Edit suites and post-production

An edit suite isn’t a workstation with software on it. It’s the visible end of a chain: the network feeding the station, the storage keeping up with the pace, media arriving already sorted, and a screen showing the right colours.

When an editor spends the day waiting on a file or hunting for a rush, the problem is never in the room. It’s upstream.

What we actually do

• Design of edit suites and colour grading rooms
• Workstations sized for your real formats — not for the brochure
• High-bandwidth production networks to every position
• Shared storage with simultaneous access to the same media — we are an EditShare integrator
• Collaborative workflows across editing, grading, sound and delivery
• Display calibration and viewing environment
• Acoustic treatment for sound and grading rooms
• Archiving and restore of finished projects

How a mandate unfolds

We measure your real throughput. How many simultaneous streams, in what formats, at what time of day. That number sizes the network and the storage — everything else follows.

We design the whole chain. A fast workstation on a slow network is useless. We look from camera to delivery, not just at the room.

We migrate without stopping production. Production houses don’t have a quiet week. We work in waves, keeping the old system live until the new one is proven.

Questions we get asked

“Our editors say it’s slow — is it the storage?” Often not. It’s the network, or the media format, or how projects are organized. We measure before proposing to buy anything.

“Can we edit remotely?” Yes, under the right conditions. What decides it is your upstream link and how your media is prepared — not the remote-desktop software.

“How many suites can share one storage?” Depends on your formats and habits. We calculate from your real peak, with headroom — not from an average that will block you in two years.