You have a prepared team project and chosen source ranges. The remote editor needs that project and available edit media in a supported NLE, then needs to return picture changes to the team cut.
How Stringout solves this
01
File streaming makes remote storage appear to mount locally
Prepare the cut with named interview selects and supporting picture, then export the project for the editor’s NLE. File Streaming puts that project and its source choices beside available edit media in Finder, so the editor can begin while production keeps the camera drive.
An edit twin keeps the source name, timecode and reel, but it is separate edit media. Check links in the chosen NLE, including its proxy or relink steps. A black “Media offline” twin means its picture and sound have yet to arrive.
02
Project file changes get saved to the team.
The editor saves or exports a supported NLE project document into the shared project folder. Stringout keeps accepted document versions under Project files. When it can read the picture changes, it brings them into a new version of the team cut for the next editor to inspect.
Inspect the returned picture edit before handing it on. Stringout reads back supported cut changes. Keep other NLE work in the project document. Avid needs the editor to export an AAF into the project folder by hand because its native project does not return automatically.
Screen capture sequence
Return a supported NLE cut
Record one genuine Resolve project round trip. Keep the exported file path, Project files version and resulting Stringout cut revision legible, so the sequence proves both document receipt and supported picture readback.
- Open the exported cut in DaVinci Resolve.
- Change a visible picture edit in the timeline.
- Export the project to the same shared project folder.
- Show its new Project files version and the read-back cut in Stringout.
03
Colorists can reconform back to original media.
The grade may need the camera file behind a chosen shot, not its edit twin. A teammate requests each needed whole original from the Mac holding the source drive. The file moves device to device, and both Macs must be online for the transfer.
The received original appears separately from edit media in Finder. The colorist can then use that file in the team’s established conform and grading workflow.
The result
The next editor has the sources and the current cut
The remote editor starts from the prepared project and available edit media. Supported project changes can become a new team cut version. Finishing receives the needed whole camera files through a separate original transfer.
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