivity in every project.
Central to everything in the EditShare environment is FLOW, the asset management software which defines workflows and workgroups. IBC2024 sees FLOW adding native support for codecs which are critical for high quality production. These include Avid DNxHR and Sony X-OCN at resolutions up to 8k. Working directly with CineAlta files, for example, simplifies and speeds the process of creating dailies as well as smoothing workflows for cinematic projects.
FLOW provides workflow orchestration as well as asset management, and FLOW 24.2 enhances the Organize module. This ensures users can create projects, and bins efficiently. By logging in from any secure web browser, users can streamline workflows and collaborate most effectively.
Widely used for review and approvals of work in progress, EditShare MediaSilo also sees enhancements, including support for Ultra HD proxies. With better quality visuals, collaborators are empowered to make more detailed feedback and faster project approvals. The new Bulk Download feature accelerates the process of delivering vast amounts of content to clients. “We talk to post-production professionals all the time, and we understand what is really important in today’s market,” said Tara Montford, Co-Founder and EVP sales at EditShare. “The message coming over loud and strong is that they want to use their preferred creative tools and formats, but within an environment that gives them real speed and security, to deliver completed projects against tight deadlines without compromising quality. The system enhancements we are introducing at IBC this year speak directly to that need.”
Also aimed at speed and simplicity, the latest version of EFS, the media aware File System from Editshare, brings a new way to upgrade across the technology stack. An intelligent Orchestrator tool now automates system upgrades, ensuring every step is executed correctly at the determined time, even across multiple sites. With an intuitive, web-based user interface, this is another essential element in bringing efficiency and reliability to storage management.
All these new software releases will be demonstrated alongside the latest in hardware developments on stand 7.A35 at IBC24. To book time with us at the show please click here
About EditShare
EditShare is an Emmy Award-winning technology leader, supporting storytellers through collaborative media workflows across on-premise, cloud and hybrid architectures. It offers scalable storage and collaboration for media businesses and at every stage of the video production process from storyboarding to screening.
The software is inherently open, encouraging workflow collaboration, third-party integrations and content sharing across the entire production chain. Where required, the software is backed by high performance, high availability designed specifically for the demands of media storage, management and delivery. The comprehensive offering covers multi-level content storage for production and post, along with innovative asset and workflow management software, plus specialized and highly valued tools for content review and distribution, the creation of customized and branded pitch reels, and secure preview of high-value pre-release content.
Press Contact Katharine Guy katharine.guy@editshare.com
Remote production workflows for video editing are getting a lot of attention. The technology for remote production kept improving, but the pandemic really sped development up. Within the first week of the pandemic, the video team I led started deploying remote workflows. The technology was almost there then, but within weeks, we got it dialed in.
The biggest challenge our team faced was latency. We learned that every link in the chain matters (Including open ports on cable internet coax splitters outside of your house! As crazy as that sounds.) Remote post-production workflow development accelerated to meet the challenge. The basics of addressing latency, permissions, and cloud-based proxy workflows have been addressed. So the next question is, “How do you scale it?”
What is remote post-production and cloud-based production?
Traditionally, an entire post-production team would be together in a “post-house.” Editors, colorists, and sound could work together on a centralized server known as a SAN. Cloud-based workflows move the storage to a cloud service provider instead of a local centralized server. This allows for post-production members to be distributed throughout the nation or the globe.
Why is scaling workflows important for post-production?
Post-production teams need to be able to scale to deliver multiple projects for multiple clients. If a team relies on shipping hard drives back and forth in the mail, there is only so fast you can deliver your work to clients.
On-set technology has also improved. New Camera to Cloud technologies have been released like the Atomos + MediaSilo integration where footage is delivered right into MediaSilo from an on-board monitor/recorder.
Understanding workflows in production workflow
Now that you don’t have to wait for footage to be brought back to base to start editing, why not have a distributed post-production team? Editors can get right to work with low-resolution proxies as soon as they are uploaded to the cloud. Another advantage of cloud-based post-production is that editing teams worldwide can work in shifts.
There are a couple of kinds of remote workflows. On one end of the spectrum is ingesting everything to the cloud. This requires a significant amount of bandwidth if you are putting raw camera files onto a cloud storage provider. You need to make sure that your upload speed isn’t a bottleneck that negates the efficiencies of remote post-production.
Another approach is hybrid. In this remote video workflow, you can keep your raw files local and upload proxy files to a cloud storage provider. Project files can also be synced to the cloud so that editors can check in and out projects without stepping on each other toes.
Key factors for scalability
Cloud-based services for remote video editing workflows allocate a specific amount of storage to an account. This could range from 3TB – 10TB for starters. Users can add additional storage as they need it. It is worth thinking through how much “active” storage your team needs at any one time. If you have 3 editors who work with projects from 2-3TB each, 10TB would be a good amount to have in your “active” cloud storage.
If your team is just using the cloud for proxies, you could probably accomplish the same amount of editing with 4TB of cloud storage. However, when you are ready to finish the final files, you’ll want to conform back to your raw camera files. If that is happening where you keep your raw files, then you are all set. If the person doing the color grade is remote, you might need to ship them an SSD. This is the limitation of a hybrid/proxy remote workflow. There is enough available storage and bandwidth for working with proxy files, but not RAW.
Another challenge to scalable video production is having the right space for building a stock video library. Many clients want to accumulate footage that can be reused in multiple videos.
Using cloud-based tools & software to scale workflows
One solution to the challenge of needing space for active projects and space for “stock” footage is to use a review and approval application, like MediaSilo, as a cloud-based asset manager for finished assets. These could be stock video clips, or they could be graphic assets, or project files for After Effects, Photoshop or Illustrator project files (I know of an insurance company that does this). Review and approval tools are good places for frequently accessed files because they are easily searchable, and you don’t have to worry about permitting external users to access the primary “active” video storage.
Managing post-production assets in the cloud
If you are running a remote post-production workflow, you will learn quickly that the file management tools in Google Drive or Dropbox aren’t designed for media production. That’s why EditShare FLEX. Its a suite of tools to facilitate your entire cloud-based post-production workflow.
Cloud-based media management tools will help you to view assets while they reside on the cloud service without downloading them to your local machine. You can search your assets, make notes, create proxies, and organize projects.
Getting files to the cloud efficiently takes more than just a fat pipe from your ISP. Technologies from companies like Data Expedition optimize uploads to maximize your bandwidth.
Another area to consider is data archival. Many teams have used LTO tape as a long-term storage solution. However, using LTO also means barriers to retrieving old footage. A smart cloud-storage strategy (like one using FLEX Cloud Sync) employs cloud-based archival solutions to store older projects on less expensive storage tiers.
Editing from the cloud
Once all your footage is in the cloud (whether raw or proxy), it is time to edit. Most remote editors download the proxies to local storage and start editing with their powerful computers. But there are a couple of other options.
Technologies like EditShare FLEX Cloud Edit and Cloud Edit+ enable users to log into a remote server and edit with their favorite NLE without having to download footage locally. The NLE runs on a remote server but behaves as responsively as a locally installed copy. This wizardry is accomplished through technology like HP Teradici PCoIP (it just rolls off the tongue, doesn’t it?). Your local machine is essentially just a window into a responsive remote workstation.
Another approach allows editors to access on-prem storage as efficiently as cloud storage. EditShare Swift Link delivers this for EditShare FLOW users. Swift Link ensures latency is addressed for remote editors and that their editing experience is optimized for the network conditions between their workstation and your on-prem storage.
Automation in the cloud
If you are evaluating a cloud-based remote post-production, don’t forget about transcoding and quality control workflows. If you are accustomed to a local workflow, you probably don’t give a second thought to batch transcoding a bunch of clips from a mezzanine codec like ProRes to a delivery codec like h.264. However, if that transcode takes place on a local client and the ProRes files are on a server, you’d have to download the ProRes files, transcode locally, and then upload the h.264 versions.
If your cloud service provides the ability to automate transcodes in the cloud you can eliminate the upload and download times. Its even better if you can setting up multiple steps and rules so that the work of transcoding for various deliverables is automated. With the right tools, QC can also be done in the cloud as well.
Scaling for remote production
Cloud-based workflows scale easily because additional resources can be added instantly. Scaling on-prem hardware solutions does take more planning, but if you make a good plan, it isn’t hard to add a unit to your local storage.
If you need higher performance, consider all NVMe shared storage. NVMe storage eliminates the bottlenecks of spinning disk storage. It is more expensive, but it also consumes less power and
Recent trends in remote production
It is helpful to know that post-production standards are moving to the cloud. Today’s cutting-edge products are the result of years of careful planning and a deliberate industry-wide plan to take advantage of cloud-based post-production workflows.
Choosing to deploy remote video workflows now means your team will be prepared for all the latest technological advancements that are coming along every day.
Conclusion
The time has finally arrived for scaling remote production workflows. Teams have options between hybrid and cloud-based workflows. Cameras and recorders can send files straight to the cloud. Media asset management apps can be deployed in the cloud. Remote cloud-based workstations can be accessed anywhere in the world. Solutions for archival, transcoding, QC and review/approval now integrate with each other. All the pieces are now in place to create efficient remote post-production teams.
EditShare, paired with MediaSilo, offers a complete solution that incorporates the latest technologies with the flexibility of your choice of hybrid or fully cloud-based workflows.
What do you think of remote video production workflows? If you have questions about the right setup for your team, send us a message!
When producer Khalil Bachooali founded Offroad Films in 2011, he aimed to build an independent, creative-led production company that merged artistic sensibilities with marketing acumen. And with more than a decade of work in commercials and business films, he’s done just that.
Today, Offroad Films is regarded as a leader in the industry, recognized by multiple awards. That includes four Lions from the Cannes International Festival of Creativity, the most prestigious in the advertising world. And throughout their journey, they’ve relied on Wiredrive every step of the way.
The key to Offroad’s success
The philosophy has always been to start with the client’s brand and the story they need to tell. From that the creative spark appears, developing the way that the story should best be told. Only then will a director be selected who can best translate that story into visual reality. The result is that the company’s passion comes out in films which are effective, purposeful and engaging.
For Offroad Films’ clients, gaining insight into the agency’s past successes and creative expertise becomes an invaluable tool, helping to showcase the agency’s ability to bring their unique stories to life with precision and flair. That needs evidence in terms of previous, similar projects and showreels from the right directors who will realize that treatment.
For this reason, since the foundation of Offroad Films, Wiredrive has been used to present showreels to clients. Over the years it has developed the way it uses the software, and now it has become a central collaborative tool as well as a means of sharing content.
Wiredrive simplifies winning showreels
Wiredrive was developed as the best way to create showreels that have impact. The simple software provides a common store for all business assets, with a powerful organization layer to search, tag and filter the archive. The user defines the parameters in the asset management layer so the tags are appropriate and searches rapidly locate the best content.
In turn, that makes it easy to build and share customized, branded presentations. Each pitch and presentation is tailored for the specific target but can be created in moments. Naturally, the agency’s corporate branding is maintained in every showreel.
Secure distribution is managed through Wiredrive to ensure that it arrives at the right people’s desks. Advanced analytics ensure the user can track the audience to get the right impact.
Developing from the showreel tools, Wiredrive has become a valuable collaboration tool. Workspaces are defined for each project, and all of its assets are managed in one space. Comments and approvals are logged and time-stamped to speed finishing and provide a sign-off trail.
The delivery capabilities mean that remote collaborators are part of the same workflow, sharing work instantly and securely among the project team.
Wiredrive’s indispensable functionality
When Offroad Films was formed in 2011, it urgently needed a way to create directors’ showreels. Wiredrive was tried and proved to be the best tool for the job. Since then, it has relied on it to develop pitch reels and manage the showreel content from the freelance directors it uses on its many projects.
“Showreels were the main reason to bring in Wiredrive,” said Rebecca Maria, Administrative Head at Offroad Films. “Nothing else delivers the same functionality.
“But as time has gone on, use cases have accumulated,” she added.
Today, each new production is allocated a workspace in Wiredrive to act as the hub for all content. As the team grows, with freelance and house staff, they are given access to the project workspace, where they can see progress and track assets.
“Typically, our associate producer is responsible for managing the content,” Rebecca Maria explained. “They will build up material from the first location research all the way to finished contents and share them easily.
“Wiredrive also allows us to quickly share specific content,” she said. “It is also useful to brief freelancers: we can create a ‘showreel’ showing the feel of what we are aiming to achieve in a film, so they know how their particular craft needs to fit in.”
The flexibility of the software means that all stages of the project use Wiredrive to be more efficient. It starts in pre-production, through shooting and post, and on to marketing and distribution. Each project that Offroad undertakes is different, and each team will use Wiredrive in its own way to best keep the team up to speed and deliver the project on time.
When a project is successfully completed, the finished films are added to the Wiredrive archive. There, they are ready to be used in future showreels, winning more creative commissions for striking and effective commercials.
“Showreels were the main reason to bring in Wiredrive, nothing else delivers the same functionality”.
Rebecca Maria, Administrative Head at Offroad Films
