MediaSilo Panel for DaVinci Resolve Studio and Adobe® Premiere® Pro
Reuben Evans, Blade Ronner Media
MediaSilo’s panels for Adobe Premiere Pro, After Effects and DaVinci Resolve Studio* make uploading a breeze
Sometimes, at the end of a long editing session, you just want to hit “export” and call it night. But everyone has experienced waiting for exports to complete, then initiating an upload to a review platform, and then waiting for that to complete. Then, you have to wait for the transcode to complete. Then, you have to ensure it plays right and the watermark is applied. Then, you have to send emails to producers and directors. Next, you wait for their comments.
The next day, editors try to figure out how to match the comments from emails back into their timelines. Then, you have to be careful because making changes affects the timecode, which throws off another set of comments where a reviewer typed in the timecode in a Slack message. And so on.
MediaSilo’s Panels for Premiere Pro, After Effects and DaVinci Resolve Studio solve this whole mess for editors. Let’s investigate the panels and see how they can save you time and grief.
MediaSilo Panel for Premiere Pro and Resolve
The MediaSilo panel gives you access to assets in MediaSilo right within your NLE. It also allows you to export a timeline with a single click and have it uploaded into the right project folder on MediaSilo. You can choose your upload settings and identify the people who need to be notified. Once the team has made notes in MediaSilo’s review mode, you can immediately import those comments as markers into your sequence.
Those features streamline so many manual steps in the review and approval process. Basically, the MediaSilo panel gets you home in time for dinner.
DaVinci Resolve Studio
Once the panel is installed, Open DaVinci Resolve Studio and go to Workspace -> Workflow Integrations -> MediaSilo. A floating window appears with your projects. It uses a helper app called “Electron,” so don’t quit it. Your assets appear in the projects. When you float your mouse over each asset, you can preview (Resolve only), download, create a new version, or Open in MediaSilo.
Premiere Pro
Install the MediaSilo Panel from the Creative Cloud desktop app. Go to “Stock & Marketplace” and search for MediaSilo. Once the extension is installed in Premiere, open the Window menu > Extensions > MediaSilo.
After Effects
Install the MediaSilo Panel from the Creative Cloud desktop app. Go to “Stock & Marketplace” and search for MediaSilo. Once the extension is installed in After Effects, open the Window menu > Extensions > MediaSilo.
Downloading assets into your project
If you want to include one of your MediaSilo assets in your local project, just drag it into the media. If you prefer to download a proxy version, click the download icon and select “Proxy” from the drop-down menu. Proxies are smaller, lower-resolution versions of the original footage. They are handy when you are putting together a rough cut. And when your project is ready for color grading, you “conform” it to the original, high-resolution clips.
Exporting your timeline directly to MediaSilo is a breeze with the panel. Once you’ve completed your cut, click “Export Timeline” (Premiere says, “Export Sequence”) in the MediaSilo Panel. The “Export Sequence/Timeline” window opens up. You can choose your encoding preset based on your needs. Sometimes, you need the highest quality version to go up, and sometimes, you just need a lower-resolution version for quick approval. Choose the whole sequence or just from the In/Out points. You can specify a title and add a description that will appear in MediaSilo.
“Upload Location” is the next option. Start typing the project name, folder or asset with which this upload should be associated. This step is important because an editor may work on projects with different security levels.
The “Recipients” field saves you the hassle of waiting for an upload to complete before notifying reviewers. Enter the names of the individuals who need to receive a review link, and they will be notified once the asset is ready for viewing.
Create a new version of your timeline
Typically, when I’m ready to output a new version of an edit, I export it from the timeline. If the service I’m using for review and approval (non-MediaSilo) keeps track of versions, I usually just cross my fingers and hope it picks up on the new file coming in. Most of the time, I just append a “v2” or “v3,” and then manually identify it as a new version once the upload has completed. Then, I send a message to alert the reviewer.
The MediaSilo panel takes a different, more efficient approach. This feature is so simple that it took me a moment to understand how it works.
This process applies if you have already exported your timeline once and you need to export another version after some changes have been made. Select the clip in the panel and click on the button to share a new version.
This will bring up the export window. Rather than simply exporting the asset, all these options are designed to help you streamline creating a new version of the asset. This way, you can give the new version its own title, and MediaSilo will keep it associated with the initial version. This means the links that you have previously sent out will continue to work.
You can even change the access on the new version, and reviewers will be notified when it is ready. You’ll also receive a notification when they view it. This little box saves so many steps in the process of exporting compared to the process I outlined at the beginning of this section.
Encoding Presets
The encoding presets section allows you to choose the resolution for your upload. Sometimes, you need to get a change up quickly or share a low-quality version with a collaborator. So you can choose a lower-resolution setting. If you need to upload at a higher quality, choose your “current render settings.”
Watermarking and security
If you have watermarking turned on with your project, that will get automatically applied in MediaSilo. This is really helpful for editors because they don’t need to turn on and off a watermark within their NLE. In addition to the visible watermark, MediaSilo supports forensic watermarking with SafeStream. This technology ensures that any leaks can be traced back to their source.
MediaSilo also supports the ability to use your own custom email server for email notifications and 2-factor authentication — to ensure an even higher level of security.
Support articles
MediaSilo offers support articles for Resolve, Premiere and After Effects that show you how to install and use the panels in detail.
Conclusion
The MediaSilo panels in DaVinci Resolve Studio and Adobe Premiere Pro will save you time and energy. They help to make collaboration, review and approval a much more streamlined process.
*Note: The MediaSilo + DaVinci Resolve Studio integration is only available on the DaVinci Resolve Studio paid tier. You can find their pricing here.
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When you send large video files, you can encounter all sorts of challenges. When your team is collaborating on a video project, you often have to send multiple versions, track review and approval comments, and make sure everything is secure. However, video collaboration workflows are more demanding than your typical cloud-based file-sharing workflows. This can be even more challenging when the creative team and the IT team propose different solutions for sharing video files.
Here are 10 of the top ways to share large video files and their pros and cons. I’ll also share things I wish IT knew about the unique demands of video review and approval processes. So, let’s dig in to find out which solution is best for your video collaboration workflow.
WeTransfer
WeTransfer’s simple interface makes it easy to share files up to 2GB. To upload larger files, you’ll need to upgrade to Pro or Premium.
WeTransfer uses a web browser interface for uploading. With some browsers, like Safari, you can run into an issue where the browser will time out before your large upload is complete. This isn’t the case when apps feature an app that installs on your local machine.
While WeTransfer Pro does a great job of sharing your final exports in the delivery phase of your project, it lacks review and approval features, so it might not be the right tool for collaborating during the post-production phase.
The other major drawback is that WeTransfer does not recover well from an interrupted file transfer. You’ll need to re-initiate if your transfer is interrupted (maybe due to a bad WiFi connection). If your upload is a large file, this can mean a significant amount of lost time, and you still won’t know if it will complete on a second go-around.
Dropbox
Dropbox is well known for its ability to sync files between the cloud and your various devices. But since DropBox Business Plus caps file sizes at 250GB, it runs into similar constraints as WeTransfer Pro. DropBox does feature “Replay,” which allows for commenting on videos, but it is not available on the least expensive plan. Additionally, the replay feature is limited to 10 file uploads on their top plan.
While Dropbox offers reliable syncing, it can be confusing when working with two different organizations. It tends to demand that both parties upgrade. That makes it confusing when you are trying to figure out who is hosting which files. A common question that arises is, “If I delete this file on my computer, will it vanish from yours?”
Post-production professionals need to know that they can deliver files without confusing mismatched subscription tiers between vendors. So, if you find yourself dealing with multiple projects and multiple clients, getting everyone to collaborate through Dropbox is a tall order.
Box
Box enjoys a solid reputation for handling lots of smaller files well. Their lowest tier caps file sizes at 250MB. (The highest tier caps out at 150GB per file). This gives you an idea of where their emphasis lies. There are no review or commenting features associated with videos.
Box is a great example of the difference between typical workflows that IT supports vs. media workflows. While an IT team may be accustomed to supporting petabytes of small files, this is different from workflows that have a smaller overall footprint, but the individual files are larger.
Google Drive
Google knows how to sync and send large files. Google Drive is inexpensive and reliable. Google offers a web interface and a downloadable app that syncs locally. The downloadable app is more reliable than the web interface for large transfers.
However, by many accounts, Google Drive is slower than Dropbox. My personal experience is that Google will eventually get your file uploaded. But sometimes, you can run into a frustrating scenario where interrupted syncs hang. This causes Google to stall out until Google Drives figures out that a file has been moved or renamed. This can put a halt to your other uploads.
Google also changed how sharing works between paying and free users.
If everyone within an organization is on a paid tier, then file sharing works well. But if you are sharing between organizations, Google will basically push both sides to upgrade. It is frustrating because you cannot know whether the person on the other side of the share has a paid account. I just ran into this a couple of weeks ago. I had a paid version, and the other team had free accounts (but I didn’t know this). The other team had to get their CEO to join the shared folder to accept my shared folder because he had a paid account.
Post-production pros need to know that the delivery of their assets is friction-free. You don’t want your client hit with promotional “nag-ware” when you are trying to deliver your final assets.
OneDrive
Microsoft enjoys a solid reputation with IT teams for good reason. Their products cater to the needs of corporate users. Microsoft places an emphasis on security and integration with Windows.
However, OneDrive is not oriented toward post-production. It lacks features oriented toward video review and approval and version tracking. This makes it a good solution for sharing graphics and project files, but it isn’t great for managing video projects.
Vimeo
Vimeo has been the champion for preserving video quality for films delivered to the web. Vimeo is a great tool for the distribution of assets online, where video quality trumps workflow efficiency. It works well for embedding your finished project on your website. In the past few years, Vimeo has also been adding collaboration, AI, and live-streaming features.
However, in my personal experience, I have found uploading to Vimeo painfully slow. Transcoding also seems to take longer than other services. It will be interesting to see if Vimeo’s performance can keep pace with their aspirations.
Resilio
Resilio uses P2P technology to facilitate the syncing of large files between multiple collaborators. This is a powerful technology, but it does require the app to be installed on the computers of both the sender and the recipient. This means Resilio is a nice solution for frequent collaborators. However, it’s really a no-go for client work where somebody just wants to click a link, quickly compare versions, and leave some comments.
Frame.io
Adobe’s frame.io platform is a popular solution for review and approval. It features integration into popular NLEs, and tools for managing versions. Adobe is working to incorporate AI features into frame.io as well.
However, my experiences with frame.io over the past year have been challenging. They’ve acknowledged these challenges and reported that they are working on an overhauled version of their software.
Infrastructure solutions: Aspera, Signant, and EditShare EFS
IBM Aspera and Signant Media Shuttle are robust solutions that integrate your team’s IT infrastructure. They’re often used by broadcasters to move large files. However, many teams are finding challenges with these solutions. And they are expensive.
EditShare EFS has built-in file acceleration for large transfers from one EFS system to another. This can be particularly advantageous to customers who have multiple facilities and the transfer software is included in the standard EFS license – no additional costs are involved.
MediaSilo
MediaSilo delivers a platform designed specifically to tackle the challenges of video collaboration. It integrates right into Adobe Premiere Pro and DaVinci Resolve. This allows editors to save huge amounts of time when exporting, uploading, and versioning.
MediaSilo allows users to upload through the browser or the desktop app. MediaSilo’s robust uploader gives you real-time feedback on the speed and progress of your uploads. If you’re connection is interrupted, MediaSilo does a great job of completing the transfer when you are reconnected. It is also easy to cancel an upload and clear the queue. This avoids the hangs and syncing issues that other solutions run into.
The SafeStream technology ensures that assets can be forensically tracked to individual users, and watermarks deter IP theft.
MediaSilo’s review and approval tools allow for easy commenting and versioning. This helps everyone on the team to know if specific notes have been addressed. It is easy to send your collaborators a MediaSilo link, and they don’t have to worry about having an account, what tier they are on, or sync settings. MediaSilo’s strength is wrapping powerful features in a simple interface. If you need to send a collaborator a video file for review, it doesn’t get easier than MediaSilo.
Conclusion
Moving around massive video files is a challenge without the right tool. Sometimes, you just need to send someone a file, but other times, you need to gather notes, compare versions, and intelligently group assets. Video files present challenges that are different from syncing a bunch of documents. Tools like MediaSilo, and EditShare EFS can smooth out your workflow and simplify remote collaboration.
Data breaches are costly – creatively and financially. Trust your content to a product that values data security. With just a few clicks, you can easily protect pre-released or confidential content, ultimately protecting creative impact and revenue potential.
Users can now watermark images and documents with email, name and/or custom text with SafeStream technology at the Workspace, Project or Review Link level. Whether you’re trying to protect scripts, key art, screenplays or call sheets, we help keep your projects safe and sound. Sleep better knowing you don’t have to worry about waking up to a catastrophic content leak.
Apply Watermarking Requirements to Your Workspace
As an administrator, you can require visible image and document watermarking for every new project created in your workspace.
Start by clicking the gear icon in the left-side navigation bar, which will take you to the Administration page. In the SafeStream tab, select Watermark Settings from the menu to open your workspace-level watermark settings. Now, toggle on Apply Visible Image and Document Watermarking.
Next, use the dropdown menus under Image Template and Document Template and select your default watermark template to apply to new projects. You can choose a template that displays a viewer’s full name and email address, the viewer’s email address only or a custom template created for your workspace.
On all templates, the watermarks will be displayed in a “wallpaper” format, which repeats diagonally across the entire image or document.
Apply Watermarking to a Project
You can apply visible image and document watermarking to all images and documents inside a project, provided the files match our list of supported file types.
From the project settings, a project owner or administrator can find watermarking options in the SafeStream tab. Simply toggle on the Apply Visible Image and Document Watermarking tab and use the dropdown menu to select the template you want to apply to the images and documents in this project. Whichever template you choose, the viewer’s identifying information will be displayed in a “wallpaper” format, which repeats diagonally across the entire image or document.
Apply Watermarking to Unwatermarked Files in a Review Link
Applying watermarks to images and documents at the Review-Link level allows you to protect select items you’re sending without using those watermarks on the entire project.
Click the Advanced button in the bottom left in the Share for Review window, and toggle on the Apply Visible Image and Document Watermarking tab in the Watermarking section. The default templates chosen by your administrator will display automatically. You can keep these selections or choose a different template. Whichever template you choose, the viewer’s identifying information will be displayed in a “wallpaper” format, which repeats diagonally across the entire image or document.
If these watermark templates display a viewer’s identifying information, you must enter link recipients in the Audience tab on the left side of the share window.
Your choice of watermark template can affect the link’s Access setting.
If a watermark displays the viewer’s name, you must select Workspace users and enter workspace users as recipients.
If a watermark only shows the viewer’s email address, then you have the additional access options of Public and Password protected. When you select Public or Password protected, you can enter any email address in the recipients field, even if that email does not belong to your MediaSilo workspace.
For more detailed information, please visit our support page or contact us at sales@mediasilo for a demo.
Curating Innovative Story-Telling
AMP Creative is an independent agency, based in Dallas, that aims to bring a fresh approach to corporate learning and communications. Recognizing that simply putting a lecture on video is not going to engage anyone, they develop unique, tailored solutions that use the latest techniques to create packages that are immersive, attractive and compelling – while also getting across important messages.
The company’s roots lie in video production, with that experience and excellence drives much of their work. Their role is to find the compelling narratives and convey them in the most appropriate way.
As a successful business, AMP Creative has generated a lot of content over the years, and managing and maintaining work in progress and archives has been important. From early in the business’s lifetime it has relied on EditShare hardware to provide secure storage and archiving, along with content management using FLOW software.
Into The Cloud
Then along came COVID. AMP Creative moved its own operations into the cloud, allowing its large team to work remotely. With its clients also being forced into new working practices, the need for communications was greater than ever so AMP had to find a way to keep providing their signature services.
While it was simple to move AMP Creative business functions to the cloud, it became clear that they need to move their production capabilities, too. They turned to EditShare to see how their proven editorial workflows could be modified for the new environment.
The response, they were happy to find, was that EditShare was already there, and had a fully developed and ready to run cloud environment. FLEX provides the same comfortable, familiar environment of EFS storage and FLOW media management, with the same ability to manage content and projects so the creative teams can concentrate on delivering great material.
FLEX provides all this functionality as a cloud-native package. It goes further than that, by supporting editing in the cloud – where the familiar software tools run in the same remote environment as the content storage – and by automating all the necessary transfers.
AMP uses Adobe® Premiere® Pro as its preferred edit platform. FLOW fully integrates with Premiere Pro, putting project cloud storage into pre-prepared bin structures so editors are working just as they always have, with no need to learn complex communications and interconnectivity.
Remote Working
To optimize for cost, AMP Creative opted for a hybrid option of Proxy Editing using local workstations and conforming to the high resolution with using virtual GPU-powered workstations deployed in AWS. This allows remote editors to utilize their existing workstations for editing against lightweight proxy video and then use power rendering capabilities in the cloud. Proxies are automatically generated by intelligence within FLEX, which ensures each editor’s workstation is ready to go with high quality, frame accurate proxies. Projects and additional material can be easily uploaded to the cloud using CloudDat file acceleration from EditShare partners Data Expedition.
This has proved to be highly effective: editors are working in exactly the way they always have; producers have excellent oversight of projects; and clients receive excellent materials in a timely manner.
Transformation
For AMP Creative, the transformation is that it has closed down its traditional server room. This is a big saving in equipment, maintenance and real estate which is a major boost to the business. The company was already an experienced AWS cloud user, so the need for training for IT staff was minimal, as was the training requirement for creative staff who were seeing the same environment as before. EditShare was pleased to provide the necessary support to get AMP up and running.
The effects of the pandemic were transformational for many individuals and businesses. AMP Creative recognized it as an opportunity to take a major step forward in the way their creative storytelling was facilitated. EditShare FLEX made it simple and practical to move completely to a hybrid and remote operation.
The Royal National Theatre – more usually referred to as the National Theatre, the National or just the NT – is one of the UK’s best known theatre venues. Founded in 1963, the reach and influence of the National has extended over the last 15 years beyond its concrete building on London’s South Bank. This is in part due to NT Live, the cinema programme of multi-camera captures of productions, distributed by satellite or DCP, to over 700 UK sites and more globally. Making the arts more accessible to a wider audience.
During the covid pandemic the National Theatre’s live performances were suspended but they adapted by creating the NT at Home streaming service. Initially it started as a program of free streams on YouTube with the full NT at Home SVOD service launching in December 2020. During this time the National Theatre discovered inefficiencies in the infrastructure when faced with a large increase in captured content, so they needed to look at the addition of post production storage. Central to this was the installation of an EditShare EFS 300 storage system, which was designed and implemented by Tyrell.
“When the pandemic hit, we were no longer able to capture new material and the cinemas were closed as well,” comments Jim Cross, Senior Post Production Manager, National Theatre. “But part of our Arts Council remit as a publicly funded organization is to bring theatre to our audiences. Because of this we started putting out productions free on YouTube, which became the NT At Home platform. To support that we went from a team of 15 to now nearly 60 people, who now work on the dual delivery of NT Live for cinema and purpose capture for NT at Home.”
Cross explains that these services along with the requirement to promote shows in the theatre, as well as the rise in the volume of work for the internal learning department meant their workload increased significantly. As a result, both the production/post-production and archiving departments realised the three legacy servers that had been used since the mid-2010s were no longer suitable for the increased demands being put on them. “It was very hard drive-based, with IT ‘non-video’ servers that weren’t specifically for media,” he says. “And these days we do less live satellite, we do more full post-production workflows in house, including editing, mixing and grading, so we needed a more dynamic, powerful and robust solution.”
This has meant there is a lot more media moving around and being worked on by the edit team, which has doubled in size in the last three years. Cross explains that by the end of 2021 the increased workload meant the NT was beginning to run out of storage. “During the covid pandemic everyone was working from home and shuttling hard drives back and forth,” he says. “We knew we were going to come back into the building, but it became very obvious we needed near-line, hot storage. A NT Live show takes on average 4 terabytes of storage and it would take three, four or five hours to ingest that. Now with EditShare EFS we can do it in just 45 minutes.”
The NT’s digital content is archived using the Preservica cloud-based platform and although that is a self-contained operation, it needed to connect to any new near-line storage set-up in a more efficient way than previously. “Historically there wasn’t such a smooth workflow process around getting material from the digital media team into the archive involved a lot of local knowledge on the part of the editors, producers and me,” comments Post-Production Archive Manager Zoe Bowers, who describes herself as sitting between the digital media team and the archive. “The move towards the new EditShare system came in tandem with thinking we all needed to know where content is so we can find it, particularly as so much more is being created.” Tyrell’s sales and marketing director, Dan Muchmore adds, “it’s a common issue that every facility hits as they grow and it’s our speciality as a technical partner to help migrate workflows away from a single source or knowledge to a way of working that benefits the business, regardless of team size and structure”.
The NT previously did not have a digital asset management system but worked on a SMB file share arrangement, with folders for short-term and long-term storage. With both Tier 1 and Tier 2 server systems nearing the end of their operational lives, Jim Cross and Zoe Bowers instigated a request for proposal (RFP) process, with EditShare being their primary choice for a new system.
“I worked with Tyrell on the installation of the system into our server room, which involved the networking and commissioning of the 256TB EditShare hardware,” Tom Rhodes, Head of IT Infrastructure explains. “But really it was all quite self-contained within the EditShare technology. It’s now utilized on our 10Gb infrastructure, which allows us to ingest material a lot quicker than before. EditShare also has its FLOW media asset management software and although we haven’t fully implemented this yet, it is something we looked at when selecting the system.”
The National Theatre has been using EditShare for 18 months and in that time, Jim Cross concludes, the new storage installation has changed the way the post-production process for the NT. “Previously the team would take material from the SANs and save content locally and on drives,” he says. “Now, the machines themselves are clear of data and we don’t use hard drives in that way anymore because of how fast it is. This means anyone can pick up a project at any point because everything is in EditShare. It has revolutionized the way we work.”
The NT has always led the way in representing the arts in the UK. Constantly evolving to find ways to make productions more accessible to wider audiences, both geographically and financially. NT Live began as a fantastic initiative and become a leader in the event cinema industry. What we love most about their hunger to evolve is that the NT team worked hard to not only maintain the value of the arts to its patrons but also the actors and production teams, who would have been impacted by the loss of work.
This evolution continues to this day, with Jim, Zoe and Tom not only identifying their post production inefficiency but also the importance of their roles as stewards of the NT archive. Inefficiencies often result in additional expenditure, which could instead be used by the arts and as we know the NT archive is important for future generations. EditShare solves both these problems whilst giving the team another opportunity to evolve again.
Brings order to the complex demands of golf coverage
Boston, MA, December 11, 2023 – EditShare®, the technology leader that enables storytellers to create and manage collaborative media workflows, has delivered a shared storage system, with integrated asset management, to Singapore-based Asian Tour Media. The company provides coverage and content distribution for the Asian Golf Tour, the only recognized pan-Asian professional golf tour in Asia.
Asian Tour Media had an existing shared storage network, but its operation was severely limited by its lack of practical production asset management functionality. Editors searching for material were using OS searches, which was slow and inconvenient. As well as good asset management, the new storage system also had to provide comprehensive support for 4k Ultra HD, including the ability to move material as proxies when bandwidth was limited.
The Media Village, EditShare’s partner in Singapore, set up a comprehensive demonstration built on EFS storage nodes and FLOW production asset management. The proof of concept also showed that the EditShare architecture provides ample bandwidth for multiple I/O and concurrent users in 4k.
In capturing all the coverage of a professional golf tournament, the production generates a huge amount of content. The new EditShare installation allows media managers to put markers on all the action points afteringest, so editors can instantly access the clips they need. The system is used on the road at tournaments, and also in Asian Tour Media’s headquarters to prepare packages in advance to make the live coverage more engaging.
“We knew that we wanted to replace our aging video servers,” said Peter White, Senior Head of Production,at Asian Tour Media. “We wanted good asset management, and excellent bandwidth for multiple users and remote access. The Media Village arranged a demonstration, and the rest is history.
“At Asian Tour Media, our content and our staff are the assets.” Whitecontinued. “With EditShare we have found a better way of managing and monetizing our content. We are developing new workflows which will allow us to become more efficient. Time saved means more time to be creative – and more work/life balance for the staff.”
Said Bacho, Chief Revenue Officer at EditShare commented “With our local partner The Media Village we could show Asian Tour Media how they could transform their workflows with EFS and FLOW, and give them the confidence to develop efficient workflows and operational practices they need. That is because the technology is designed for production professionals, making it logical and intuitive to use and absolutely reliable when there is no second chance.”
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 also now integrates tools for content review and distribution, the creation of customized, branded pitch reels, and secure preview of high-value pre-release content.
Helping users and administrators get up to speed quickly
Boston, MA, December 7, 2023 – Jigsaw24 Media, a leading UK media systems integrator and EditShare® partner, has developed two online training courses to help users and system administrators get the best out of the technology. The EditShare 101 courses have been developed and are delivered by David Bourke, who has worked at EditShare and brings in-depth knowledge and a unique perspective to the programme.
The courses give a quick start to users of EFS storage and FLOW asset management. The sessions for users and for admins each run for three hours, and are timed to make it practical for delegates in any time zone around the world to join.
“EditShare is a very powerful platform, and it is designed to be intuitive to use and to manage,” said David Skeggs, Technical & Operations Director at Jigsaw24 Media. “But with any new system there is a natural learning curve. What we are doing is taking delegates through that curve, helping them understand the underlying principles so that they will be able to run with all the functionality, tools and tricks that EditShare brings to post.”
Said Bacho, Chief Revenue Officer at EditShare commented “David has worked as an engineer at EditShare, so he knows what is going on under the hood. This programme is designed as a general introduction and understanding to get users and admins up and running with confidence.
“We know that systems sales around the world often involve application-specific training,” Bacho continued. “Think of this as the starter kit, to get users into the EditShare way of thinking so they can quickly develop their own processes, workflows and structures.”
The first courses offered by Jigsaw will be run in January 2024. For more information see: https://media.jigsaw24.com/editshare-101-training.
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 also now integrates tools for content review and distribution, the creation of customized, branded pitch reels, and secure preview of high-value pre-release content.
About Jigsaw24 Media
Jigsaw24 Media is a specialist division of Jigsaw24 and provides services and technology solutions to the media and entertainment, education and corporate sectors. It’s the only UK-based company of its kind that has in-house system integration capabilities. Jigsaw24 Media’s team of industry-recognised experts design, deliver, integrate and support end-to-end solutions for some of the nation’s biggest broadcasters and facilities, underpinned by partnerships with over 30 leading technology vendors including Avid, Adobe, AWS, Nutanix and EditShare. With headquarters in Nottingham, an office and demo space at the heart of London’s post-production community, and a nationwide support team, Jigsaw24 Media provides local services on a national scale. For more information visit https://media.jigsaw24.com/
