Remote Editing & Recording
Remote editing puts editors on full-power workstations in our Los Angeles datacenter from anywhere: the machines, the media, and the storage stay in one facility while the editor connects over the internet and cuts as if they were in the room.
The infrastructure
Every remote edit seat runs on an M3 Ultra Mac Studio in our centralized Los Angeles datacenter, connected to the outside world by 10 Gbps fiber. The facility sits near LAX, which keeps drive handoffs and in-person sessions practical for Southern California productions while editors elsewhere connect remotely.
- M3 Ultra Mac Studio workstations. Desktop-class performance for every seat — real-time playback, fast renders, and headroom for heavy multicam timelines.
- 10 Gbps fiber connectivity. Bandwidth for remote sessions, SRT contribution feeds, and large media transfers at the same time.
- Enterprise networking. The facility network is built on Netgear AV switching designed for uncompressed and compressed video traffic.
- Broadcast I/O and capture. Blackmagic Design and AJA video I/O, with Bluefish444 capture cards for accurate ingest and monitoring.
Editors connect through a remote session that streams the workstation's display; the media itself never leaves the datacenter.
Editorial workflows
We run both Avid Media Composer and DaVinci Resolve, so productions cut in the tool the project calls for rather than the tool a facility happens to own. Long-form and broadcast-style jobs tend toward Media Composer; grading-heavy and fast-turnaround work often fits Resolve. Either way, the workflow is planned before the first clip is ingested.
Because every workstation shares the same storage in one facility, multiple editors can work against the same media without shuttling drives between edit bays or waiting on overnight uploads. Adding a second or third seat to a project is a configuration change, not a logistics problem.
We handle media management end to end: ingest, organization, proxies and transcodes where they help, and conform and delivery at the finish.
ISO recording that feeds the edit
Our recording systems capture 12 channels of simultaneous ISO recordings in ProRes 422 HQ to NVMe storage, with frame-accurate timecode across every channel. Camera feeds arrive over SRT contribution links or through local capture hardware, and the recordings land on the same storage the edit systems use.
That last detail matters: editors can start cutting multicam material as soon as it is recorded, and frame-accurate timecode makes multicam grouping automatic rather than a manual sync pass. For live events, highlight edits and same-day deliverables begin while the event is still underway.
Frequently asked questions
What do editors need on their end?
A solid internet connection and a display — the horsepower lives in our datacenter. Any reasonably current Mac or PC works as the client machine, because the remote workstation handles playback, rendering, and storage. A keyboard, a mouse, and decent headphones or monitors cover the rest.
Can you support Avid projects?
Yes. Avid Media Composer is core to our editorial infrastructure, and our background is in Avid-based non-linear and broadcast workflows. Bring an existing project to our systems or start a new one with us.
Do you only work with Los Angeles productions?
No. We work on site across Los Angeles and Southern California, and remote workflows let us support clients nationwide — the editor's location stops being a constraint when the systems live in the datacenter.
Put your next edit in our datacenter
Tell us about the project and we will walk you through the workflow, from ingest to delivery.