Blog

A Tale of Four Nomads

For many creatives, it was simply the worst of times. There are few, if any, companies in the media production industry who were prepared for the sudden workflow shifts and shelter-in-place orders of March 2020 brought on by the COVID-19 pandemic. Nearly every production team was forced to make decisions and quickly plan for a type of remote, off-site work that’s uncommon for media professionals, particularly editors.

By | May 15th, 2020|

Building Your First Creative Team – Part 2

People Are More Important Than Tech In a previous post, I said you should always start with “two” when starting your creative team. As you look to retain and expand your team, you need to understand that people are much more valuable than any technology.

By | May 5th, 2020|

Building Your First Creative Team – Part 1

Branded Storytelling: Building Your First Creative Team Branding today is all about storytelling. And there’s no better way to tell your story than through video. And with that, a lot of companies are realizing “Hey, I can start building my own internal creative team, I don’t always have to have an agency do my work. And if I have an internal team where they can start to know my product better, we can get more content out more cost-effectively.”

By | April 28th, 2020|

Stitcher Powers NY to LA Collaboration with EVO and Dropbox

The Stitcher app is one of the preeminent podcast listening platforms. Every studio is hooked up to an EVO shared storage server and synchronized to Dropbox, enabling engineers, producers, hosts and other contributors to collaborate from multiple locations.

By | April 7th, 2020|

Announcing EVO Zepto

To be frank, the world isn’t ready for petabyte solutions. It’s ready for zettabyte solutions. Media production means sifting through footage. Footage takes up lots of space. Time and resources are spent getting every single clip from point A to point B, sometimes at excruciatingly slow speeds. What can you do? Technology can only do so much, right? Wrong.

By | April 1st, 2020|

Announcing Nomad—The Emergency “Work from Home” Utility (Free) for EVO

If you’re used to being in an office and editing from a computer with high-speed shared storage, then working on those projects from home can be a challenge. Working remotely from your primary storage server may require copying huge files at internet speed, which could take days over slow connections. In light of recent headlines, you may be imminently faced with that reality and wondering how to shift operations to a remote workforce. Luckily, if you’re using ShareBrowser and you find yourself needing to work remotely, your EVO storage server is already doing something that’s about to help you out in a big way.

By | March 12th, 2020|

Remote Editing Tips and Preparedness

Remote editing is more viable than ever, but it still has its limitations. Gathering footage, particularly on short notice or for an unforeseen amount of time away from work, requires a significant amount of foresight and planning. The file sizes are likely too unwieldy for online transfer, and getting footage from one editor to another would nearly halt the post-production workflow. The good news is that there are options that are already compatible with EVO right now.

By | March 9th, 2020|

Adobe Productions, The Evolution of Shared Projects in Premiere Pro

Say goodbye to projects as you know them. Premiere Pro is entering a new, more feature-friendly era of collaboration. At this year’s Sundance Film Festival, Adobe announced a new update coming soon (edit: it’s now available!) to Premiere Pro. And it’s sure to change the way teams use Premiere on large, multi-user projects like episodic television and feature films. It’s called “Productions,” and it’s not-so-much a new feature as it is a reimagining of the way a Premiere “project” is structured. Productions are a new way to manage projects, share assets, and keep everything organized when you’re collaborating with a team. Adobe is taking aim at Hollywood workflows, which shouldn’t come as a surprise to people who have been following Adobe’s rapid expansion into the TV and Film market. A growing number of Hollywood editors and up-and-coming filmmakers alike have been embracing Premiere Pro for a number of years.

By | February 19th, 2020|

PSA for Video Editors: Using Catalina With Network Storage

The highly anticipated Mac Pro and the latest version of Apple’s MacBook Pro (Nov. 2019) are shipping with macOS Catalina, and it’s causing issues for some pro video users. With two new Apple devices shipping with macOS Catalina, thousands of users are upgrading their existing systems, and thousands more are wondering if they should make the leap. If you’re undecided about whether or not you should upgrade, or you’ve already ordered the latest Mac Pro tower or MacBook Pro, here’s what you need to know.

By | February 13th, 2020|

EDL, XML, and AAF: The 3 Methods for Premiere Pro to Resolve Roundtrip Workflows

Premiere Pro and Blackmagic Resolve both offer incredibly powerful standalone features. Even though Adobe and Blackmagic are actively battling it out in a war for our timelines, using the two applications together opens up an entirely new world of possibility. While the Premiere Pro Lumetri Color panel allows for some speedy color grading and automatic adjustments, many teams benefit from using Resolve’s in-depth color grading tools alongside an Adobe Premiere Pro editing workflow. Thankfully, both applications support a large variety of file types and formats, which makes for a very complementary experience.

By | February 4th, 2020|