EditShare Boosts Productivity and Practicality with New Hardware Nodes and Software Enhancements at IBC2024
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 you want to scale your video production capabilities, people first think about buying another camera. But for many teams, the bottleneck isn’t in production; it exists in post-production. However, storage for video assets falls into a strange in-between category for many organizations. It feels like an extension of video production, but camera experts usually aren’t IT experts. Seasoned IT pros are often slow to discover that the needs for video editing are fundamentally different from your typical workgroup.
The experts in the storage needs for video teams often arise from technically-minded video editors and post-production experts. This is because they had to figure out the challenges for themselves and explain the difficulties of post-production to their bosses and the IT staff. That’s my story, at least. Over the past few months, I’ve observed several cases where teams are willing to invest in expensive cameras and lenses but shy away from investing in the necessary post-production infrastructure to truly break the log jams in their workflow.
I found that an efficient post-production shared solution is the best foundation you can give to your team. It lets you keep all your most relevant footage at your fingertips. It provides the ability for quick collaboration between editors and motion graphics designers, and it enables you to scale. So, if you want to lay a foundation for real growth, let’s dig into how digital media production can quickly scale.
Free yourself from the sneakernet
If you’ve ever found yourself grabbing a hard drive off a shelf and passing it in between team members, only to run back over to the shelf to find the right drive, you’ve used the “sneakernet” to manage your projects. This process is fraught with difficulties, and you always have the sinking feeling, “I think I still have that footage.”
A shared storage solution keeps your most relevant assets “online” instead of “offline.” It connects to multiple workstations at the same time as well. This means that as you scale your production capability, editors and motion graphics artists have immediate access to all their work instead of having to hunt down a drive. Additionally, editors can access the same footage simultaneously since the shared storage is accessible to everyone. Finally, you don’t have to worry about wasting space by duplicating the same footage on multiple computers. Freeing yourself from the sneakernet is reason enough to deploy scalable storage like EditShare EFS.
Choose specialized storage
When it becomes evident that a video team needs a server for their footage, inevitably, somebody from IT pulls up a webpage from Dell or HP and starts to calculate the costs. This is the decision moment. If we were in a movie, this moment is the equivalent of the villain’s entrance. I’m serious. If this moment isn’t handled well, a video team can get saddled with an underperforming server solution that is worse than Sneakernet.
Consider the difference between an interstate and a main street downtown. Shared storage for media allows for sustained, smooth playback of raw video files, like an interstate. Normal servers are designed more like the traffic signals of a downtown, allowing for lots of little pieces of data to come and go. But if you have ever been stuck in traffic, looked over to a carpool lane, and seen cars zooming by, you have a good indication of the difference between a normal server and a shared storage solution. Video production storage allows for multiple video files to be played from the server to multiple workstations without interruption, and you can think of these files as big semi-trucks. These trucks need protected lanes to be able to go fast and move without hitting the breaks
If you can help your IT team understand this fundamental distinction in “traffic,” you can turn them into your biggest supporters. Why? Practically speaking, if they master this new area of IT for media, they will become more valuable to their organization, and their career will take on a level of specialization.
So why not optimize a generic server for “interstate highway mode?” Editors not only need the bandwidth for sustained “reads” of data, but they also need to write to project files on the server. Those project files require fast write speeds. If video files are like semi-trucks, project files are like mini coopers. This means that the shared storage solution has to be optimized for two ends of the spectrum, sustained reads and fast writes, while handling the different kinds of traffic going to and from the server. Video files aren’t PDFs.
I believe that if a video team can communicate this metaphor well, it can vault them into new levels of productivity. Video teams and IT teams can then collaborate effectively and understand each other’s needs much better.
Online, Nearline, and Cold Storage
When we talked about sneakernet, we learned about the difference between offline and online data. But what about footage that you need to access occasionally? We call this storage “nearline.” It doesn’t need to be on your high-performance storage, but it doesn’t belong on the shelf.
Active storage
You can save money when building your shared storage solution by identifying a specific capacity for your “online” or “active” storage. You might want this storage to be on SSDs or NVMe drives. These solid-state drives are lightning quick and work exceptionally well with high-resolution 4K, 8K, and VFX files. While this storage is quick, it is also the most expensive. (Some of that cost is offset by the fact that these drives use less power) Remote users can access an EditShare EFS volume with Swift Link, delivering remote performance that used to be available only in-house.
Nearline storage
If your most accessed files live in your online storage, place your infrequently accessed files on your nearline storage. This unit typically uses mechanical spinning disk hard drives. They work together in a configuration to ensure that you won’t lose your data if one, or even two, of them fail. This configuration is called a RAID configuration. A nearline storage unit with a group of hard drives won’t be as fast as your active storage, but it will be cost-effective. And if you have an intense project, you can always move data between your nearline and active storage.
Cold Storage
At a certain point, you can determine that you probably won’t be going back to the original footage for a project. But you don’t want to delete it all. This means your project is ready to move from nearline storage to cold storage. Some organizations may upload footage to the cloud or archive it on LTO tape.
I recently had to pull footage from Google Drive. My former team used Google Drive as cold storage. Man, was this a mistake! When you download large amounts of data from Google Drive it rearranges the folder hierarchy and appends suffixes to the file names. What a headache! I spent hours reconstructing the file structure of the REDCODE RAW files. I had to delete the suffixes that Google Drive appended on hundreds of files.
A much better approach to cold storage would have been to use LTO tape with a solution like Editshare ARK. This approach does take your files offline, but it also keeps track of those LTO tapes so you can know what is online, what is offline, and where to find what you need.
Specialized hardware calls for specialized software
Having a place to put your data doesn’t necessarily mean people can easily find what they need. Many teams use their senior editor’s brain as an “index” for project files. A much better solution is to have software do that for you. A media asset manager is an application that organizes your footage and lets anyone find what they need without Slacking the senior editor again. Editshare FLOW works with your shared storage to keep track of all your assets. Those could be online or offline. It will track data in your active, nearline, and cold storage. EditShare FLOW becomes the brain for your entire post-production operation.
Editors want to spend time in their NLE, not in the media asset manager. Editors want to edit. That’s why integration with editing apps (Known as NLEs, non-linear editing applications) is critical. EditShare provides panels in both Adobe Premiere Pro and Blackmagic DaVinci Resolve. These panels allow you to spend more time in your NLE so that you aren’t leaving your native environment. If you use a different NLE, EditShare is still perfectly compatible with any NLE (but Premiere and Resolve getting in-app panels sure is nice).
Integrate your workflow from pitch to prep to post
Post-production can feel like its own little world. It doesn’t have to be that. EditShare EFS now integrates with MediaSilo. An integration resulting in an end-to-end workflow. When you are shooting, Atomos recorders will deliver your footage right to the cloud via MediaSilo when you are shooting. Then your project can go through post on EFS and then get securely delivered to outside stakeholders via MediaSilo. This is an unprecedented level of integration and security from script to screen.
Conclusion
Deploying an EditShare EFS shared storage solution will revolutionize your post-production workflow, solve problems for your team, and deliver the foundation for scale. Reach out to an EditShare rep today to learn more.
In my favorite opening to any filmmaking book, Edward Dmytryk, in his classic On Editing, tells this story:
It was the early 1930s. A very important guest, Baron Rothschild, was being given Paramount’s version of the Grand Tour. One of his stops was my cutting room, where I was asked to say a few words by way of defining my craft.
I was young and enthusiastic. Some twenty minutes later, as I paused for breath, the Baron smiled.
“It would appear,” he said, “that film editing is the art of filmmaking.”
I agreed, trying to ignore the twinkle in his eyes. Of course, I was then a film editor. A few years later, when I became a director, I would have probably changed my pitch-but not too much.
After working on nearly every part of the filmmaking process, I must say that “editing is making the movie.” Everything up to that is assembling the raw materials. But if filmmaking is akin to building a house, it is in the edit bay where the film is built.
Fundamental Editing Techniques
After over a decade of experience editing everything from 15-second social videos to narrative shows and feature-length documentaries, I wanted to write this article on the fundamentals of editing. The marketplace is full of jobs for “video editors,” but so many editors have never had the opportunity to study their craft in-depth. Many rely on graphic transitions and social trends without ever mastering the art of the invisible cut.
But if there’s one thing I know about editors, it’s that they love to learn. So this article attempts to lay a foundation for the fundamentals so that you can go beyond editing by feel and have a deep knowledge about why a cut is working.
#1 Cutting on action
The most basic technique of editing is cutting on action. An actor starts a motion in one frame, like lunging with a sword in a medium shot at :38, and a cut is made. The action is completed in the next shot which is a close up.
This technique works well because the viewer anticipates the action will be completed in the next shot. The edit can feel stunted and stagey if your cuts happen before or after the action. When you cut on action, the sequence will feel fluid, and the cut will be “invisible.”
A great book on this subject is The Invisible Cut, by Bobbie O’Steen. Sometimes you have large movements like the thrust of a word. Other times, you have to take advantage of more subtle movements like the turn of a head or shifting of an eyeline.
#2 J and L cuts
The concept of cutting on action can even be extended to audio. To smooth out a cut, you can have the audio of an incoming clip begin just before the video does. This produces a “J” cut. The incoming audio gives the viewer a little heads-up that they should expect to see a speaker in the next clip.
Think about a dialogue scene. If you were standing in a group with two other people having a conversation and one person was speaking, your attention would be on the speaker. If the other person spoke up, you’d hear their voice and then turn your head. This is a natural “J” cut, where you hear the audio before adjusting your view of the scene.
When editing an interview with two angles, cutting between them at the very tail end of the sentence can be helpful rather than waiting for the speaker to complete their final word to cut away.
The reverse of the J cut is the “L” cut. Sometimes, you want to cut away to some footage before the speaker finishes their line. This is especially helpful if the talent makes a funny expression or if you need to cut the line mid-sentence. An L cut can also do a good job of setting up the next scene or visual.
#3 Match Cut
Match cuts use a similarity between two shots to connect them. Match cuts are often planned in pre-production, but sometimes you can discover them in editing as well. This video by StudioBinder does an excellent job of showcasing many different kinds of match cuts. One of the most famous match cuts is in 2001: A Space Odyssey, where a bone is tossed into the air, and then the film cuts to a space station that is similar in shape.
Another match cut focuses on the audio. Music or a sound effect from one shot may continue into another, and it takes on a new meaning in that new context.
Motion match cuts take advantage of cutting on action (Technique #1) to connect two shots so that the action seems continuous, but the incoming clip takes place in a different location or is completed by a different character. Edgar Wright uses this technique in his films.
#4 Eye Trace
If you are watching an interview, your eyes are typically focused on the eyes of the subject. If you cut away to something else, your focus will start in the place where the subject’s eyes were. If the main subject of the new shot is in another part of the frame, your eyes take a moment to hunt around the screen for what they should pay attention to. This can result in a “jump cut,” If the incoming clip has the main subject in the same place on screen as the outgoing clip, you will have taken advantage of “eye trace.” Take a look at this video from Jay Lippman, who shows different ways to employ eye trace to produce smooth cuts.
As you can see, eye trace is an effective tool for combining cutting on action and match cuts. When you start layering techniques as an editor, you can really separate yourself from the pack. These kinds of edits are fun to watch and keep viewers engaged.
Eye trace is especially useful when you need to insert a cut into an interview that was shot on a single camera. If you punch from a medium angle to a close up you can line up the subject’s nearest eye in the same spot on screen. If you punch in over 30% it will not look like jump cut. You can hide the cut even more by doing it on a word, combining eye trace and an audio match cut.
If you punch in on an interview, it is helpful if the camera’s resolution is higher than the resolution for the final deliverable. For instance, shooting 4k for a 1080p deliverable. Or shooting 8K for a 4k deliverable. This will prevent a drop in quality in the final piece.
#5 Cutting on Blinks
Every editor should read Walter Murch’s classic book, “In the Blink of an Eye.” In this book, Murch (Editor for Apocalypse Now, The Godfather III, Particle Fever) dives into his philosophy of editing. And while you should read the book, I can summarize it by saying, cut on the frame just before someone blinks. Don’t cut while they are blinking, and don’t cut after the blink. This is because blinks seem to coincide with the completion of thoughts.
Murch theorizes that editing works precisely because people blink. We are producing little “cuts” all the time.
YouTube Channel This Guy Edits demonstrates the technique of cutting on blinks.
Murch has also pointed out that the audience will often synchronize their blinks with the blinks of actors. Using this method causes the edit, the actors, and the audience to all sync up to the same rhythm.
Conclusion
These five fundamental techniques are important for every editor to master. As you can see in the examples, they flow into one another and build on each other. Sometimes, you edit by feel and end up in a “happy accident” of a nice cut. But videos rely on dozens of cuts, and you’ll be more effective if you know why each cut is working or not. This knowledge becomes even more important if you are sitting side-by-side (or over a remote connection) with a director.
A director can ask for a cut and then wonder out loud why it isn’t working. When you have a working vocabulary of visual grammar, you’ll be able to instantly identify when a cut works and why it is awkward. This skill set can flow backward into more effective directing, storyboarding, and even screenwriting.
When you know the craft of editing, not just using an NLE, you become an incredibly valuable contributor at every step of the filmmaking process. You’ll be able to write for the edit, storyboard for the edit, direct for the edit, and shoot for the edit. And of course, you’ll be an absolute pro at the edit.
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.
As a video production professional, choosing the right video storage solution for your media assets is a crucial decision. While file and project sizes continue to grow exponentially, deadlines are continuously shrinking, so having a video storage system that can keep up with capacity demands while remaining fast, secure and cost-effective is essential.
In this article, we’ll examine the pros and cons of the two main options – cloud video storage and on-premise video storage – and look at the benefits of the hybrid solutions that combine both.
What is the difference between on-prem and cloud storage?
On-premise video storage is locally connected media storage such as individual hard drives and RAIDs, network-attached storage (NAS) or storage area networks (SANS) that are physically located at your facility and managed by your own IT staff.
The benefits of on-premise storage include the potential for air-gapped security, predictable costs and reliable performance. The downside to this kind of video storage is that the full expenditure is incurred upfront, your internal IT or creative teams must manage, backup and repair the system, and significant expansion requires additional costs and expertise.
Cloud video storage, however, is offsite, internet-connected media storage managed by an external third-party vendor. One of the main benefits of working with cloud storage for video production is that the cost is limited to a monthly subscription for the capacity used, negating the requirement for a lot of up-front cash.
That capacity can be rapidly expanded or constrained in tandem with current project requirements, leading to cost savings and overall efficiencies but also a more unpredictable monthly spend. Furthermore, the third-party vendor bears all management, servicing and infrastructure costs, which is often preferable for teams without this in-house expertise.
Hybrid video storage solutions aim to combine the best of both worlds into one integrated system. Fast, high-bandwidth local storage is used for active projects and workflows, while completed projects and non-urgent media are sent to the cloud for archiving. This combines the performance and simplicity of on-premise storage with the scalability and cost savings of the cloud.
What about remote access? For both on-premise and cloud video storage, remote access is possible, depending on the security and performance requirements of the video production team.
The Pros and Cons of On-Premise Video Storage
While there are many benefits to having all of your video storage on-premise, cloud storage is designed to overcome limitations and challenges. Let’s consider some of the pros and cons of on-premise video storage in more detail.
Pro – Full control over all hardware and software
One of the advantages of on-premise vs cloud storage is that you design and control the entire hardware and software architecture, selecting a system that best meets your specifications and overseeing maintenance and upgrades. You’re not at the mercy of an external vendor’s roadmap, business changes or downtime.
Pro – Predictable high-speed performance
Local hard drives and network-attached storage provide fast, reliable connectivity for high-bandwidth processes like multi-stream video editing. Unlike cloud storage for video editing, your read/write performance doesn’t suffer due to internet congestion, server loads or bandwidth limitations.
Pro – Enhanced security
Keeping your storage on-premise protects sensitive media files from being erroneously or maliciously accessed while on shared cloud infrastructure. Restricting physical access and air-gapping (disconnected from the internet) your media storage adds a further layer of protection.
Pro – No hidden costs
While on-premise storage comes with larger upfront costs than a cloud storage subscription, it also negates any hidden or unexpected expenses, such as egress fees, which occur when you move your data out of the cloud or surcharges enforced when you over-step your subscription limits.
Pro – Integration with legacy systems
Existing edit bays, asset management software and established video production workflows can often more easily connect to new on-premise storage without the need to re-construct the whole system, as everything is under your control and most often is largely plug-and-play.
Con – High upfront costs
Purchasing substantial video storage capacity as well as the switches, servers, and management software required to make it all function comes with a large capital expenditure. You’re also paying for all unused capacity from the start.
Con – Complex configuration and management
Even a medium-scale video storage solution requires some IT staff time for the initial design and integration, not to mention the ongoing administration and daily troubleshooting. This staff skill set also needs regular updating as technology and workflows evolve.
Con – Separate disaster recovery site required
A system for backing up and storing all of your media in a second physical location is needed to replicate and recover all of your data in the event of a disaster at your main premises. This necessitates purchasing yet more storage capacity and connectivity.
Con – Scaling requires overprovisioning
While you can work within the constraints of your initial storage capacity, adding further storage capacity requires purchasing it in large chunks and planning for the upgrade downtime. Running out of storage space will obviously impact the efficiency and productivity of your creative team!
Con – Dependence on locality
To get the best out of the system, users must be physically on-premise to access the media, while remote users often have comparatively limited connectivity and bandwidth. Even when remote access is established, staff are still required onsite to manage the physical devices.
Pros and Cons of Cloud Video Storage
While we are all used to working with cloud storage on a daily basis, from our Dropbox accounts to our iCloud photo backups, cloud storage that is capable of storing, managing and streaming or downloading large video files with the performance for real-time playback is a different beast altogether.
Here are some pros and cons to consider when using cloud video storage for modern video production workflows.
Pro – No infrastructure to manage
As part of your subscription fee, the cloud storage provider handles all of the necessary hardware, component upgrades, system maintenance and offsite backups, and instead, your team focuses on their creative work.
Pro – Scalability on demand
Adding further capacity to your cloud video storage account is as simple as clicking ‘upgrade.’ This has the added benefit of only paying for what you need when you need it and allows you to respond quickly to unexpected growth or capacity requirements.
Pro – Global availability
Storing your media in the cloud means it’s instantly available to authorized users anywhere in the world with an internet connection. This gives you access to a global talent pool, the efficiency of single-source asset management, and the potential for a creative team to work around the clock from different time zones—all without the need for setting up remote access VPNs for your on-premise storage.
Pro – Reduced disaster recovery costs
As cloud providers replicate their data storage globally by default, there’s no need to build and maintain a second offsite backup in case of disaster recovery. This is already done for you.
Pro – Lower initial costs
With no upfront expenditure on expensive hardware, there are no large CapEx purchases to wait and plan for. Costs move to OpEx, where subscription fees based on usage, storage capacity, and the number of seats needed are much more manageable from a cash flow perspective month-to-month.
Cons – Vendor dependence and lock-in
Once you choose a cloud video storage provider, you have no real control over that vendor’s policies, service charges, fee increases or business stability. Once a workflow has been established and a lot of media is stored online, switching cloud providers is more complicated.
Con – Variable performance
While most cloud video storage providers offer some form of performance guarantee, internet outages or service congestion are unpredictable. Also, each end-users experience relies on a range of factors, including their local internet connection strength and stability, proximity to the data center and local system spec.
Con – Limited integration options
While using cloud storage does open up the potential for some newer automated workflows and remote production capabilities, it is not always possible to integrate legacy apps with cloud storage or even with other online services and storage providers.
Con – Security risks
No matter how tight your security procedures, storing your valuable media online, especially in a shared cloud storage server you don’t control brings a level of exposure to a greater number of threats.
Con – You may end up paying more in the long run
If you store and maintain a substantial amount of video media in your cloud storage over a long period of time, your total cost of ownership (TCO) may end up exceeding that of on–premise storage. Services often charge egress fees for downloading data, for example, when making room online or moving it to cheaper archival storage like AWS Glacier.
The Pros and Cons of Hybrid Video Storage
If you decide to use a hybrid cloud and on-premise storage solution, you can get the benefits of both and avoid some of the limitations of either one, yet you will create some new challenges to consider.
Let’s examine the pros and cons of a hybrid video storage workflow.
Pro – Best of both worlds
The most obvious benefit of a hybrid video storage solution is that you’re set up to enjoy the strengths of both models, gaining the performance and security of on-premise video storage with the scalability and global reach of the cloud.
Pro – Elastic Capacity Management
Having your media stored in the cloud gives you the buffer to absorb the unexpected variable demands of different projects and the flow of projects over time, while your local storage can handle anticipated project requirements.
Pro – Reduced disaster recovery costs
By setting up an automatic cloud backup of your on-premise video storage, you can more affordably and easily manage both archiving and disaster recovery by creating an offsite duplicate.
Pro – Greater workflow possibilities
Modern video productions require a wide range of workflow capabilities, from high-performance local storage for demanding processes like color grading final high-resolution media or combing through terabytes of archival material to enabling a globally distributed creative team to manage assets and artistic responsibilities through shared media stored in the cloud.
Pro – Gradual transition path
Developing a hybrid storage model can be a simple and gradual process that doesn’t require wholesale reinvestment or scrapping existing workflows or hardware. When starting with local storage, it’s easy to add cloud storage for archiving. Or, when starting from a cloud platform, it’s easy to add local storage for more demanding tasks. This makes it easier to test the benefits of either solution before fully committing to either or both.
Con – Added complexity
One consideration of combining on-premises and cloud storage is that it does add a further layer of complexity to managing media files, user access permissions and deciding where files should live and for how long. Further complexity arises if files live in multiple locations at once rather than having a ‘single source of truth’ for all uses.
Con – Potential replication lag
If you have to move media files from local storage to cloud storage (or vice versa), a lot of data must be copied between locations, which can create a delay. This also requires the on-premises storage to have access to adequate bandwidth.
Con – Two sets of storage to purchase and pay for
With the costs of a cloud subscription, on-premise infrastructure and software, the hybrid model may be more expensive in combination than leveraging a single platform.
Con – File management training
Having worked at a few facilities that had their own unique way of doing things when it comes to file management, and sometimes, in fast turn-around environments, management goes out the window – educating your users on where to store their files or where to look for the right files becomes all the more important – otherwise you end up wasting either time or storage capacity.
Con – Partial vendor dependence remains
While there are many benefits to a hybrid workflow, one consideration when choosing a cloud storage provider for that workflow, is that you will be locked into a dependence on them.
How to choose the best cloud video storage solutions for your needs
Determining the ideal storage solution for your video workflows depends on several key factors:
Bandwidth needs – High-speed on-premise storage is best for multi-stream 4K editing, while remote teams will need cloud or VPN connections.
Scalability requirements – The cloud offers the most flexibility for rapid growth.
Budget – While the cloud has lower startup costs, on-premise storage can offer TCO savings at larger capacities.
Security – Contractual requirements may require on-premise storage for sensitive footage and projects.
Team skills – The cloud reduces the need for dedicated storage admins and IT professionals.
Disaster recovery – The cloud’s built-in redundancy makes backups easier to manage.
Growth plans – A Hybrid solution can future-proof on-premise expansion with cloud filling in the gaps.
The best way to evaluate your needs is to take an in-depth look at your current infrastructure, workflows and pain points, then calculate the total cost of ownership for an on-premise vs cloud video storage solution over a 3-5 year timeframe. Ask your creative team for their opinions and try to road test potential solutions in a small way where possible.
With the right strategy tailored to your situation, you can build a storage setup that keeps your creative work flowing while staying within budget and IT constraints. The goal for the optimal solution will be to transform how your team collaborates and unlocks greater productivity and business potential.
FAQ about on-premise storage vs cloud storage
Which storage solution is better for you?
How much do storage solutions cost?
How secure is each solution?
How reliable is each solution?
How scalable is each solution?
How easy is it to manage your storage?
How easy is file-sharing or real-time viewing?
What are the potential drawbacks of relying solely on one storage for a business?
What are the key considerations for implementing a hybrid storage solution, and how does it address the limitations of both on-premises and cloud storage models?
Which video storage solution is better for you?
The best storage solution is a hybrid cloud and on-premise storage model for performance-intensive workloads with cloud storage for scalability and broader access. The high-speed local area network would enable smooth video editing and collaboration, while the cloud side would allow remote team members to access files from anywhere. The cloud capacity would also help manage spikes in storage demand. This hybrid approach delivers a solid mix of control and reliability with on-premise along with the flexibility and global availability of cloud.
How much do the storage solutions cost to use?
Cloud storage has a lower startup cost since it avoids major capital expenditures on hardware and software. Monthly subscription fees based on limited usage are more predictable. On-premise storage requires large upfront investments in storage, servers, networking equipment and more. But at scale the ongoing costs of cloud data egress fees can make on-premise more cost effective in the long run.
How secure is each solution?
On-premise storage keeps data isolated within a controlled environment, reducing exposure to external threats like hackers or ransomware. Control over physical access and air-gapped networks ensures high security. Cloud storage, however, involves some additional risks since data resides in a multi-tenant environment while being stored on a shared server. Most cloud providers offer robust security measures, vetted by the media industry, but security is always a concern when data leaves the premises. A hybrid solution provides strong isolated security for the most sensitive files, along with the convenience of cloud access for low-risk assets.
How efficient is each solution?
Cloud storage enables great access efficiency by allowing authorized users to access files from anywhere with an internet connection, avoiding the need for remote access VPNs back to the local network.
However, the performance efficiency of cloud storage can suffer from variability based on internet traffic levels. On-premise storage offers consistent and predictable high-speed performance thanks to dedicated local networks, especially valuable for bandwidth-heavy video editing work. A hybrid configuration puts performance-sensitive workflows on reliable on-premise storage while leveraging the global accessibility of the cloud.
How reliable is each solution?
On-premise storage has higher reliability since its performance depends on a controlled local network rather than the open internet. Latency and congestion on the public and local internet connection can inhibit access to cloud video storage. However, cloud services tend to have very durable underlying infrastructure with lots of redundancy to minimize downtime risk, as this is an essential part of their business offering.
How scalable is each solution?
The cloud is extremely scalable, allowing storage capacity to be increased essentially instantly through a web dashboard rather than waiting for fresh hardware deliveries. Cloud services are designed for massive scale to handle demand spikes and growth surges that would overwhelm on-premise infrastructure.
On-premise storage requires purchasing and installing larger capacity systems in chunky increments to scale up gradually. The combination of the two enables core consistent storage needs to be handled on-premise while leveraging the cloud to absorb surges in requirements.
How easy is it to manage your storage?
Cloud services are much easier to manage since the provider takes care of all hardware, software, troubleshooting and maintenance behind the scenes. So your creative team can focus on creative work rather than storage infrastructure.
On-premise storage requires dedicating skilled IT staff to architect, integrate, administer, optimize, and upgrade storage systems on an ongoing basis.
How easy is file sharing or real-time viewing?
Cloud video storage’s global accessibility makes sharing and collaboration very straightforward for distributed teams. It allows access from anywhere with credentials as long as the video storage platform supports this functionality.
However, the ability to view high-resolution media files in pristine quality, smoothly in real-time, such as in a color grading suite, depends heavily on having consistent high network bandwidth, something on-premise storage excels at.
What are the potential drawbacks of relying solely on one storage for a business?
Depending on only cloud or only on-premise storage increases vulnerability. If the cloud goes down, all workflows halt without the backup of a local system. Disaster recovery becomes very difficult if local hardware fails or is destroyed without off-site backups.
Blending the two provides contingency options to mitigate risk – essential data is protected on-premise through RAID-level redundancy, with archives and overflow capacity stored in the cloud. A hybrid solution means an outage in one environment won’t cripple overall operations thanks to the redundancy and flexibility cloud and on-premise storage can provide each other.
What are the key considerations for implementing a hybrid storage solution, and how does it address the limitations of both on-premises and cloud storage models?
The keys to an effective hybrid implementation are ensuring adequate bandwidth between environments, thoughtfully integrating workflows and applications across cloud and on-premise boundaries, and designing cost-effective disaster recovery.
The hybrid approach helps overcome the inherent limitations of a single storage model. The cloud side provides scalability and geographic diversity missing from pure on-premise. The local side offers reliability, performance and control lacking in pure cloud deployments.
Together they can complement each other and side-step the weaknesses of either standalone option.
Transforming innovations in workflow, server and delivery from storyboard to screen
Boston, MA, 24 May 2024 — EditShare, the technology leader that enables storytellers to create and manage collaborative workflows at every stage from storyboard to screening, will use its presence at BroadcastAsia 2024 (stand 6G2-10, Singapore Expo, 29 – 31 May) to highlight the creative, economic and productive benefits of its unified approach to content management. The presentation will show EditShare’s scalable and collaborative solutions for media across multiple premises, cloud and hybrid implementations, focusing on ease of operation and security of content.
EFS, the EditShare media storage architecture, has now been boosted with the addition of EFS NVMe, adding the high performance, high bandwidth solid state technology as another building block. For demanding creative applications – like DPX, OpenEXR, 4k, 8k and beyond – EFS NVMe provides throughput three times faster than previous generation SSD servers, while still being integrated with and managed by the overall EFS environment, including traditional servers, nearline storage, archives and the cloud.
MediaSilo, the video collaboration platform for sharing work in progress, sees enhanced review functionality, including side-by-side version comparisons, and more facilities for making, tracking and acknowledging comments and sign-offs. To provide protection when sharing review material, MediaSilo incorporates visible and forensic video watermarking as well as image and document watermarking, dynamically inserting customizable viewer information into the file. The result is a secure but effective way of distributing all assets, including scripts, casting shots and marketing materials as well as content.
Improved security, along with more branding customization and in-video logo watermarks are also among the enhancements for Screeners.com, the preferred press screening platform widely used by major studios and production companies worldwide. Reviewers will see an enhanced OTT-style experience, with improved content recommendations, watchlists and expiry notifications.
“From the foundation of EditShare, 20 years ago, our overriding aim has been to give creators the tools they need to make and deliver great content, without tying them up in technology,” said Tara Montford, EVP Sales and Co-Founder at EditShare. “That still drives our thinking today, and we continue to innovate as we strive for those goals. We allow open interworking with the creative tools users really need, providing the platform for truly end-to-end workflows from script to screen; and we protect it all through excellent security.”
Visitors to BroadcastAsia will discover all the latest enhancements to EditShare products, like FLEX Sync which provides powerful tools to sync with services like Amazon S3, Wasabi and Backblaze, and the new EditShare One Organize module, ensuring users can easily identify assets whether they are stored locally, remotely or in the cloud.
Find out more on stand 6G2-10 at BroadcastAsia 2024, or visit www.editshare.com
About EditShare
EditShare is an Emmy Award-winning technology leader, supporting storytellers through collaborative media workflows across on-premise, cloud and hybrid architectures. The market-leading open software solutions and robust APIs improve workflow collaboration, third-party integrations and content sharing across the entire production chain. Designed specifically for media applications, the high performance line-up provides shared storage, archiving and backup, and intelligent media asset management.
Through a merger with Shift Media, EditShare now also integrates tools for content review and distribution, the creation of customised and branded pitch reels, and secure preview of high-value pre-release content.
Beyond storage with workflow, server and delivery solutions from storyboard to screen
Stand S1-E20, CABSAT, Dubai World Trade Centre, 21 – 23 May 2024 — EditShare, the technology leader that enables storytellers to create and manage collaborative workflows at every stage from storyboard to screening, is celebrating its 20th and CABSAT’s 30th anniversaries by bringing its latest remarkable advances to the MENA region (stand S1-E20, Dubai World Trade Centre, 21 – 23 May). Visitors will see the breadth of coherent solutions from EditShare, bringing benefits beyond storage, from storyboard to screen.
EFS, the EditShare media storage architecture, has now been boosted with the addition of EFS NVMe, adding the high performance, high bandwidth solid state technology as another building block. For demanding creative applications – like DPX, OpenEXR, 4k, 8k and beyond – NVMe provides throughput three times faster than previous generation SSD servers, while still being integrated with and managed by the overall EFS environment, including traditional servers, nearline storage, archives and the cloud.
MediaSilo, the popular tool for sharing work in progress, sees enhanced review functionality, including side-by-side version comparisons, and more facilities for making, tracking and acknowledging comments and sign-offs. To provide protection when sharing review material, MediaSilo incorporates visible and forensic watermarking, dynamically inserting customizable viewer information into the file. The result is a secure but effective way of distributing all assets, including scripts, casting shots and marketing materials as well as content.
Improved security, along with more branding customization and in-video logo watermarks are also among the enhancements for Screeners.com, the preferred press screener widely used by major studios and production companies worldwide. Reviewers will see an enhanced OTT-style experience, with improved content recommendations, watchlists and expiry notifications.
“It’s great to be able to share major milestones with CABSAT: our 20th, the event’s 30th,” said Vincent Eade, RVP sales EMEA at EditShare. “Our goal has always been on freeing creators so they can concentrate on making great content, we do this by providing the storage and workflow tools they need along with a secure way of collaborating on projects and sharing material, all the way from ingest to screen.”
“I’ve had the privilege of attending CABSAT many times,” Eade continued, “and I know that it is a great opportunity to have detailed, positive conversations with the industry. That helps us set our own development plans, so we can deliver even better solutions in the future.”
EditShare staff will be on hand at CABSAT to talk about all of the latest enhancements, find out more on stand S1-E20 at CABSAT, or click here to get in touch.
About EditShare
EditShare is an Emmy Award-winning technology leader, supporting storytellers through collaborative media workflows across on-premise, cloud and hybrid architectures. The market-leading open software solutions and robust APIs improve workflow collaboration, third-party integrations and content sharing across the entire production chain. Designed specifically for media applications, the high performance line-up provides shared storage, archiving and backup, and intelligent media asset management.
Through a merger with Shift Media, EditShare now also integrates tools for content review and distribution, the creation of customised and branded pitch reels, and secure preview of high-value pre-release content.
Workflow, server and delivery solutions from storyboard to screen
Stand D40, London Olympia, May 15-16, 2024 – EditShare, the technology leader that enables storytellers to create and manage collaborative workflows at every stage from storyboard to screen, is exhibiting at the 2024 Media Production & Technology Show to showcase its unified approach to content management. The demonstration will show EditShare’s scalable and collaborative solutions for media across multiple premises, cloud and hybrid implementations, focusing on ease of operation and security of content.
EFS, the EditShare media storage architecture, has now been boosted with the addition of EFS NVMe, adding the high performance, high bandwidth solid state technology as another building block. For demanding creative applications – like DPX, OpenEXR, 4k, 8k and beyond – EFS NVMe provides throughput three times faster than previous generation SSD servers, while still being integrated with and managed by the overall EFS environment including traditional online servers, nearline storage, archives and the cloud. Attendees at the Media Production & Technology Show will have the exclusive opportunity to experience a live demo of this cutting-edge technology firsthand.
MediaSilo, the premier video collaboration platform trusted by the biggest names in entertainment, sees enhanced review functionality, including side-by-side version comparisons, @ user mentioning, and range-based commenting to provide feedback on entire scenes. To provide protection when sharing videos for review, MediaSilo incorporates visible and forensic watermarking, dynamically inserting customisable viewer information into the file. Now MediaSilo also offers image and document watermarking, protecting non-video content including scripts, casting shots and marketing materials.
Also, MediaSilo is now seamlessly integrated with Atomos’ pioneering cloud-connected range of camera-mounted monitor-recorders, offering attendees a firsthand view of this innovative collaboration. Camera to Cloud workflows accelerate the creative process by shrinking the capture-to-edit timeframe, enabling editors to begin working on media instantly instead of waiting for hard drives or delayed file transfers. The Atomos MediaSilo integration elegantly unlocks these capabilities. Additionally, MediaSilo creates dynamic review links that automatically update as more footage is shot, providing external collaborators with one destination for feedback.
Improved security, along with more branding customization and in-video logo watermarks are also among the enhancements for Screeners.com, the preferred press screener widely used by major studios and production companies worldwide. Reviewers will see an enhanced OTT-style experience, with improved content recommendations, watchlists and expiry notifications.
“EditShare was formed 20 years ago now, and from that day to this our sole focus has been on freeing content creators to exercise their craft and not worry about the technology,” said Tara Montford, Co-Founder and EVP of Sales at EditShare. “That still drives our developments today, and we continue to innovate as we strive for those goals. We allow open interworking with the tools users really need such as editing software; we provide the platform for truly end-to-end workflows from ingest to screeners; and we protect it all through excellent security,
“Our direction is set through a deep understanding of our clients and their needs, so events like MPTS are vital in building and maintaining those relationships,” Montford added.
Staff will be on hand on stand D40 at MPTS to talk about all of the latest enhancements to EditShare products, like FLEX Sync which provides powerful tools to sync with services like Amazon S3, Wasabi and Backblaze to create an automated but completely secure, completely reliable backup system.
EditShare is an Emmy Award-winning technology leader, supporting storytellers through collaborative media workflows across on-premise, cloud and hybrid architectures. The market-leading open software solutions and robust APIs improve workflow collaboration, third-party integrations and content sharing across the entire production chain. Designed specifically for media applications, the high performance line-up provides shared storage, archiving and backup, and intelligent media asset management.
Through a merger with Shift Media, EditShare now also integrates tools for content review and distribution, the creation of customised and branded pitch reels, and secure preview of high-value pre-release content.
