EditShare

W O R K F L O W
ENGINEERED
T A B L E
O F
C O N T E N T S
EditShare Product Overview …..................…….….....…….……. 3
EditShare Markets …………………………................…......…………. 5
Unique EditShare Innovation …….…..……......................….….. 7
Storage and XStream Series: Shared Storage ..…………..… 9
EditShare in Sports: Case Study …...................……....……….. 10
Flow: Ingest and Production Asset Management .........…… 1 1
EditShare in Reality TV: Case Study ………..............………….. 12
Lightworks: Non-linear Editing …………............……...…...…….. 13
EditShare in Feature Film: Case Study …........................…... 14
Geevs: Ingest & Playout ………………………........................…….. 15
EditShare in Education: Case Study ……............................... 16
Ark: Backup and Archiving ………….………................................ 17
EditShare in Post-Production: Case Study …...................... 18
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Ingest
Geevs multi-channel ingest
and playout solutions offer
all the features needed by
broadcasters such as router
control, MOS support, GPI
triggers, graphic overlays,
VDCP, VTR emulation,
16-channel and Dolby E
audio, broadcast delay and
commercial insertion and a
wide range of codec support,
including DNxHD and ProRes.
Geevs provides a costeffective broadcast solution.
Geevs: page 15
Ingest
Flow Ingest provides
production oriented
workflows with seamless
NLE integration. With Avid
and FCP codec support,
multiple simultaneous
codecs, real-time proxy
files, Edit While Capture
and support for VTR, Live
or Scheduled ingests. Flow
Ingest provides the most
flexible multi-channel ingest
servers available.
Flow:
page 11
Flow Browse,
Logger and Scan
Behind every Flow system
is a powerful database that
lets you track and manage
all your media assets
throughout the production
process – from ingest to
editing all the way through
archiving.
Flow Browse is a cross
platform media browser
allowing quick access to all
your content on EditShare
and Ark.
Flow Logger is a cross
platform logging tool with an
intuitive interface for fast,
pre-defined metadata entry
for live ingests or existing
media.
Series
Field
Whether you’re running
a large operation with a
hundred or more editors,
a small independent
production shop, or even
a high-end finishing
department focused on 2K
and Digital Intermediate
work, EditShare has a topperforming scalable storage
product that can meet your
needs, greatly enhance your
collaborative workflow, and
fit within your budget.
Flow Scan finds non-Flow
captured media and adds
it to the database, creating
proxies in the background.
Flow: page 11
Xstream: page 9
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ARCHIVE
Advanced Open
Source NLE
Ingest and Playout
for Broadcasters
Data Protection and
Long-term Archiving
Since its first release in
1989 , Academy and Emmy
award-winning Lightworks
has edited some of the most
highly-acclaimed Hollywood
features. Credited for
its tremendous speed
and efficiency, real time
capabilities, and unrivalled
feature set, soon this
advanced NLE will become
available for everyone
to enjoy for free – when
EditShare goes Open Source
with Lightworks.
Geevs multi-channel
broadcast servers offer a
feature rich tool set with
dedicated applications
for playout in different
environments. From
simple studio playout with
MOS integration and GPI
support with Geevs Live,
to dedicated instant replay
and dynamic slow motion
control with Geevs Sports,
and 24/7 scheduled
channel playout with
Geevs AutoRun, Geevs
multi-purpose, multichannel servers fit into
any environment.
Whether you need to keep
a backup copy of your
media and project files, or
you want to permanently
archive onto lower-cost
and more energy efficient
storage, there is an Ark
solution for you.
Lightworks:
page 13
Geevs:
page 15
Ark Tape: based on
industry-standard LTO4
technology – gives you
an infinitely-expandable
repository for your data.
Ark Disk: based on
EditShare’s XStream
technology – gives you the
fastest retrieval of media
and provides cost-effective
fail-over in case of an
outage on your primary
EditShare storage.
Ark: page 17
Storage Series: page 9
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EditShare in
Broadcast
Content is king in news, sports and live events
and being first to deliver the right shot wears the
crown. But delivery means more than traditional
airwaves. Delivery must be to all viewer platforms
and this is where EditShare trumps all. By
streamlining content aggregation and standardizing
asset cataloging, journalists have shared access
to source material - regardless of the format or
editing application. Ending the battle for the master
copy, EditShare opens the content floodgates with a
clever collaborative approach, ensuring journalists,
producers and chief engineers can access, manage,
produce, and deliver content to any platform - TV,
Cable, VOD, Web, Mobile -at a moment’s notice.
With EditShare, you can bridge your news
production workflow or build an end-to-end
production to playout to archive operation.
EditShare in
Education
EditShare helps students prepare for the fast-paced collaborative
media production environment found in the real world. It also helps
educators better manage the masses. EditShare shared storage
solutions, Storage & XStream Series, provide administration features
that enable educators to manage hundreds of users, controlling
access to network shares and times in edit suites. Innovative
project sharing feature lets instructors and students review work-inprogress together. Students can log into their EditShare media space
from any editing workstation on the EditShare network, ensuring
a more efficient use of equipment resources. With time-consuming
media management and scheduling tasks automated by EditShare,
educators & students can focus on mastering media workflows using
real-world, professional solutions.
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EditShare in
Digital Intermediate
Nowadays, many Digital Cinema projects originate in highquality compressed formats such as RED R3D or Cineform
RAW. Whether you work with the native files or transcode
to ProRes or DnxHD, with data rates under 40 MB/sec per
stream, virtually any EditShare storage system can handle
these projects - giving you all the benefits of our shared
media and shared workflows.
Then, when it comes time to conform and color grade and
convert to 2K DPX, EditShare still has performance to spare.
Multiple ingest and editing workstations can share the same
2K DPX media over 10 Gigabit Ethernet, while nodes of a
render farm can connect with cost-effective 1 Gigabit.
EditShare in
Post-Production
EditShare is the pioneer for collaborative workflows in post-production.
The wildly popular Editshare solutions are utilized to create Academy
Award winning Feature Films, virtually every major Reality TV show,
influential Documentaries and high-profile 30-second Spots. Features
such as EditShare Universal Media File Technology, and Avid and
Final Cut Project Sharing are clever workflow engineered production
capabilities built into the EditShare workflow; fueling unparalleled
creative productivity for post-production teams.
EditShare gives you the flexibility to integrate solutions within your
existing post facility enabling you to make EditShare shared storage
solutions the heart of your production or build an end-to-end SD/
HD infrastructure with comprehensive editing, storage & distribution,
archiving and full asset management capabilities from ingest to archive.
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U N I Q U E
E D I T S H A R E
EditShare products are more than just shared storage – they are
workflow engineered collaboration solutions that incorporate forwardthinking features to accelerate production, reduce costs, and leave more
time for creativity. Innovations like these put EditShare technology a
quantum leap ahead of its peers.
True Project Sharing for Editors
Universal Media File Technology
EditShare understands that complete
collaboration requires more than just
sharing media files. Therefore all EditShare
storage solutions also give you the
ability to share project files. Thanks to
EditShare’s patented bin-locking / projectlocking framework, Avid and Final Cut Pro
editors can instantly see, copy or revise
the work of colleagues with the assurance
that a bin, sequence or project will never
get accidentally deleted or overwritten.
EditShare is the only non-Avid solution that
offers Project Sharing for Avid applications.
And we are also the only solution – period
– that offers simple straightforward project
sharing for Final Cut Pro.
EditShare’s patent-pending Universal Media
File technology allows Avid and Final Cut
Pro users to work with the exact same media
files. Even though the two NLEs natively
use different file formats – MXF and MOV –
when you create media files with EditShare
Flow, a single file can appear as if it’s in
both formats. Flow lets you make Universal
Media Files when you ingest from HD/SDSDI sources or when you transfer file-based
media from XDCAM or P2. And you can
even scan and process some of your existing
media files and make them “Universal”.
Scalability Made Simple
A natural question everyone asks when they
consider shared storage solutions is: “Can the
system grow as my needs grow?” EditShare
gives you two ways to expand – up, and
out. With our XStream product line, you can
always add additional expansion chassis to
a single “workflow director”, increasing the
size of an individual server to over 200 TB.
However, all EditShare systems also include
our exclusive Extreme Scalable Architecture
(ESA) technology. With ESA, when you plug
an entirely new EditShare server into your
network, it works together with previous
servers as if they’re all in the same giant
storage system. Administrators manage all
EditShare servers through a single unified
GUI. And thanks to our Windows and Mac OS X
Login Clients, users won’t even be aware that
there are multiple servers on the network.
If you run a news or teaching operation, you
can ingest one set of files and then anyone
can use them no matter which editing
program they prefer. Universal MOVs are
also compatible with other applications such
as Premiere Pro, EDIUS, After Effects, and
Lightworks.
And thanks to our exclusive partnership
with Automatic Duck, when you work with
Universal Media Files, you can now translate
sequences back and forth between Avid and
Final Cut Pro and all your media will just
link up – no transcoding, duplicating, or rerendering required.
Advanced Edit While Capture
While a number of other ingest solutions may
allow you to start capturing a videotape or
video feed and then drag your new clip into
an NLE timeline while the underlying files
are still growing, EditShare Flow takes the
technology one step further. Not only does
I N N O V A T I O N
Bandwidth-Controlled File Ingest
FLow support Edit While Capture for both Avid
and QuickTIme formats, but Flow even lets
you capture both formats at the same time.
Plus, when you are working in a supported
codec, Flow allows you to create Universal
Edit While Capture clips that you can drag
into virtually any NLE.
Media organizations are increasingly making
the transition from videotape to XDCAM
and P2. While this has vastly simplified
production, it has created a challenge for
shared storage systems. What happens when
20 reporters come in from the field at the
same time to start preparing for the news and
they all want to transfer media off their cards
and discs? Without any controls, all those
file transfers could interfere with editing and
overwhelm both the network and the central
storage. EditShare’s solution is Bandwidth
Controlled File-based Ingest.
Administration Features
for Big Organizations
When you have to manage the storage
infrastructure for a large media organization
– such as a university film and TV program –
the ability to add and remove user accounts
and set up, size and remove storage spaces
is paramount. That’s why EditShare has
developed a number of tools specifically for
large organizations. These tools include the
ability to create “User Groups” within the
EditShare system. EditShare supports Active
Directory for password synchronization. And,
using our Configuration Import Tool, you can
easily lay out all your user accounts and
spaces in a spreadsheet. You can then import
the spreadsheet into EditShare Manager, and
in seconds your system will be set up for a
new semester or year.
Depending on your network and storage setup,
the EditShare administrator simply sets a
maximum aggregate bandwidth allowed for
file-ingest and Flow takes care of the rest
– evenly dividing the bandwidth between all
the Flow clients. When only a few editors are
transferring media, the data will move as
fast as it can come off the cards. But when
required, the transfer rate automatically
rebalances to reflect the new demands.
Economical Failover
No matter how robust your storage system,
there’s always the possibility it might
suddenly become unavailable. You could
have a fire or flood in your machine room.
You might have a catastrophic hardware
failure. We even have a few customers
whose systems were stolen in the middle
of the night. That’s why backing up critical
or irreplaceable material is always a good
idea. But EditShare takes backups one step
further. When you backup to an economical
EditShare Ark Disk system, should your
primary storage go down, you can “activate”
your Ark Disk and allow it to stand in
temporarily for the missing server. Within
minutes, your editors can be up and running
again to complete mission critical projects.
Sync Tool for Moving Media
Across Oceans
Many EditShare customers – from movie
studios to government organizations –
have offices in multiple cities or countries.
And many need their production staffs to
collaborate between the various facilities. To
help make this possible, EditShare developed
the Sync Tool – a feature included with every
EditShare Storage system. Whether you have
your own a private network or you use a VPN,
with the Sync Tool you can schedule huge
amounts of data to be copied automatically
between locations. Media that’s added on one
side just shows up on the other – with minimal
administrator intervention.
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Shared Production Storage for Small to Large
Workgroups and Digital Intermediate Workflows
Industry-leading media-optimized storage is where
EditShare began its history and today central storage
is still at the heart of everything we do. Whether you’re
running a large operation with a hundred or more
editors, or a small independent production shop – or
even a high-end finishing facility focused on 2K and
Digital Intermediate work – EditShare has a storage
product that can meet your needs, greatly enhance your
collaborative workflow, and fit within your budget.
EditShare’s customers include national television
networks, TV newsrooms, universities, reality show and
feature film producers, and production companies of
all sizes. What attracts them all to EditShare? Unique
Project Sharing for Avid and Final Cut Pro, outstanding
performance and stream counts, standard Gigabit and
10-Gigabit connectivity, rock-solid Linux-based reliability,
RAID-5 and RAID-6 redundancy, powerful but simple
administration and management features for even the
largest operations, and tremendous scalability.
EditShare storage solutions come in a wide range of
models; Field for mobile productions, 3u, 5u, and 8u
Storage Series and the ultra-high performing XStream
Series which includes a Solid State Drive option.
FEATURE HIGHLIGHTS
EXTREME PERFORMANCE
with industry leading stream counts
supporting hundreds of simultaneous users.
EXTREME SCALABILITY
EditShare’s Extreme Scalable Architecture
(ESA) means that expanding your storage to
hundreds of terabytes is no more complicated
than adding expansion servers and plugging
them into the network.
EDITSHARE PROJECT SHARING
lets editors draw on the same central pool
of media and work in the same project
simultaneously, freely and safely sharing
raw material, bins and sequences.
SUPPORT FOR DI WORKFLOWS
include optimizations for high-bandwidth,
multi-user 2K and HD DPX media.
UNIVERSAL MEDIA FILES
When combined with any Flow product,
EditShare storage gives you Universal Media
File support, allowing Avid and Final Cut Pro
editors to share and edit the exact same media
files and exchange sequences between the two
applications – without any transcoding, relinking, duplicating media or re-rendering.
POWERFUL, EASY CONNECTIVITY
Media-optimized Gigabit Ethernet connections
gives you large stream counts and costeffectiveness. 10 Gigabit connections surpass
the throuhput of 8 Gb Fibre Channel for
uncompressed HD and 2K work.
NO PER-SEAT LICENSE
removes barriers to productivity and provides
faster return on investment.
DELETION SECURITY
controls who can delete files and when;
includes delete to “Trash” and “Undo.”
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MLB’s Cincinnati Reds Score an
HD-Grand Slam with EditShare
Speedy production and improved media management for one of
the country’s most media-savvy baseball parks
The Reds’ Great American Ball Park contains a huge scoreboard display and hundreds of LED
and fascia boards. A new control and production facility needed to be built to maximize the fan
experience while improving the workflow for producing HD videos, highlights, player profiles, and
more. A centralized storage solution from EditShare integrated with software from Dixon Sports
Computing and EVS servers delivered the winning combination.
The Challenge
The Solution
The Workflow
The Benefits
Reds’ Production Manager,
Dave Storm, looked for a
system that would offer
short and long-term
benefits – making it easy
to create the best shots for
stadium display while
streamlining overall media
management. Because the
production unit acts as a
full service agency, Storm
wanted to centralize the
management of both media
and metadata.
Working with Cutting Edge
Audio and Video Group,
the Reds acquired a 40TB
EditShare Storage Series
server. “It’s used for every
aspect of our workflow.
We use it as the central
repository; everything
that comes in or out of our
department passes through
the EditShare, It gives us
tremendous flexibility and
improves our workflow,”
says Storm.
The integrations between
EditShare, logging software
from Dixon and EVS
servers give the Reds a
complete, integrated media
management package with
metadata cross-referencing
capabilities. “The EditShare
lends itself to our
schizophrenic workflow,
and the combination with
Dixon’s Clip Management
System gives us a really
nice way of turning the
data to meet all our needs,”
Storm explains.
“During the game we
can be on an edit station,
putting the highlight
package together based
on information in Dixon.
Then a month later, at
a completely different
angle, reference the same
metadata via Dixon,” says
Storm. “Say I want to see
the home runs this month?
We pull the media from
EditShare… we’re using the
same tools for completely
different purposes and
that’s very powerful.”
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FEATURE HIGHLIGHTS
VTR, LIVE OR SCHEDULED INGESTS
Schedule ingests in advance, batch capture
from VTR, or manually record a live feed.
EDIT WHILE CAPTURE
Begin editing while events are still
unfolding. Within seconds of the ingest
starting, you can drag the clip into your
NLE and work with it, while it continues to
grow in the background.
FLOW SCAN
Flow Scan locates media on your EditShare
that was not captured through Flow Ingest,
adding it to the database and creating low
resolution proxy files.
DRAG AND DROP
Drag and drop media files and Flow
sequences directly into your NLE,
providing seamless integration with Avid
and FCP.
PROJECTS, BINS AND SEQUENCES
Flow Projects offer tremendous production
capabilities without the need to tie up an
edit bay. Organize media in bins, or preedit with sequences, collaborating with
other users on a Flow Project, before you
even reach your NLE.
AVID AND FCP SEQUENCE SUPPORT
EditShare’s Universal Media File
technology allows Avid and FCP editors
to share the exact same media files and
exchange sequences between the two
applications - without any transcoding, relinking, duplicating media or re-rendering.
ASSET TRACKING AND FILE RETRIEVAL
Flow tracks your media assets across
all EditShare systems, ensuring that
metadata stays intact from ingest to
archive, enabling you to quickly retrieve,
produce, manage, and distribute media.
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Production Asset Management
Ingest, Browse & Log
EditShare’s Flow products are all about adding efficiency
and increasing productivity in your workflow. Behind
every Flow system is a powerful database that allows you
to track your media assets throughout the production
process, from ingest to editing, all the way through
playout and archiving.
Flow Ingest provides multiple channels of HD/SD-SDI
ingest, in up to three codecs on each channel, including
low-resolution proxies. With support for Avid, QuickTime
and AVI codecs, and also Edit While Capture, you can
begin editing seconds after ingest begins. Universal Media
File technology allows editors using Avid or any Quicktime
compatible NLE to share the exact same media files at
the same time. Bandwidth-Controlled File-Based Ingest
ensures your network and storage are not overwhelmed
by large transfers of clips from P2 or XDCAM cards.
Flow Browse offers quick access to all your media on
EditShare and Ark with low-resolution proxy files. You
can log and create subclips, organize media into Bins and
Sequences, or retrieve archived material from Ark.
Flow Logger allows fast entry of pre-defined metadata,
through customized fields and templates. Designed for
sports and reality productions, Flow Logger is a versatile
application for logging live feeds or existing media.
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Miditech produces new
series for REAL TV
The reality TV boom is a global phenomenon.
Miditech is producing one of the most
compelling entries in the category for India’s
brand new “REAL TV” channel, a joint venture
involving the Turner Group (a Time Warner
company). Miditech is one of Asia’s leading
independent production companies with
an impressive portfolio of award winning
documentaries, TV series and game shows for
clients including MTV, National
Geographic, the BBC, Star
Network, Doordarshan, the
Disney Channel and others.
Miditech is no stranger to
rigorous production demands,
but they had to conquer some
unusual hurdles for the reality
series “Sarkaar Ki Duniya.”
The Challenge
The Solution
A cross between
“Survivor” and “Big Boss,”
the show has its own
distinctive twists. Eighteen
contestants are shipped
off to a remote island in
the Kalinadi River. The 13.5
acre island is about a 2
hour drive south of Goa on
India’s west coast.
Cineom developed a
production workflow for
Miditech built around
the EditShare ingest and
shared storage solution.
An EditShare server
with 30TB of storage
formed the nucleus of the
production system which
was rafted across the wide
river to the island.
The Workflow
The Benefits
In the makeshift production
center, the EditShare was
connected to 6 Apple Final
Cut Pro editing systems.
During shooting, as many
as 18 cameras rolled 12
hours a day, 7 days a week
capturing huge amounts of
video as contestants dealt
with Sarkaar’s competitions
and political infighting.
EditShare’s reliability and
high performance were
essential for Miditech to
meet the tight deadlines
of each episode. Flow
ingest generated huge
time savings by providing
editors with immediate
and simultaneous access
to video over a simple
Gigabit network. Impressed
with the flexibility,
media protections and
capabilities of EditShare’s
Complete Collaboration
line of products, Miditech
has now secured EditShare
systems for its facilities in
both Mumbai and Gurgoan
(New Delhi).
EditShare FLOW Ingest
was used to capture 4 live
channels of DV25 material
at a time. Video segments
were “chunked” so that
after an hour, editors
could start editing while
subsequent chunks were
continually being recorded.
Simultaneous timecode was
used during the shoots.
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Advanced Editing Software...
Free for Everyone
Academy® and Emmy® award-winning
Lightworks was introduced in 1989 as the
first and most advanced non-linear editing
system on the market. Used by editors such
as Chris Gill and multi Oscar-winning Thelma
Schoonmaker, Lightworks offers intuitive
controls, advanced real time effects, 2K native
support with DPX or RED, and multi-camera
editing features that remain unmatched. With
wide support for codecs, including EditShare’s
Universal Media Files, Lightworks achieves
a level of unsurpassed interoperability by
offering seamless media sharing with Avid
and Final Cut Pro. This new workflow enables
Lightworks artists to collaboratively edit
projects with a much wider group of editors.
FEATURE HIGHLIGHTS
FORMATS AND CODECS
AVI, Quicktime, MXF, DPX and RED R3D, DV, DVCPRO
50, DVCPRO HD, XDCAM HD, XDCAM EX, P2, AVC Intra,
DNxHD, ProRes,. Real-time up and down-scaling, from SD
to 2K.
MULTI-CAM
Advanced multi-cam editing with unlimited sources and
dual-SDI outputs, so you can simultaneously view your
source angles in sync with your edit.
THIRD PARTY SUPPORT
Support for Adobe After Effects, Boris, Combustion,
Sapphire and many more. Lightworks Open Source
enables creative developers and manufacturers to
implement forward-thinking features, with unprecedented
access to Lightworks’ core engine and technology.
EFFECTS
Real time video and audio effects, including primary
and selective colour correction, are all guaranteed in
resolutions up to 2K, thanks to Lightworks powerful GPU
based effects engine.
AUDIO
Sub-frame audio editing, direct-to-timeline voice over
tool, Mackie protocol support, real time playback of
mixed sample and bit rates, and guaranteed real time
multi-track audio,
PROJECT SHARING
The most advanced Project Sharing capabilities
available, allowing editors to access each others’ work
with the click of a button. Instant Save technology
ensures you’ll never lose your work again.
OUTPUT
Full-screen video output through a DVI-attached LCD
display, with support up to 2K Full Frame, offering an
inexpensive monitoring option, with no need for SDI
hardware.
MULTI-CHANNEL INGEST
Lightworks is the only NLE available to offer multichannel ingest, with support for synchronised capture,
making it ideal for advanced 3D Stereoscopic projects.
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Lions and Tigers and Bears! Editing of Biblical
Proportions Made Simple with Lightworks
Evan Almighty tells the story of Buffalo, NY
newsman, Evan Baxter (Steve Carell), elected
to Congress. When Evan must sponsor a bill to
allow development in national parks, God hastily
appears, directing Evan to construct an ark.
with [director] Tom Shadyac, I never had to
wait for the machine; one of my issues with
other systems. Lightworks never interrupts
my workflow.”
Editor Scott Hill has worked on many featurelength comedies, including Evan Almighty’s
predecessor, Bruce Almighty – however,
Evan Almighty’s budget called for a heftier
production effort than its antecedent; one
that necessitated massive flooding and
hundreds of live and CGI animal species.
Filmed in Charlottesville, Virginia over a 3-4
month period, and at Universal Studios in Los
Angeles, Hill worked with three assistants and
a visual effects editor. He had four Lightworks
Alacrity systems with him on-site. When
production relocated to Universal for green
and blue-screen shots, Hill edited at the studio
lot on a network of five Lightworks Alacrity
systems. Each system shared off the same
RAID; all Fibre Channel SAN with Essential
Server Support. Visual effects company
Rhythm & Hues (R&H) worked on CGI animal
effects, with help from C.I.S. Hollywood and
CafeFX; and Industrial Light & Magic (ILM)
handled water scenes.
Harnessing the Floodgates
with Lightworks
Lightworks Alacrity systems are powerfully
integrated with Geevs Video servers for flawless
multi-camera ingest, perfect for on-the-fly
creation. Due to complexity of the animal
scenes, Hill found himself locking up some four
or five cameras at a time. The Alacrity provided
him with a fast camera-to-edit solution.
“Lightworks is such a reliable system. It’s
never an issue going through footage – and I
love its ability to backup work transparently
in the background. When I went over dailies
Compositing animal footage also proved an
easier feat with Lightworks. “I didn’t have to
render like I did on other systems. A lot of
green and blue screen composites with multiple
layers were all in real-time. When the footage
contained numerous animals and I didn’t want
one of them, Lightworks let me customize that
specific plate. I didn’t have to re-render the
shot and it didn’t compromise image quality – I
could immediately playback the footage with
changes,” Hill said.
Although some editors were not accustomed
to Lightworks, its simplicity and ease of use
fostered immaculate results. The Alacrity’s
exceptional export qualities fostered flawless
file-exchange for R&H and ILM VFX artists
using a DI. Sound editors also applauded its
outstanding audio features. “We used OMF
files, which worked smoothly with our sound
editors.” Hill also mentioned Lightworks’ ability
to sync audio tracks. “Once I’ve done preview
screens, I take sound that I’ve recorded on
the mixing stage and allocate it back into the
system. By mid-movie, I’m running 16 tracks of
audio with multiple layers of video. Lightworks
immediately tells me if any part of the 16
tracks has been thrown out of sync, and once I
indicate where to fix sync, it will automatically
correct the tracks.”
Everlasting Light
“Of all the machines I’ve worked with,
Lightworks is definitely the most stable and is
also the fastest system I have encountered in
my career. It takes twice as many keystrokes
with any other system. Lightworks is much
more simplified in how you edit, which in turn,
produces quicker and more precise results.”
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FEATURE HIGHLIGHTS
CLIENT APPLICATIONS
Geevs Client is a multi-purpose I/O application.
Geevs Autorun provides dedicated 24/7
channel playout. Geevs Sports provides
synchronized ingest of up to 16 cameras,
with instant replay and dynamic slow motion.
Geevs Live provides Studio Playout with MOS
integration and GPI triggers for Vision Mixer
support. Geevs Multicam provides dedicated
studio ingest with instant review of all angles.
Other applications provide transcoding,
backup, file delivery, studio logging and review.
FORMATS AND CODECS
AVI, Quicktime and MXF container support.
DNxHD, ProRes and XDCAM offer excellent
workflow integration with post production.
Regular broadcast formats such as DV25,
DVCPRO 50, DVCPRO HD, MPEG-2 and
MPEG-2 HD.
BROADCAST TOOLS
Flexible sets of tools for broadcasters,
including an XML API, VDCP, MOS, router
control, graphic overlays and GPI triggers
for integration with external controllers or
vision mixers.
EDIT WHILE CAPTURE
Geevs supports Edit While Capture in MXF,
AVI and Quicktime formats on an EditShare.
PLAYOUT DURING TRANSFER
Geevs supports Playout of files while they
are still being transferred, offering huge time
savings and the ability to make last minute
critical changes to content.
FLOW INTEGRATION
Geevs integrates seamlessly with Flow
Browse and Flow Logger, allowing you to
instantly begin working with your media
during ingest.
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Broadcast Video Servers for
HD/SD Ingest and Playout
With over 10 years of production and over 1000
channels on air, Geevs multi-channel broadcast
servers offer all the features needed by broadcasters
such as router control, MOS support, GPI triggers,
graphic overlays, VDCP for integration with
automation systems, VTR emulation, 16-channel
and Dolby E audio, broadcast delay and commercial
insertion and a wide range of codec support, including
DNxHD and ProRes. Geevs servers deliver exceptional
benefits and real return on investment. With a wide
range of client software applications, dedicated for
Ingest and Playout, our highly customizable servers
offer configurations for any requirement.
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EditShare Makes the Grade at Sunderland
Shared storage solution provides ideal real-world training platform
The University of Sunderland School of Arts, Design and Media in Northeast
England operates one of the country’s most vibrant and well-equipped media
departments in the country. With a rating of excellence from the Quality
Assurance Agency, the media and cultural studies department attracts a
diverse group of students to its undergraduate and graduate programs in film,
production, journalism, television, radio and public relations.
The Challenge
To keep pace with the latest
technology innovations, the
David Puttnam Media Centre at
Sunderland recently completed a
£1.5 million upgrade of its media
production department. The project
included a shift to a totally tapeless
environment with centralized and
expandable storage; the workflow
would mirror the most up-to-date
professional facilities. The School
was also installing 70 Avid Media
Composer and Apple Final Cut
Pro editing systems. They needed
a storage system that could
interchangeably handle FCP and Avid
files as well as materials from other
effects and compositing programs.
software as well as AfterEffects from
Adobe Production Suite. They are
connected via standard CAT 6 Gigabit
Ethernet cabling to one of three HP
ProCurve switches which connect to
the EditShare Xstream via 10-Gigabit
Ethernet to ensure maximum
throughput for sharing large volumes
of work, including high definition
formats with speed and efficiency.
teaching environment. “Everyone
has adapted very well,” says Stubbs.
“It’s quite easy to locate your work
from whatever position you’re
working at and just get right on with
it. In terms of administration, it’s
very straightforward and it’s easy to
set up and organize the passwords
and access rights.”
Instructors are able to view student
work-in-progress and offer tips and
critiques. Coursework emphasizes
practical and artistic skill sets as
well as theoretical. As students
advance, they shoot their own highdefinition video using SONY EX
cameras and often work in teams or
independently. EditShare’s unique
project sharing for both Avid and
Final Cut Pro workgroups simplifies
group collaboration on projects.
Editors can instantly see, copy or
revise the work of colleagues with
the assurance that a bin, sequence
or project is never overwritten.
The Solution
Sunderland installed a 96TB
EditShare XStream System as its
centralized storage solution. The
Sunderland 70 dual-boot computers
run both Avid and Final Cut editing
The Workflow
Depending on specific coursework
and the level of sophistication,
students can be working on anything
from basic broadcast production
and editing in a classroom setting
to full-blown studio productions,
documentaries or independent films
in private edit suites. Regardless
of where the students are working,
they can access content stored in the
EditShare XStream. The rights and
permissions structure in EditShare
allow access by only the authorized
users to specific content. EditShare’s
rules-driven workflow ensures that no
data is ever overwritten or destroyed,
an especially important feature in a
In classroom situations, instructors
use projectors to explain exercises
and students log on at individual
computers to simultaneously access
the video from assigned folders in
the XStream to work on their editing
and compositing assignments.
The Benefits
There are nearly 400 students
matriculating through Sunderland’s
media programs at any given
time.. Thanks to the Centre’s high
performance EditShare XStream,
the heavy volume of editing work
and instruction can be handled
without system slowdowns. In
addition to the strong rights and
permissions structure, the system’s
RAID 5 hardware configuration
offers additional protection against
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loss of data. And because the
EditShare XStream can be easily
expanded, there’s no worry about
adding storage capacity anytime in
the future.
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Integrated Archives and Backups for
Media Production
Whether you need to keep a backup copy of your media
and project files, or you want to permanently archive onto
lower-cost and more energy efficient storage, there is an
Ark solution for you.
EditShare Disk: Similar to your EditShare Storage server,
the EditShare Ark disk-based storage has hard disks that
are spinning all the time—offering the advantage of highspeed performance for backup, archiving, and restoration
tasks. In a crisis situation where your main EditShare
Storage Series system has been damaged, you can activate
the EditShare Ark disk-based storage to complete missioncritical work while the primary storage is being repaired.
Ark Tape provides an integrated solution for customers
who want to have a safety copy of their media that can
be easily transported off-site, or for those who want an
easy and energy-efficient solution for archiving media and
projects from their EditShare storage systems. Ark Tape
is also a great approach for backing up material recorded
on cameras with solid state media such as P2 cards. Ark
Tape is based on industry-standard DLT tape cartridges and
represents a more economical and energy-efficient solution
than a spinning disk solution.
Whichever Ark product you choose, they’re all managed by
the same intuitive user interface – meaning you can easily
mix Ark Tape and Ark Disk systems in the same facility.
And when you put any Ark product
together with the any Flow product,
you gain the ability to store in the Flow
database information about everything
you’re archiving. With Ark + Flow, you
get low-resolution proxy files of your
archived material, and the ability to
browse, playback and restore your
archived materials using the familiar
Flow Browse interface.
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FEATURE HIGHLIGHTS
MANUAL AND AUTOMATED BACKUP
AND ARCHIVES
Fully integrated with EditShare Flow and
Storage/XStream series, you can free up
your online storage by moving media to
a much more cost-effective Ark storage
system when a project must be put on
hold or while it awaits approval or Archive
long-term projects; easily add storage
space to your Ark as your needs grow.
DISK-BASED FAIL-OVER SOLUTION
In the case of a failure in your primary
storage system, you can activate your
Ark Disk to operate as a full blown
EditShare production storage
LTO TAPE BASED SYSTEMS
Based on industry-standard LTO4
technology – supports everything from
simple tape autoloaders to huge tape
libraries and gives you an infinitelyexpandable place to put your data.
BROWSE ARCHIVES WITH FLOW
Browse, playback and restore your
archived materials using Flow Browse.
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EditShare Drives Efficiency at Studio Hamburg
With a 30% Time Savings; TV, Reality TV and Films
are Produced with Greater Creative Flexibility
Studio Hamburg is a leading studio, production and service company catering
to the German film and television industry. The company’s production arm
creates some of the most widely-watched TV programs in Germany, including
“Der Dicke,” “Grosstadtrevier,” “Tatort,” and “Sesamstrasse” as well as
numerous feature films and documentaries. Headquartered on an 80,000
square meter site in the Tonndorf district of Hamburg, the Studio is
renowned for its prestigious creative portfolio and technical expertise.
The Challenge
The Post Production department in
Hamburg delivers more than 750
hours of programming each year to
syndicators and broadcasters. An
additional 450 hours originate at the
nearby Lüneburg facility where the
famous soap opera Rote Rosen (Red
Roses), approaching its 600th episode,
is produced. Faced with a growing
production commitment, Studio
Hamburg was looking for innovative
ways to increase productivity without
sacrificing technical quality or
artistry. The responsibility fell to Frank
Hoewner, Head of Computer Graphics
Restoration at Studio Hamburg, who
oversees the video IT infrastructure in
the Post Production department.
machines connect to the switch and
operate on a cost-effective Gigabit
Ethernet network for quick, easy
deployment and straightforward
administration. The servers’ RAID5
configuration offers efficient data
protection. Particularly important
for Studio Hamburg was EditShare’s
unique Project Sharing capabilities
which enable multiple editors to
work from the exact same Avid or
Apple Final Cut Project and get
instant Read Only access to each
other’s bins and sequences.
units are also are occasionally used
for online (2 to 1) editing.
audio files, sync them and share the
project so other cutters can work
with it.
The Solution
Studio Hamburg installed individual
9.6TB EditShare units in the
Hamburg and Lüneburg post
facilities. At each location, there is
a 10 Gigabit redundant connection
between the EditShare server
and network switch. All the client
The Workflow
The post workflow at the Hamburg
facility emphasizes quality, creativity
and collaboration. Most of the
programs and series are shot in 16
mm film. Used primarily for offline
editing in DV25, the 8 Rack Unit
(RU) EditShare is center-stage in the
Studio Hamburg production chain.
Twenty Avid systems and a Final Cut
Studio 2 system are connected to the
EditShare via a one gigabit ethernet
network. Two of the Avid Adrenaline
The 16 mm film is scanned on a Spirit
DataCine® and recorded over a DVS
Pronto System as DPX files. A Carbon
Coder on the Pronto transcodes the
files to either QT or MXF native Avid
formats; these files go automatically
into the EditShare where all the
files are immediately available. The
editors can open the files, import the
After offline editing, the playout is
imported to Studio Hamburg’s Final
Cut systems and Nuendo systems for
audio mixing, the edls are exported,
and synced to the audio version and
then everything is recaptured from
Telecine in high definition to the
online-SAN.
The Benefits
Hoewner credits the EditShare
system for improving efficiency in
his operations - by as much as 30%
in Hamburg alone. “Saving time
means saving money,” says Hoewner.
“Without the EditShare you would
have to scan to digital betacam and
then capture to the Avids before the
cutters could even start working. We
can also sync the audio more easily.
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Everything is moving more quickly
now and our editors and artistic
directors have the time to focus on
the creative elements. We really
couldn’t work without it.”
www.editshare.com
EditShare Americas
119 Braintree Street
Suite 705, Boston,
MA 02134 USA
T: +1 617-782-0479
F: +1 617-782-1071
E: sales@editshare.com
EditShare Asia-Pacific
Level 22
69 Ann Street
Brisbane Q 4000, Australia
T: +61 7 3890 0450
F: +61 7 3890 0950
E: apsales@editshare.com
EditShare EMEA
97 Mortimer Street
London W1W 7SU
United Kingdom
T: + 44 (0) 20 7183 2255
F: + 44 (0) 20 7183 2256
E: sales@editshare.co.uk